%{search_type} search results

19,759 catalog results

RSS feed for this result
xvi, 621 pages, 24 unnumbered pages of plates : illustrations (some color) ; 29 cm
  • 1. The Jacobean Period: Joiners and Cabinetmakers in the New World 2. William and Mary: The Years of Transition 3. Queen Anne: The Line of Beauty 4. The Chippendale Style 5. Furniture of the Federal Period 6. American Empire 7. Windsor Chairs 8. Country Furniture: New England 9. Southern Furniture 10. Furniture of Rural Pennsylvania, the Mid-Atlantic, and the Mid-West 11. Shaker Furniture: The Gift to Be Simple Color Plate Signature 12. Victorian Furniture: Gothic and Rococo Revivals 13. Victorian Furniture: The Renaissance Revival 14. Eastlake, the Aesthetic Movement, and the Colonial Revival 15. American Mission Furniture and the Arts & Crafts Movement: 1900-1915 16. Traditional Revivals for a Conservative Public 17. Modern Furniture, 1920-1941: Is It Here to Stay? 18. America Takes the Lead: Mid-Century Modern, 1950s and 1960s 19. Post-Modern and Avant-Garde Furniture since 1975 20. Studio Furniture and Furniture as Art 21. Connoisseurship of American Furniture.
  • (source: Nielsen Book Data)9781442270381 20180409
Drawing on the latest scholarship, this comprehensive, lavishly illustrated survey tells the story of the evolution of American furniture from the 17th century to the present. Not viewed in isolation, furniture is placed in its broader cultural, historic, and aesthetic context. The focus is not only on the urban masterpieces of 18th century William and Mary, Queen Anne, Chippendale, and Federal styles but also on the work of numerous rural cabinetmakers. Special chapters explore Windsor chairs, Shaker, and Pennsylvania German furniture which do not follow the mainstream style progression. Picturesque and anti-classical explain Victorian furniture including Rococo, Renaissance, and Eastlake. Mission and Arts and Crafts furniture introduce the 20th century. Another chapter identifies the eclectic revivals such as Early American that dominated the mass market throughout much of the 20th century. After World War II American designers created many of the Mid-Century Modern icons that are much sought after by collectors today. The rise of studio furniture and furniture as art which include some of the most creative and imaginative furniture produced in the 20th and 21st centuries caps the review of four centuries of American furniture. A final chapter advises on how to evaluate the authenticity of both traditional and modern furniture and how to preserve it for posterity. With over 800 photos including 24 pages of color, this fully illustrated text is the authoritative reference work.
(source: Nielsen Book Data)9781442270381 20180409
Art & Architecture Library (Bowes)
xi, 502 pages : color illustrations ; 29 cm
  • Preface Acknowledgments Introduction: American Quilts in the Industrial Age, 1760-1870 Carolyn Ducey, Christine Humphrey, and Patricia Cox Crews 1. Early Spreads Lynne Z. Bassett and Linda Baumgarten 2. Whole Cloth Quilts Lynne Z. Bassett, Linda Baumgarten, and Christine Humphrey 3. Chintz Applique Quilts Carolyn Ducey 4. Pieced Quilts Janice E. Frisch and Xenia Cord, Patricia Cox Crews, Carolyn Ducey, Jonathan Gregory, Virginia Gunn, and Christine Humphrey 5. Applique Quilts Virginia Gunn, Carolyn Ducey, and Jonathan Gregory Notes Bibliography Contributors Index.
  • (source: Nielsen Book Data)9780803295926 20180625
Part of a comprehensive catalog of the International Quilt Study Center and Museum collection, American Quilts in the Industrial Age, 1760-1870 highlights the dazzling designs and intricate needlework of America's treasured material culture. From whole cloth to pieced quilts to elaborate applique examples, all reflecting various design movements such as Neoclassicism and Eastern exoticism, the contributing authors address the development of quilt making in America from its inception in the 1700s to the period of the U.S. Civil War. Covering more than one hundred years of quilt making, this volume examines the period's quilts from both an artistic and a historical perspective. The contributors provide critical information regarding the founding of the republic and the influential republican values and ideals manifested in the quilts of this era. They also address the role that immigration and industrialization played in the evolution of materials and styles. With full-color photographs of nearly six hundred quilts, American Quilts in the Industrial Age, 1760-1870 offers new insights into American society.
(source: Nielsen Book Data)9780803295926 20180625
SAL3 (off-campus storage)

3. Anni Albers [2018]

192 pages : illustrations (chiefly color) ; 27 cm
Anni Albers (1899-1994) was a textile designer, weaver, writer and printmaker, who was among the leading pioneers of twentieth-century modernism. Throughout her fruitful career she inspired a reconsideration of fabrics, both in their functional roles and as wall hangings, truly establishing thread and weaving as a valid medium for art. In her later years, Albers took up print-making, translating many of her persistent themes and ideas into two-dimensional form. But while Albers has been extremely influential for younger generations of artists and designers, her contribution to modernist art history has, until now, been rather overlooked. In 2018, a groundbreaking exhibition, together with this accompanying publication will present Albers's most important works to fully explore and redefine her contribution to twentieth-century art and design, and highlight Albers's significance as an artist in her own right, rather than alongside her husband Josef . Contextualising Albers's early career at the Bauhaus, and her teaching years at Black Mountain College, this beautifully illustrated book will showcase major commissioned works, wall hangings, designs for commercial use, drawings and studies, jewellery designed and made by Albers and a selection of her prints. A series of short texts from a range of experts will focus on key works and themes, relating aspects of Albers's practice to her seminal texts On Designing and On Weaving, and drawing in broader contextual material, including examples of Andean textiles which Albers collected and in which she found intense inspiration for her understanding of woven thread as a form of language. Illuminating Albers's skill as a weaver, her material awareness and acute understanding of art and design, this much-needed publication is a celebration of one of the most influential artists of the twentieth century, and her endless creativity.
(source: Nielsen Book Data)9781849766081 20180917
Art & Architecture Library (Bowes)
126 pages : illustrations (chiefly color) ; 29 cm
SAL3 (off-campus storage)
xi, 339 pages : illustrations (chiefly color) ; 26 cm
The art of the object reached unparalleled heights in the medieval Islamic world, yet the intellectual dimensions of ceramics, metalwares, and other plastic arts in this milieu have not always been acknowledged. Arts of Allusion reveals the object as a crucial site where pre-modern craftsmen of the eastern Mediterranean and Persianate realms engaged in fertile dialogue with poetry, literature, painting, and, perhaps most strikingly, architecture. Lanterns fashioned after miniature shrines, incense burners in the form of domed monuments, earthenware jars articulated with arches and windows, inkwells that allude to tents: through close studies of objects from the ninth to the thirteenth centuries, this book reveals that allusions to architecture abound across media in the portable arts of the medieval Islamic world. Arts of Allusion draws upon a broad range of material evidence as well as medieval texts to locate its subjects in a cultural landscape where the material, visual and verbal realms were intertwined. Moving far beyond the initial identification of architectural types with their miniature counterparts in the plastic arts, Margaret Graves develops a series of new frameworks for exploring the intelligent art of the allusive object. These address materiality, representation, and perception, and examine contemporary literary and poetic paradigms of metaphor, description, and indirect reference as tools for approaching the plastic arts. Arguing for the role of the intellect in the applied arts and for the communicative potential of ornament, Arts of Allusion asserts the reinstatement of craftsmanship into Islamic intellectual history.
(source: Nielsen Book Data)9780190695910 20181022
Art & Architecture Library (Bowes)
xxx, 245 pages : illustrations ; 26 cm.
  • Table of Contents List of Tables and Figures AcknowledgementsChapter One: IntroductionChapter Two: A Short History of Benin Art and Politics Chapter Three: Threat and Creativity: The Political Context for Esigie's Commission Chapter Four: Remembrance and Memorial: Methods of Commemoration in BeninChapter Five: Patterns of Authorship and the Architectural Frame Chapter Six: The Installation of the Plaque Corpus under Esigie and OrhogbuaConclusionAnnex 1: Plaques by Flange-Pattern CategoryAnnex 2: Illustration of Flange Pattern Sub-TypesAnnex 3: Views of Palace ReconstructionAnnex 4: List of Plaques by InstitutionGlossaryBibliography.
  • (source: Nielsen Book Data)9781472451552 20180306
The 16th century bronze plaques from the kingdom of Benin are among the most recognized masterpieces of African art, and yet many details of their commission and installation in the palace in Benin City, Nigeria, are little understood. The Benin Plaques, A 16th Century Imperial Monument is a detailed analysis of a corpus of nearly 850 bronze plaques that were installed in the court of the Benin kingdom at the moment of its greatest political power and geographic reach. By examining European accounts, Benin oral histories, and the physical evidence of the extant plaques, Gunsch is the first to propose an installation pattern for the series.
(source: Nielsen Book Data)9781472451552 20180306
Art & Architecture Library (Bowes)
187 pages : color illustrations ; 26 cm
Art & Architecture Library (Bowes)
222 page : illustrations (chiefly color) ; 27 cm
"Cet ouvrage réunit plus de 200 bijoux d'artistes influents des XXe et XXIe siècles parmi lesquels Keith Haring, Anish Kapoor, Orlan, Sol LeWitt, ou encore Jeff Koons, Niki de Saint Phalle et Man Ray. Ces bijoux, pour la plupart uniques et fruits de commandes exceptionnelles, loin des distinctions entre art mineur et décoratif, revêtent le statu d'oeuvre d'art. Ensemble, ils forment une collection idéale d'oeuvres à porter sur soi, sensibles et originales. "Le bijou d'artiste est un élan du coeur ou une exploration empirique, entre vision première et bricolage sublime." Olivier Gabet, directeur du musée des arts décoratifs."--Page 4 of cover.
Art & Architecture Library (Bowes)
271 pages : illustrations (chiefly color) ; 22 cm.
  • La naissance d'une collection -- Conversation entre Deborah Neff et Nora Philippe -- Apprendre à voir les poupées noires / Robin Bernstein -- Nellie Mae Rowe par elle-même -- La vie populaire de la photographie: poupées noires et poupées blanches, mémoire et matérialité / Deborah Willis -- Les poupées à deux corps - un sens dessus dessous racial / Patricia Williams -- Les poupées de tissu noires. Anonymat et identité / Madelyn Shaw -- Échos du continent africain: quelques éléments de dialogue entre les poupées d'Afrique subsaharienne et les poupées noires américaines / Hélène Joubert.
"Avec Black Dolls, sélection de poupées et de photographies de la collection Deborah Neff, La maison rouge clôture son cycle d'expositions consacrées aux collections privées. Conçues dans leur immense majorité entre 1840 et 1940 environ par des Africaines-Américaines, ces deux cents poupées noires, faites à la main en tissu et matériaux divers, sont des objets à la fois pluriels et uniques. Substituts affectifs et archives intimes dans un monde où les familles noires américaines étaient bien souvent séparées, elles fonctionnèrent aussi comme des images de résistance sociale et politique. Elles s'imposent aujourd'hui comme d'admirables créations à la valeur artistique entière. Sur cet ensemble n'ayant quasiment jamais fait l'objet de recherche, le présent catalogue propose des hypothèses de lecture inédites, croisant les cultural studies, l'histoire des textiles américains et des arts africains, l'histoire de la photographie et celle, plus large, de la civilisation américaine."--Page 4 of cover.
Art & Architecture Library (Bowes)
xviii, 350 pages : illustrations ; 30 cm.
SAL3 (off-campus storage)
220, [ ] p. : chiefly col. ill. ; 32 cm
Green Library
127 pages : illustrations ; 30 cm.
SAL3 (off-campus storage)
282 pages : illustrations, charts ; 24 cm.
  • Introduction : Terra incognita : saisir l'apparition d'un groupe social -- Un métier ambigu et a-structuré ? -- L'énigme de l'apparition d'un groupe professionnel -- Créer un groupe hors des sentiers battus ? -- Petits objets, subcultures et espaces hybrides, révélateurs de logiques dominantes -- Comment cerner un groupe qui s'effrite ou prend consistance ? -- Le groupe professionnel : une construction instable -- Saisir le groupe par ses nonnes et son autonomisation -- De l'activité au groupe social : les multiples facettes du travail -- Le travail comme rapport social général -- Le travail artistique façonné par le politique -- Une enquête à dominante ethnographique -- Un nouveau régime de valeur, un nouveau groupe professionnel -- De la parcellisation à la singularité : extinction et émergence de deux métiers de "céramiste" -- Le métier d'antan : fonction sociale, principes de production et extinction -- Les "fondateurs" de la céramique d'art : de nouvelles conceptions du métier -- Dans les traces de néoruraux : les "bâtisseurs" du métier des années 1970-1980 -- Le basculement de la valeur : la naissance de nouveaux contenus professionnels -- La théorisation de l'art de la céramique et la circulation internationales des idées -- La "réinvention" des techniques traditionnelles et l'invention de pratiques professionnelles -- Les premières formes d'autonomisation : la théorisation de l'art céramique et la mise en commun des singularités -- La stabilisation des frontières du métier : un consensus éthique, technique et esthétique -- Professionnalisme et professionnalité : l'accès au coeur et aux frontières du métier -- Le cadre d'emploi : le non-amateurisme -- Un cas révélateur des enjeux du "professionnalisme" : le statut d'auto-entrepreneur -- Au fondement de la professionnalité : quelques facettes indispensables de l'Art et du Métier -- L'Art : un critère organisationnel, éthique et esthétique -- L'incontournable maîtrise technique du matériau et des savoir-faire : le Métier -- Le prix des pièces comme indicateur (et instrument) d'intégration au groupe -- Un entre-deux revendiqué entre l'Art et le Métier -- L'identité professionnelle : une professionnalité composite -- "Céramiste" et "potier", des termes unifiants parce que polysémiques -- L'identité au travail : le groupe à l'épreuve des différences -- Identités au travail : une polarisation entre Art et Métier ? -- Le sculpteur et l'artisan : images typiques des fractionnements internes -- Galeries et marché artisanal : la polarisation dans les dispositifs sociaux-esthétiques -- Des espaces peu clivant : marchés de potiers et boutique à domicile -- L'ennoblissement artistique : quand le travail est un prolongement de soi -- L'éthique du Métier, ou l'ancrage sociétal du travail -- La technicité et l'amour de la matière : les sens (philosophiques) du travail -- L'ancrage humaniste et engagé de l'artisan potier : les sens (politiques) du travail -- Aux limites du groupe : de la segmentation à la rupture ? -- Les cas limites de l'Art : les francs-tireurs comme révélateurs des conservatismes -- Devenir céramiste, à la recherche "d'autre chose" -- Vocation et quête d'un style de vie : le sens des trajectoires
  • Une "révélation" et une "confirmation" de la vocation qui donnent un sens à la vie -- Des encouragements sporadiques à la vocation : la responsabilité individuelle dans le choix du métier -- Par-delà les différences générationnelles : entrer dans la céramique d'art -- Similarités et divergences entre les générations : des variations de prestige et de sens politique ? -- Des aspirations récurrentes : qualité de vie, style de vie artiste, travail indépendant -- Les ressources pour entrer dans la vie d'artiste ou d'artisan d'art -- Des trajectoires types pour entrer dans la vie de céramiste : différents chemins vers "autre chose" -- L'ascension : accéder à "la vie d'artiste" -- Vivre un déplacement, donner à voir un déclassement : le "pas de côté" -- Reconversions : réinvestir (ou rompre avec) des expériences antérieures -- Apprendre le métier -- Une demande de formation, une offre désajustée : les trois défis posés à l'enseignement de la céramique d'art -- Cartographie de la formation actuelle en céramique d'art -- "Se trouver" : formation composite et apprentissage auprès des pairs -- Une formation composite et changeante au fil des générations -- La transmission "totalisante" auprès des pairs -- Vivre de et par son travail, heureux et longtemps ? -- Savoir-faire et savoir être : les formes et conditions des hiérarchies professionnelles -- Art élitiste, artisanat populaire ? Une stratification intraprofessionnelle transversale aux pôles de l'Art et du Métier -- Valorisations et transactions identitaires : ajouter une plus-value symbolique au travail -- Les "bonnes pratiques" communautaires : facteur de connaissance et de reconnaissance -- Les inégalités dans le travail artistique : quelques contributions à travers le cas des céramistes d'art -- La fin de carrière? -- La difficulté des indépendants à "prendre soin de soi" -- Les ressorts du maintien de soi dans l'activité -- L'identité collective : "nous, les potiers", une mise en commun des singularités -- Le façonnage de "l'esprit potier" -- Professionnalité, éthique et identité collective : les valeurs des "potiers" -- Du corps au travail au corps de métier : "ce qui nous rassemble, c'est pas la religion, c'est la tradition des fours à bois" -- De l'ethos à l'éthique : le temps des regroupements professionnels -- Le temps des regroupements formalisés : lieux et espaces de l'identité collective -- La codification des normes de professionnalité : l'exemple des marchés de potiers -- "Retrouver les copains", ou l'assise affective de l'identité collective -- Avec ou sans l'État? L'auto-organisation comme ressort de la professionnalisation -- Une professionnalisation multi-située : la chambre syndicale et les associations -- Les associations de céramistes : une structuration du groupe "par le bas" -- Les ressorts de l'engagement associatif et syndical : vivre pour le collectif et de son métier ? -- Ateliers d'art de France : l'accès à l'État d'une puissante organisation sectorielle -- Une convergence des répertoires tactiques : professionnalisation, politisation et dépolitisation -- Le dispositif "Terres de solidarité" : la prise en charge des problématiques à l'échelle du groupe professionnel -- La professionnalisation : des processus politiques équivoques et composites --
  • Faire bouger les lignes : les nonnes professionnelles face aux politiques culturelles -- Les céramistes face aux politiques publiques : réception, coopérations et contestations -- La céramique est-elle un art ? -- L'introuvable place des métiers d'art dans les politiques : un art déclassé, un artisanat ennobli -- La coopération : échecs et réussites face aux professionnels de la politique -- Faire bouger les lignes : les usages du droit comme éléments de mobilité collective -- Revendiquer la dimension artistique de l'activité : la contestation des critères de partition entre art et artisanat -- Contester la hiérarchie culturelle entre l'art et l'artisanat.
"Le métier de céramiste d'art, exercé par des créateurs travaillant en leur nom propre, s'est constitué en France au milieu du XXe siècle et encore davantage dans l'après-1968. Aujourd'hui, les céramistes forment un groupe bien défini car ils s'accordent sur ce qu'est un "bon professionnel" sur le plan technique et esthétique, mais aussi moral. En effet, le travail est envisagé d'une manière extensive, comme un style de vie, voire une "alternative" (à la ville, au travail salarié, aux mondes de l'art dans ses formes les plus élitistes...). Il met ainsi à l'épreuve les possibilités de vivre différemment, hors des sentiers battus et de ce que certains enquêtés associent à une forme d'emprise des institutions étatiques. Ce livre interroge les conditions d'une réalisation individuelle et collective par le travail indépendant : comment relier des visions du monde, des styles de vie et des modes de régulation du travail ? À partir d'une enquête principalement ethnographique, cet ouvrage restitue les voies empruntées par différentes générations de céramistes pour créer un groupe social et professionnel à l'image du sens qu'ils donnent au travail et à leurs modes de vie."--Page 4 of cover.
SAL3 (off-campus storage)
xviii, 198 pages : illustrations (some color), map ; 22 cm.
  • 1 Introduction: A Global Commodity in the Transpacific Trade 2 Crafting a Global Brand: Jingdezhen in the Early Modern World 3 From Junk to Galleon: Commercial Activity in Manila 4 A Parian in the Plaza Mayor: Making Space for Asia in Colonial Mexico 5 Blue-and-White Chocolateros: Crafting a Local Aesthetic in a Colonial Context 6 Conclusion: Themes from a Connected World.
  • (source: Nielsen Book Data)9783319665467 20180319
This book follows Chinese porcelain through the commodity chain, from its production in China to trade with Spanish Merchants in Manila, and to its eventual adoption by colonial society in Mexico. As trade connections increased in the early modern period, porcelain became an immensely popular and global product. This study focuses on one of the most exported objects, the guan. It shows how this porcelain jar was produced, made accessible across vast distances and how designs were borrowed and transformed into new creations within different artistic cultures. While people had increased access to global markets and products, this book argues that this new connectivity could engender more local outlooks and even heightened isolation in some places. It looks beyond the guan to the broader context of transpacific trade during this period, highlighting the importance and impact of Asian commodities in Spanish America.
(source: Nielsen Book Data)9783319665467 20180319
SAL3 (off-campus storage)
311 pages ; 23 cm
Balancing Social, Professional, and Artistic Views What does it mean to be a designer in today's corporate-driven, overbranded global consumer culture? Citizen Designer, Second Edition, attempts to answer this question with more than seventy debate-stirring essays and interviews espousing viewpoints ranging from the cultural and the political to the professional and the social. This new edition contains a collection of definitions and brief case studies on topics that today's citizen designers must consider, including new essays on social innovation, individual advocacy, group strategies, and living as an ethical designer. Edited by two prominent advocates of socially responsible design, this innovative reference responds to the tough questions today's designers continue to ask themselves, such as: How can a designer affect social or political change? Can design become more than just a service to clients? At what point does a designer have to take responsibility for the client's actions? When should a designer take a stand? Readers will find dozens of captivating insights and opinions on such important issues as reality branding, game design and school violence, advertising and exploitation, design as an environmental driving force, and much more. This candid guide encourages designers to carefully research their clients; become alert about corporate, political, and social developments; and design responsible products. Citizen Designer, Second Edition, includes insights on such contemporary topics as advertising of harmful products, branding to minors, and violence and game design. Readers are presented with an enticing mix of opinions in an appealing format that juxtaposes essays, interviews, and countless illustrations of "design citizenship.".
(source: Nielsen Book Data)9781621536406 20180730
Art & Architecture Library (Bowes)
255 pages : illustrations (chiefly color) ; 16 cm
If you're one of the 200 million Americans who drink coffee every day, you may have marveled at the ubiquitous plastic coffee cup lid, with its clever combination of indentations, protrusions, tabs, and score lines that can be pinched, pulled, pushed, punctured, and tucked to create an opening to sip from while also keeping a piping-hot liquid in its place. Louise Harpman and Scott Specht have collected these familiar triumphs of industrial design, in their many variations, for decades, creating what Smithsonian magazine calls the world's largest collection of coffee cup lids. In addition to oddly compelling close-up photographs, Harpman and Specht include lively field-guides to their classification system and patent drawings for many of the most unique designs. This beautifully designed book will appeal to designers, coffee drinkers, and anyone who delights in the small bits of humble genius that surround us every day. You'll never look at your to-go coffee cup the same way again.
(source: Nielsen Book Data)9781616896560 20180430
SAL3 (off-campus storage)
xii, 133 pages : illustrations ; 26 cm.
  • Table of Contents Introduction Chapter One Becoming Partners? Creative Tension: Defining ceramics Sculpture: A category in danger of collapse The Art and Craft Divide An Overview of the Book Chapter Two Monumental Matters Monuments and the Collective Memory Two Approaches: The logical and the abstracted monument Ceramics in Civic Space Wheel of Fortune: Monumentalizing Stoke-on-Trent Making it Big: The monumental style Chapter Three The Numbers Game: Multi-part compositions Do Numbers Matter? Plane Thinking: Horizonal groups High Rise: Stack, build, repeat The Expressive Possibility of Repetition Clare Twomey: Master assembler Chapter Four The Art of Destruction: Ceramics, Sculpture and Iconoclasm What is Iconoclasm? Iconoclasm and Art Vases and Vandalism Out of the Ordinary: Destroying domestic ware Clay in Common Past Imperfect: The art of transformative repair Destruction as Cultural Critique Please Do Not Touch: Destruction in the vitrine Biting the hand that feeds? Iconoclasm as institutional critique Chapter Five Encounters: Ceramics on Show Thinking About Exhibitions Clay as an Authentic Material for Sculpture: The Raw and the Cooked Ceramics and Minimalism: The New White Ceramics Under Threat: A Secret History of Clay Post-Studio Practice: Possibilities and Losses Ceramics for the Home The Separation of Art and the Home Home Coming: Contemporary ceramics in domestic space Domesticating the White Cube Conclusion Radical Plasticity A Single Material Workmanship The Vessel The Current of Influence The Future.
  • (source: Nielsen Book Data)9781138054295 20180514
This book investigates how British contemporary artists who work with clay have managed, in the space of a single generation, to take ceramics from niche-interest craft to the pristine territories of the contemporary art gallery. This development has been accompanied (and perhaps propelled) by the kind of critical discussion usually reserved for the 'higher' discipline of sculpture. Ceramics is now encountering and colliding with sculpture, both formally and intellectually. Laura Gray examines what this means for the old hierarchies between art and craft, the identity of the potter, and the character of a discipline tied to a specific material but wanting to participate in critical discussions that extend far beyond clay.
(source: Nielsen Book Data)9781138054295 20180514
Art & Architecture Library (Bowes)
406 pages, xii pages of plates : illustrations (some color) ; 24 cm.
Entre el último cuarto del s. IV a.C. y el primero del s. III a.C. el armamento defensivo, y las corazas en particular, sufrieron una revolución: se culminó el proceso de elaboración, diseño y mejora de la ergonomía y efectividad de las corazas y se preocuparon por su decoración. En ese breve lapso de tiempo, los artesanos del sur de Italia y del área macedonia definieron los modelos de coraza que perduraron hasta época romana entre las élites y altos mandos militares. Las Fuentes escritas definen algunas de las corazas de los strategoi como ?á á? (armaduras bellas) extremadamente decoradas. ¿Eran corazas para una élite o todas las armaduras helenísticas estaban decoradas? ¿Eran únicamente elementos de protección durante el combate o eran elementos para ser reconocidos y para exhibirse? ¿Cual es el origen de esta moda? Y más importante ¿Qué queda de esas corazas para poder ser estudiado desde la Arqueología? El libro es un catálogo exhaustivo de las evidencias materiales, de su concepción y ocasionalmente de su confección que combina el estudio iconográfico con la lectura histórica y, a partir de la diversidad tipológica, cultural y tecnológica, reconoce un origen epiro-macedonio para estas piezas y una singular presencia en la Italia meridional. Pero para llegar a estas conclusiones y comprender lo que implican se necesita una discusión progresiva, organizada aquí, con el estudio inicial de los Bronces del Siris, luego con los catálogos de epómides, ptéryges, gorgoneia y demás apliques metálicos, para finalizar con los aspectos cromáticos e históricos. --Publisher's website.
Green Library
xii, 510 pages : illustrations (chiefly color) ; 25 cm.
  • Preface
  • Introduction
  • Contributions to research
  • My approach to modem Danish furniture
  • Context, institutions and market fields
  • Social networks and identity movements
  • Narratives and categories
  • Material culture : objects, consumption and identity
  • Summing up
  • The story of Kaare klint and the "Klint school"
  • The klint school
  • Successors
  • "Can any work be more beautiful than ours?" The cabinetmakers' tale, craftsmanship, and A.J. Iversen
  • Craftsmanship in the narrative
  • Wood is the world's most beautiful material
  • The movement and modern furniture
  • "Good art, a good craftsman, and a good piece of wood" : the Architect and cabinetmaker narrative
  • Distinctly "Danish" : the invention of a tradition?
  • The Danish tradition
  • The Dominant narrative of modern Danish furniture
  • Cracks in the narrative
  • "Functionalism takes the world by storm" : furniture in the age of machines
  • Functionalism and society
  • Furniture architects
  • Bad furniture : and good taste
  • Copenhagen cabinetmakers' guild and the furniture exhibitions
  • 1930 : a fateful year for the exhibitions
  • "Fake modernism's rising star"
  • Cabinetmakers find their direction
  • The permanent exhibition : and the identity movement
  • The permanent exhibition
  • The permanent exhibition and furniture
  • The permanent exhibition in the USA
  • "Civilization moves slowly" : the furniture industry and furniture dealers unite
  • exhibitions and good taste
  • Contemporary furniture in forum, 1942
  • The furniture dealers
  • Furniture for the people : FDB and the furniture industry
  • FDB furniture becomes popular
  • Increased competition
  • The furniture industry and the Architects
  • Totally hopeless?
  • "Show me your home, and I'll tell you who you are." good taste, residential surveys, and establishment loans
  • Good taste
  • Residential investigations
  • Arbiters of taste
  • Functional furniture in the stores
  • Establishment loans
  • Quo vadis? Cabinetmakers and Architects, 1945-1960
  • Empire of Aesthetics
  • Useless modernism
  • Furniture and fashion
  • Competition and quality
  • Cabinetmakers and industrial furniture
  • The next step?
  • "Danish modern meets modern needs" : the furniture industry on the move
  • Made for industry : the AX chair and the flag Halyard chair
  • Between culture and the market
  • Quality, design, and plagiarism
  • Consumption and fashion
  • Other lines : steel and plastic
  • "Baby, where have you been all my life?" Danish modern captures America
  • The movement gets ready
  • Exhibitions abroad
  • Danish furniture in the US : Juhl and Wegner lead the way
  • Design in scandinavia
  • Reception of design in scandinavia
  • "Butter, bacon and handicrafts" between culture and commerce
  • Selling goods : the movement and promotion
  • Quality goods and effective selling
  • Individuality is what they sell : consumers and consumption
  • Scandinavian design cavalcade
  • Branding denmark : the arts of Denmark exhibition
  • Danish modern and Danish design : a category under pressure
  • Arts of Denmark
  • From Vikings to the modern age
  • "Period reproductions"
  • Craftsmen and industry : cabinetmaking in the age of machines
  • The first test of strength
  • Kay Bojesen : craftsman or businessman?
  • Johannes Hansen moves his workshop
  • The permanent exhibition's hour of destiny
  • The permanent exhibition in crisis
  • Industrial furniture at the permanent exhibition?
  • Deficit and liquidity crisis
  • The cabinetmakers leave the permanent exhibition
  • "Furniture is a terrible business for us these days"
  • "Our unity and solidarity have been our strength"
  • Modernism and functionalism in crisis
  • Dissolution
  • "I am astonished, Povl Christiansen"
  • The permanent exhibition
  • The furniture fairy-tale ends
  • "Everything coming out of Denmark is good"
  • The identity movement
  • The narrative
  • A new narrative
  • Wegner as a constraint
  • Re-emergence
  • Danish furniture design between past and present : the re-emergence of a category
  • Vintage furniture classics
  • Retro-furniture
  • New Danish furniture design
  • Notes
  • Archives and abbreviations
  • Newspapers and magazines
  • Literature and printed material
  • List of illustrations
  • Index of names.
Business and economic historians will greatly welcome the publication of Per Hansens masterly history of Danish modern furniture. The originality and extent of the empirical research behind the book is outstanding, but the fundamental contribution is the compelling re-writing of existing explanations of the global success of this category. Hansen recasts the story of Danish furniture in terms of cultural entrepreneurship, and explores how tastes and fashion were shaped by a cultural brand narrative. This methodology makes the book relevant far beyond specialists in Danish furniture. It is a landmark publication in business history. Geoffrey Jones, Isidor Straus Professor of Business History, Harvard Business School The translation of Per H. Hansens magisterial history of Danish modern furniture has been eagerly awaited for some time. The book presents a refreshing perspective from a business historian who weaves together ideas about image, branding, and national identity to reposition the standard narrative of modern Danish furniture. Thoroughly researched and clearly argued, it makes valuable archival information available to the English reader for the first time and will become a standard reference on the subject. Bobbye Tigerman, Marilyn B. and Calvin B. Gross Curator, Decorative Arts and Design, Los Angeles County Museum of Art, Monica Obniski, Demmer Curator of 20th and 21st Century Design, Milwaukee Art Museum Per H. Hansens book is an invaluable text for anyone wanting to understand why mid-century modern is making a comeback in a different century and rapidly capturing markets and minds. And, the answer the book provides is not just about fashion cycles, aesthetic value, or popular culture, but a deep and insightful account of how narrative and materiality interact to transform creative expression into commercial and cultural reality. This comprehensive business history of the rise, fall, and rise again of Danish Modern design is for academics, design professionals, critics, and enthusiasts alike. Rarely comes along a book that adequately speaks to such a wide-ranging audience. Mukti Khaire, Girish and Jaidev Reddy Professor of Practice at Cornell Tech and the Cornell SC Johnson College of Business Professor Per H. Hansens book on Danish modern furniture design sheds new light on what has become an internationally wellknown phenomenon. While scholars and others have offered different explanations of Danish Moderns success, Per H. Hansens great achievement is the combination of a number of approaches and his close reading of original sources. From the combination of business history, design history, material culture and sociology a new understanding of Danish Moderns rise, decline and re-emergence as a cultural market category comes to light. I am confident that this book will appeal to a big audience. Anne-Louise Sommer, Director of Designmuseum Danmark and adjunct professor of design culture and history at the University of Southern Denmark.
(source: Nielsen Book Data)9788776749033 20180618
Green Library
xxi, 105 pages : illustrations ; 24 cm.
  • Introduction Chaos, Purity and Danger What this book is about Who this book is for Structure of the book Chapter One: Making the Strange Familiar, and the Familiar Strange Introduction The anthropological roots of design anthropology Tracing the threads Anthropology and business Anthropology: Its Achievements and Future The way we were: The legacy of 1960s through the 1980s Designs for an Anthropology of the Contemporary Dialogue 1: Writing Culture Dialogue 2: In the wake of Writing Culture: new projects We will not regret the past nor wish to close the door on it Dialogue 3: An anthropology of the Contemporary Dialogue 4: Bridging the traditional, the modern, and the contemporary Dialogue 5: Introducing the design studio Dialogue 6: Adaptive strategies Dialogue 7: Deparochializing anthropology Anthropological relocations and the limits of design Design: Anthropology's future or problematic object? Chapter Two: Roots in Design Introduction Significance for anthropology The Sciences of the Artificial: Rationality and the science of design Herbert Simon in context What implications for anthropology? Understanding artifacts and systems: the dichotomy of inner and outer environments the Emergence of Professional Design politics of the artificial: Design at the end of the millennium Unraveling the politics: a critique of the artificial Challenges to scientific "truth": blurring the boundaries of natural and artificial contemporary Critiques of design The social turn: Design for the Other 90% Is humanitarian design the new imperialism? Branzi's Dilemma: Design Consciousness in Contemporary Culture 21st Century design: An integrative discipline The design education manifesto Designing with, not designing for: the influence of participatory design Ethnography in the field of design the design education manifesto Designing with, not designing for: the influence of Participatory design Ethnography in the field of design Chapter three: OPERATIONALIZING DESIGN ANTHROPOLOGY: How we know it when we see it Introduction Disciplinary evolution: adaptive strategies Disruptive change demands pluridisciplinary collaboration Design anthropology: "Ethnographies of the Possible" Events and situated practice The significance of events and situations in anthropological practice Frameworks an Emerging set of principles toward future-making: Vignettes of cultural production and change Vignette 1: Design Anthropological Futures Conference Design Anthropological Futures: Ethnographies of the Possible Analysis and outcomes Vignette 2: BarnRaise Pre-event: registration and team assignments Setting the stage: opening reception The design workshop: a "future-in-the-making" event Analysis and outcomes ã Chapter four: MAPPING DESIGN ANTHROPOLOGY Introduction Design anthropology: discipline, subject area, or research strategy? Basic web search: Google Ngram Google Scholar and ProQuest Social Network analysis of Design anthropology Events and Contributors Data Description Social Network Analysis Google Site search Discussion of findings Design Anthropology's COINs and CoPs Tracking the diffusion of innovation Homophily and heterophily Attributes of innovation Conclusion Chapter five: epilogue Final thoughts A field in its own right Not to be confused with design ethnography Technological challenges.
  • (source: Nielsen Book Data)9781629583198 20180205
This book explores the evolution of two disciplines, design and anthropology, and their convergence within commercial and organizational arenas. Focusing on the transdisciplinary field of design anthropology, the chapters cover the global forces and conditions that facilitated its emergence, the people that have contributed to its development and those who are likely to shape its future. Christine Miller touches on the invention and diffusion of new practices, the recontextualization of ethnographic inquiry within design and innovations in applications of anthropological theory and methodology. She considers how encounters between anthropology and `designerly' practice have impacted the evolution of both disciplines. The book provides students, scholars and practitioners with valuable insight into the movement to formalize the nascent field of design anthropology and how the relationship between the two fields might develop in the future given the dynamic global forces that continue to impact them both.
(source: Nielsen Book Data)9781629583198 20180205
SAL3 (off-campus storage)