The first book to explore the fascinating career and fantasy-driven worlds created by the acclaimed Argentinean artist Adrian Villar Rojas's works concoct imaginary realms. Usually made from clay, his colossal installations are transitory and so cannot be collected, as they disappear or decay over time. His practice confronts the public with ideas of obsolescence and extinction, but also with the possibilities of humankind and its endless imagination. This is the first book to include all of Villar Rojas' most significant projects, featured in international biennials such as Venice, Documenta, Shanghai, and others.
(source: Nielsen Book Data)

• Preface: Xavier Seubert and Oleg Bychkov-- (1) "Images of Gospel Life: The Letter Visualized": John V. Fleming, Princeton University-- (2) "Bonaventure and the Maestro di San Francesco": John Renner, Courtauld Institute of Art, London-- (3) "Sensory Engagement and Contemplative Transformation in Cimabue's Assisi Transepts": Holly Flora, Tulane University-- (4) "Likeness and Compassion in Franciscan Art: A Late Medieval Theory of Compassion and Naturalism in Frescoes in the Lower Church of San Francesco at Assisi attributed to Giotto's Workshop": Theresa Flanigan, The College of Saint Rose, Albany, NY-- (5) "The Senses and the Soul's Re-formation in the Supplicationes variae": Amy Neff, The University of Tennessee, Knoxville-- (6) "The Lignum Vitae in New Spain": Cristina Cruz Gonzalez, Oklahoma State University-- (7) "The Perscrutator in the Hidden Depths of Franciscan Architectural Space": Erik Gustafson, George Mason University-- (8) "Experiencing God through Music in Franciscan Imagery (With New Observations on Botticelli's St. Francis Flanked by Music-making Angels and an Initial G by the Master of the Budapest Antiphonary)": Roberto Cobianchi, Universita degli Studi di Messina-- (9) "Activating the Senses, Preparing the Soul: Illuminated Antiphonaries for Franciscan Use in Late Medieval Italy": Trinita Kennedy, Frist Center for the Visual Arts-- (10) "Touch, Sight, and the Patched Franciscan Habit": Cordelia Warr, University of Manchester-- (11) "The Habit Francis Wore on Mount La Verna. Francis of Assisi-'Living Shroud'": Carla Salvati, John Abbott College, Montreal-- (12) "Franciscan Art and Somaesthetic Devotion in the Italian Renaissance Holy Lands: Simming and the Production of Empathy at Varallo and San Vivaldo": Allie Terry-Fritsch, Bowling Green State University-- (13) "Art and the Sensory Experience of God in the Franciscan Missions of Upper California": Pamela Jill Huckins, Southern New Hampshire University
• (14) "Following in the Footsteps of Christ: Uses of the Via Crucis in Colonial Quito": Carmen Fernandez-Salvador, Universidad San Francisco de Quito-- (15) "Engaging the Senses: the Pilgrimage Shrine of Santuario de Chimayo in Northern New Mexico": William Wroth, Independent Scholar, Santa Fe, New Mexico-- (16) "The status of sensory and aesthetic experience in fourteenth-century Franciscan theology, from Peter Aureol to Adam Wodeham": Oleg Bychkov, St. Bonaventure University-- (17) "The Iconization of St. Francis of Assisi": Xavier Seubert, OFM, Christ the King Seminary.
• (source: Nielsen Book Data)

The book investigates the aesthetic theology embedded in the Franciscan artistic tradition. The novelty of the approach is in applying concepts gleaned from Franciscan textual sources to create a deeper understanding of how art in all its sensual forms was foundational to the Franciscan milieu. Chapters range from studies of statements about aesthetics and the arts in theological textual sources to examples of visual, auditory, and tactile arts communicating theological ideas found in texts. The essays cover not only European art and textual sources, but also Franciscan influences in the Americas found in both texts and artifacts.
(source: Nielsen Book Data)

Africa State of Mind' gathers together the work of an emergent generation of photographers from across Africa, including both the Maghreb and sub-Saharan Africa. It is both a summation of new photographic practice from the last decade and an exploration of how contemporary photographers from the continent are exploring ideas of 'Africanness' to reveal Africa to be a psychological space as much as a physical territory - a state of mind as much as a geographical place.0Dispensing with the western colonial view of Africa in purely geographic or topographic terms, Ekow Eshun presents Africa State of Mind in four thematic parts: Hybrid Cities; Inner Landscapes; Zones of Freedom; and Myth and Memory. Each theme, introduced by a text by Eshun, presents selections of work by a new wave of African photographers who are looking both outward and inward: capturing life among the sprawling cities and multitudinous conurbations of the continent, turning the legacy of the continent's history into the source of resonant new myths and dreamscapes and exploring questions of gender, sexuality and identity. Each of the photographers seeks to capture the experience of what it means, and how it feels, to live in Africa today.

• Series Editor Foreword / Carmen Gillespie
• Visual Foreword / Carrie Mae Weems
• Introduction: African American Arts in Action / Sharrell D. Luckett
• Part I: Bodies of Activism.
• Trans Identity as Embodied Afrofuturism / Amber Johnson
• Designing Our Freedom: Toward a New Discourse on Fashion as a Strategy for Self-Liberation / Rikki Byrd
• Pearl Primus's Choreo-Activism: 1943-1949 / Doria E. Charlson
• Performing New Nationalism/Performing a Living Culture: Josefina Báez's Dominicanish / Florencia V. Cornet
• Ethnicity, Ethicalness, Excellence: Armond White's All-American Humanism / Daniel McNeil
• Race and History on the Operatic Stage: Caterina jarboro Sings Aida / Lucy Caplan
• Part II: Music and Visual Art as Activism.
• "I Am Basquiat": Tracing Jean-Michel Basquiat's Alterity and Activism in Paint and Performance / Genevieve Hyacinthe
• "I Luh God" : Erica Campbell, Trap Gospel and the Moral Mask of Language Discrimination / Sammantha McCalla
• The Hidden Code of the Kongo Cosmogram in African American Art and Culture / Nettrice R. Gaskins
• From Baldwin to Beyoncé: Exploring the Responsibility of the Artist in Society---Re-envisioning the Black Female Sonic Artist as Citizen / Abby Dobson
• Slaying "Formation": A Queering of Black Radical Tradition / J. Michael Kinsey
• Part III: Institutions of Activism.
• Centering Blackness through Performance in Every 28 Hours / Shondrika Moss-Bouldin
• Dancing for Justice Philadelphia: Embodiment, Dance, and Social Change / Julie B. Johnson
• A conversation with Freddie Hendricks of the Freddie Hendricks Youth Ensemble of Atlanta / Sharrell D. Luckett
• The Conciliation Project as a Social Experiment : Behind the Mask of Uncle Tom-ism and the Performance of Blackness / Jasmine Coles & Tawnya Pettiford-Wates
• Afterword: Blackballin' : a Play / by Rickerby Hinds

• List of Plates
• Acknowledgments
• Preface by Monica Juneja
• Along the Indian Highway: An Introduction
• "Cancel That Flight to Delhi..."
• Serpentine Gallery, London 2008
• "Indianness and the Urgency of Transmission"
• Astrup Fearnley Museum, Oslo 2009
• "There Might be an Indian Background, But the Theme is Global"
• HEART Museum of Contemporary Art, Herning 2010
• Transcultural Dissonances in the Contemporary Art World
• Museo Nazionale delle Arti del XXI Secolo, Rome 2012
• Indian Highway VI Finally on Its Way to China
• Ullens Centre for Contemporary Art, Beijing 2012
• Shared Exoticisms or the Limits of the National Exhibition: Some Final Observations
• Index.
• (source: Nielsen Book Data)

This book is an ethnographic study of the travelling art exhibition Indian Highway that presented Indian contemporary art in Europe and China between 2008 and 2012, a significant period for the art world that saw the rise and fall of the national exhibition format. It analyses art exhibition as a mobile "object" and promotes the idea of art as a transcultural product by using participant observation, in-depth interviews, and multi-media studies as research method. This work encompasses voices of curators, artists, audiences, and art critics spread over different cities, sites, and art institutions to bridge the distance between Europe and India based on vignettes along the Indian Highway. The discussion in the book focuses on power relations, the contested politics of representation, and dissonances and processes of negotiation in the field of global art. It also argues for rethinking analytical categories in anthropology to identify the social role of contemporary art practices in different cultural contexts and also examines urban art and the way national or cultural values are reinterpreted in response to ideas of difference and pluralism. Rich in empirical data, this book will be useful to scholars and researchers of modern and contemporary art, Indian art, art and visual culture, anthropology, art history, mobility, and transcultural studies.
(source: Nielsen Book Data)

• Panorama
• Essai
• 1929 Belgrade Roger-Henri Expert
• 1938 Ottawa Eugène Beaudouin
• 1952 Sarrebruck Georges-Henri Pingusson
• 1964-1970 Brasilia
• Le Corbusier et Guillermo
• Jullian de la Fuente
• 1970 Varsovie
• Bernard Zehrfuss
• 1977 Washington André Remondet
• 1997 Berlin
• Christian de Portzamparc
• Lieux de réception, d'administration et de représentation, les ambassades sont également des architectures d'exception.

"Ces témoignages extraterritoriaux d'une présence nationale impliquent non seulement un dialogue avec le pays d'accueil et ses traditions mais aussi l'affirmation d'une culture. Dans cette dialectique se situe l'originalité du programme diplomatique, qui constitue en outre, pour tout architecte, une commande sans équivalent et généralement unique dans une carrière. OEuvres des figures parmi les plus marquantes du XXe siècle (Le Corbusier, Eugène Beaudouin, Roger-Henri Expert, Georges-Henri Pingusson, Bernard Zehrfuss, Christian de Portzamparc...), les sept exemples réunis dans cet ouvrage illustrent la spectaculaire modernisation d'un programme pourtant fortement marqué par la tradition. Formes, matériaux, espaces de travail, insertion dans la ville, intégration des arts : tous ces ingrédients se renouvellent progressivement tandis que perdure une attention particulière aux espaces de la diplomatie."--Page 4 of cover.

"Nous étions convenus que je pourrais tout filmer durant les trois mois de mon séjour à Kyoto. Il m'ouvrait grand la porte et s'engageait à me faire découvrir et aimer la culture japonaise. Il me répétait avec un sourire espiègle : "On est très différents, mais on peut quand même se parler et essayer de se rapprocher." Marc Petitjean s'est retrouvé un beau matin avec sa caméra à Kyoto, pour filmer celui qui allait devenir son ami : Kunihiko Moriguchi, maître de la peinture sur kimono et Trésor national vivant - comme son père avant lui. Dans les années 1960, jeune étudiant aux Arts décoratifs, Kunihiko côtoie le Tout-Paris et se lie d'amitié avec Balthus, qui influencera sa carrière artistique. De retour au Japon, il renouvellera la tradition en travaillant l'abstraction dans les motifs. Ses oeuvres sont exposées dans les plus grands musées du monde."--Page 4 of cover.

"'Among the trees' brings together more than 30 international artists whose works explore our relationships with trees and forests. Beginning with pioneering works from the late 1960s - a decade that saw the emergence of the modern environmental movement - 'Among the trees' surveys a remarkably expansive artistic terrain. It invites us to consider trees as symbols and living organisms that have shaped human civilisation, and to celebrate their enduring resonance as a source of inspiration for some of the most compelling artists of our time" - back cover.

• List of Illustrations Notes on Contributors Introduction Carolin Kosuch
• Part 1: Frictions: Aesthetics or Politics
• 1 The Symbolist Movement: Anarchism and the Avant-Garde in Fin de SiecleFrance Richard Shryock
• 2 Egoism, Homosexuality, and Joie de vivre: Jacob Epstein's Tomb of Oscar Wilde Mark Antliff
• 3 A Politics of Technique: Fauvism and Anarchist Individualism Patricia Leighten
• 4 Anti-Art? Dada and Anarchy Daniela Padularosa
• Part 2: Fractions: Declining - Pioneering Redeeming
• 5 Decadent Anarchism, Anarchistic Decadence: Contradictory Cultures, Complementary Politics David Weir
• 6 'We Are Too Far Ahead to be Understood': Vanguard Creation in Fin de Siecle Anarchism Carolin Kosuch
• 7 'Theocratic Anarchism'? Walter Benjamin and Gershom Scholem in Switzerland: Anarchism, Messianism and the Avant-Garde Gabriele Guerra
• Part 3: Focal Points: Art and Education in Local and Transnational Settings
• 8 Syndicalism and Art in France before
• 1914: Propaganda and Prefiguration Constance Bantman
• 9 Anarchism, Geography and Painting: Elisee Reclus and Social Art Federico Ferretti
• 10 Teaching Revolution through Arts? Anarchism, the Avant-garde and Education Critically Revisited Piotr Laskowski Index.
• (source: Nielsen Book Data)

Anarchism and the Avant-Garde: Radical Arts and Politics in Perspective contributes to the continuing debate on the encounter of the classical anarchisms (1860s 1940s) and the artistic and literary avant-gardes of the same period, probing its dimensions and limits. Case studies on Dadaism, decadence, fauvism, neo-impressionism, symbolism, and various anarchisms explore the influence anarchism had on the avant-gardes and reflect on avant-garde tendencies within anarchism. This volume also explores the divergence of anarchism and the avant-gardes. It offers a rich examination of politics and arts, and it complements an ongoing discourse with theoretical tools to better assess the aesthetic, social, and political cross-pollination that took place between the avant-gardes and the anarchists in Europe.
(source: Nielsen Book Data)

Andre Fu is one of Asia's leading interiors designers. When his design for the world-renowned The Upper House hotel in Hong Kong opened ten years ago, he became an overnight sensation around the world. As one of Asia's most widely sought-after interior designers, the Hong Kong-based designer has gone on to create forward-thinking interiors for other major hotels, restaurants and leading brands, including Louis Vuitton, The Berkeley (London) and Waldorf hotels. This showcase of his works to date features eighteen recent projects around the world and provides fresh insights into Fu's creative process, including his hand-drawn sketches and mood boards, as well as an introductory essay that explores Fu's key influences and the importance of his unique and highly refined East-meets-West aesthetic. With an illustrated chronology of all the designer's works to date, this rich overview presents the award-winning vision of interior design's rising star, not only in Asia but across the world.

• Introduction: Typologies of Social Relation
• Inscriptive Practices and Anthropology
• Home and What it Means to Dwell
• Museums and Architectures of Collection
• Marketplaces and Sites of Exchange
• Routes, Walking, and Wayfinding
• Theatre and Festival: Performance and Liminal Space
• Restaurants, Food Events, and Sensory Architectures
• Conclusion: Towards an Anthropological Architecture.

"What can architects learn from anthropologists? This is the central question examined in Anthropology for Architects - a survey and exploration of the ideas which underpin the correspondence between contemporary social anthropology and architecture. The focus is on architecture as a design practice. Rather than presenting architectural artefacts as objects of the anthropological gaze, the book foregrounds the activities and aims of architects themselves. It looks at the choices that designers have to make - whether engaging with a site context, drawing, modelling, constructing, or making a post-occupancy analysis - and explores how an anthropological view can help inform design decisions. Each chapter is arranged around a familiar building type (including the studio, the home, markets, museums, and sacred spaces), in each case showing how anthropology can help designers to think about the social life of buildings at an appropriate scale: that of the individual life-worlds which make up the everyday lives of a building's users. Showing how anthropology offers an invaluable framework for thinking about complex, messy, real-world situations, the book argues that, ultimately, a truly anthropological architecture offers the potential for a more socially informed, engaged and sensitive architecture which responds more directly to people's needs. Based on the author's experience teaching as well as his research into anthropology by way of creative practice, this book will be directly applicable to students and researchers in architecture, landscape, urban design, and design anthropology, as well as to architectural professionals"-- Provided by publisher.

• 1. Introduction: anti-museum - imagining the unthinkable--
• 2. Collection de l'Art Brut, Lausanne--
• 3. Donald Judd's Marfa: state of dialogue--
• 4. New York, New York: PS1 and the New Museum--
• 5. Mona (Museum of Old and New Art), Hobart--
• 6. Art42, Paris--
• 7. Conclusion: the art of museums beyond convention.
• (source: Nielsen Book Data)

Anti-Museum charts the development of the anti-museum as a concept and as it has been realised in practice. Drawing on a range of case studies, including the New Museum and PS1 in New York, Mona in Australia, Art42 in Paris and Donald Judd's Marfa, the book assesses their potential to engage museum publics in new ways. Anti-museums seek to breathe relational and theatricalised vitality into the objects they exhibit, by connecting them to the contexts of their making, to their social life outside the museum, to visitors' lives via their transformative capacities for change, and by being a place of dialogue, exchange and transformation, rather than instruction. Documenting the ways in which they have been created by artists, collectors, and curators, the book also examines the extent to which anti-museums connect with other museums through the exchange of values and resources. Critically, it asks whether, after some 40 years of 'new museology', such institutions are still able to offer something fresh and valuable. Anti-Museum provides a sharp and incisive account of the anti-museum as it has been imagined, realised and experienced, and as it has relevance for understanding and working in the contemporary museum world. As such, the book will be of great interest to scholars and students engaged in the study of museums, cultural economy, inclusive urban regeneration, the democratisation of art and contemporary art. It should also appeal to museum professionals around the world.
(source: Nielsen Book Data)

• Weber: the Value-Sphere of Art
• Kant: the Inner Workings of the Sphere of Art
• Hegel: Art and the End of History
• Adorno
• 1: Truth, Beauty and Utopia
• Adorno
• 11: Purpose, Disenchantment and Suffering
• Bourdieu: Distinction and the Game of Art.

"This book explores the place of art in the modern world, but instead of asking what art is, it begins with the question of art's appeal in modernity. Why is the appellation 'art' so desired for movies, food and fashion, for example? Why is there the assumption of esteem when someone calls themselves an 'artist'? On the other hand, why is modern art so often seen as, at best, difficult and, at worst, not, in fact, art? Engaging with a broad range of theory, the author draws on the thought of Max Weber to offer an account of art's widespread appeal in terms of its constituting a self-contained value-sphere of meaning, which provides a feeling of tremendous salvation from the senseless routines of modern life. In this way, major theories on aesthetics in philosophy and sociology - including those of Kant, Hegel, Adorno and Bourdieu- are critically recast and incorporated into an overall explanation, and fundamental questions concerning the relation of art to politics and ethics are given innovative answers. A fresh examination of the development of the aesthetic sphere that shows how art came to be regarded as one of the last bastions of freedom and the highest human achievement, and, also, how it became increasingly isolated from the rest of society, The Appeal of Art in Modernity will appeal to scholars of philosophy, social theory and sociology with interests in art, modernity and Weber"-- Provided by publisher.

• Le statut juridique des architectes dans la France moderne
• Conduire pour bâtir : de la conduite d'ouvrages par les architectes et les entrepreneurs
• L'art de la théorie
• Les gravures de dessins d'architecte, un conservatoire méconnu ?
• Dessiner pour apprendre : les premiers pas
• Architectes et "dessignateurs".
• Mutations du dessin d'architecture en France au XVIIe siècle
• La couleur dans le dessin d'architecture au XVIIe siècle
• Une histoire de peintres, d'ingénieurs et d'architectes
• Portraits d'architectes au Grand Siècle.

"Au sein de l'histoire longue du métier d'architecte, la période moderne occupe une place cruciale en Europe. Succédant aux "maîtres des oeuvres" du Moyen Âge et précédant les professionnels diplômés de l'époque contemporaine, l'architecte sort alors de la seule sphère de la construction et des arts pour s'imposer comme une figure de premier plan dans la société. Dans le prolongement du catalogue de l'exposition Dessiner pour bâtir, le métier d'architecte au XVIIe siècle (Archives nationales-Le Passage, Paris, 2017), huit historiens et historiens de l'art explorent ici différentes facettes de cette évolution : distinction croissante des responsabilités sur le chantier, passage de l'atelier à l'agence, nouvelles formes de production et de diffusion du dessin d'architecture, développement de la théorie et apparition de l'enseignement, enfin affirmation de l'image sociale de l'architecte."--Page 4 of cover.

• Introduction--
• 1. The Casa de Montejo and Merida--
• 2. The Plateresque Facade and Communal Identity in Spain--
• 3. The Montejo Facade and the Position of Adelantado--
• 4. Tiho-Merida and the Casa de Montejo--
• 5. Gaspar Antonio Chi's Heraldic Imagery and the Casa de Montejo Facade-- Conclusion.
• (source: Nielsen Book Data)

This book investigates the Casa de Montejo and considers the role of the building's Plateresque facade as a form of visual rhetoric that conveyed ideas about the individual and communal cultural identities in sixteenth-century Yucatan. C. Cody Barteet analyzes the facade within the complex colonial world in which it belongs, including in multicultural Yucatan and the transatlantic world. This contextualization allows for an examination of the architectural rhetoric of the facade, the design of which visualizes the contestations of autonomy and authority occurring among the colonial peoples.
(source: Nielsen Book Data)

Lucio Costa played a leading role within some of the most outstanding products of the modernist generation in Brazil and is often recognised as father of Brazilian modernism, influencing his younger and more internationally celebrated colleague Oscar Niemeyer. Probably on the basis of Costa's own reading of his contribution, the majority of the historical and critical interpretations have offered an oversimplified version of his career, leaving gaps which still need to be filled.

• Introduction / Jean-Louis Cohen
• L'art entre 1940 et 1944 Laurence Bertrand Dorléac
• Les technocrates sous Vichy : modernité productive et antimodernité architecturale et urbaine
• Louis Hautecceur à la direction des Beaux-Arts Antonio Brucculeri
• Les Bâtiments civils : continuité et consolidation
• Les architectes en proie aux sirènes de l'idée bretonne
• Les architectes et l'îlot insalubre n°16 parisien : expériences et quête de légitimité (1930-1960)
• Vichy vert : les paysagistes entre technique et terroir
• Le Loiret, chantier pilote de la reconstruction
• Industrialiser le bâtiment : un "repli" prolifique, entre restrictions et substitutions
• L'édition d'architecture sous Vichy : loi de pénurie et exception
• L'École des beaux-arts, de Paris à Marseille et à la Prusse orientale
• L'École spéciale d'architecture sous l'Occupation
• Punir les architectes collaborateurs.

"Qu'en fut-il de l'architecture et de l'urbanisme sous l'Occupation ? Si les travaux sur la France de Vichy foisonnent, le champ architectural et urbain est longtemps resté ignoré. Les politiques conduites en la matière ne sauraient se mesurer à la quantité d'édifices réalisés, mais plutôt à l'ampleur des réorganisations administratives - telle la création de l'Ordre des architectes en décembre 1940 - ou à l'abondante production de textes et de plans. Les architectes furent-ils majoritairement collaborateurs et profiteurs de guerre, dans des contextes allant de la spoliation des biens des Juifs à la pressante reconstruction des villes détruites ? Quel rôle jouèrent des architectes comme Le Corbusier ou Auguste Perret ? Quelle place les langages architecturaux ont-ils réservé au moderne et à la tradition ? Quel enseignement dispensait-on dans les écoles ? Sans prétendre en dévoiler toutes les continuités et les ruptures, l'ouvrage pose de front la question des politiques architecturales et urbaines mises en oeuvre sous le régime de Vichy, de leurs origines et de leur héritage."--Page 4 of cover.

How socialist architects, planners, and contractors worked collectively to urbanize and develop the Global South during the Soviet era In the course of the Cold War, architects, planners, and construction companies from socialist Eastern Europe engaged in a vibrant collaboration with those in West Africa and the Middle East in order to bring modernization to the developing world. Architecture in Global Socialism shows how their collaboration reshaped five cities in the Global South: Accra, Lagos, Baghdad, Abu Dhabi, and Kuwait City. Lukasz Stanek describes how local authorities and professionals in these cities drew on Soviet prefabrication systems, Hungarian and Polish planning methods, Yugoslav and Bulgarian construction materials, Romanian and East German standard designs, and manual laborers from across Eastern Europe. He explores how the socialist development path was adapted to tropical conditions in Ghana in the 1960s, and how Eastern European architectural traditions were given new life in 1970s Nigeria. He looks at how the differences between socialist foreign trade and the emerging global construction market were exploited in the Middle East in the closing decades of the Cold War. Stanek demonstrates how these and other practices of global cooperation by socialist countries-what he calls socialist worldmaking-left their enduring mark on urban landscapes in the postcolonial world. Featuring an extensive collection of previously unpublished images, Architecture in Global Socialism draws on original archival research on four continents and a wealth of in-depth interviews. This incisive book presents a new understanding of global urbanization and its architecture through the lens of socialist internationalism, challenging long-held notions about modernization and development in the Global South.
(source: Nielsen Book Data)