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Building for the Arts: The Strategic Design of Cultural Facilities
by Peter Frumkin Ana KolendoOver the past two decades, the arts in America have experienced an unprecedented building boom, with more than sixteen billion dollars directed to the building, expansion, and renovation of museums, theaters, symphony halls, opera houses, and centers for the visual and performing arts. Among the projects that emerged from the boom were many brilliant successes. Others, like the striking addition of the Quadracci Pavilion to the Milwaukee Art Museum, brought international renown but also tens of millions of dollars of off-budget debt while offering scarce additional benefit to the arts and embodying the cultural sector’s worst fears that the arts themselves were being displaced by the big, status-driven architecture projects built to contain them. With Building for the Arts, Peter Frumkin and Ana Kolendo explore how artistic vision, funding partnerships, and institutional culture work together—or fail to—throughout the process of major cultural construction projects. Drawing on detailed case studies and in-depth interviews at museums and other cultural institutions varying in size and funding arrangements, including the Art Institute of Chicago, Atlanta Opera, and AT&T Performing Arts Center in Dallas, Frumkin and Kolendo analyze the decision-making considerations and challenges and identify four factors whose alignment characterizes the most successful and sustainable of the projects discussed: institutional requirements, capacity of the institution to manage the project while maintaining ongoing operations, community interest and support, and sufficient sources of funding. How and whether these factors are strategically aligned in the design and execution of a building initiative, the authors argue, can lead an organization to either thrive or fail. The book closes with an analysis of specific tactics that can enhance the chances of a project’s success. A practical guide grounded in the latest scholarship on nonprofit strategy and governance, Building for the Arts will be an invaluable resource for professional arts staff and management, trustees of arts organizations, development professionals, and donors, as well as those who study and seek to understand them.
Building for the Arts: The Strategic Design of Cultural Facilities
by Peter Frumkin Ana KolendoOver the past two decades, the arts in America have experienced an unprecedented building boom, with more than sixteen billion dollars directed to the building, expansion, and renovation of museums, theaters, symphony halls, opera houses, and centers for the visual and performing arts. Among the projects that emerged from the boom were many brilliant successes. Others, like the striking addition of the Quadracci Pavilion to the Milwaukee Art Museum, brought international renown but also tens of millions of dollars of off-budget debt while offering scarce additional benefit to the arts and embodying the cultural sector’s worst fears that the arts themselves were being displaced by the big, status-driven architecture projects built to contain them. With Building for the Arts, Peter Frumkin and Ana Kolendo explore how artistic vision, funding partnerships, and institutional culture work together—or fail to—throughout the process of major cultural construction projects. Drawing on detailed case studies and in-depth interviews at museums and other cultural institutions varying in size and funding arrangements, including the Art Institute of Chicago, Atlanta Opera, and AT&T Performing Arts Center in Dallas, Frumkin and Kolendo analyze the decision-making considerations and challenges and identify four factors whose alignment characterizes the most successful and sustainable of the projects discussed: institutional requirements, capacity of the institution to manage the project while maintaining ongoing operations, community interest and support, and sufficient sources of funding. How and whether these factors are strategically aligned in the design and execution of a building initiative, the authors argue, can lead an organization to either thrive or fail. The book closes with an analysis of specific tactics that can enhance the chances of a project’s success. A practical guide grounded in the latest scholarship on nonprofit strategy and governance, Building for the Arts will be an invaluable resource for professional arts staff and management, trustees of arts organizations, development professionals, and donors, as well as those who study and seek to understand them.
Building Ideas: An Architectural Guide to the University of Chicago
by Jay PridmoreMany books have been written about the University of Chicago over its 120-year history, but most of them focus on the intellectual environment, favoring its great thinkers and their many breakthroughs. Yet for the students and scholars who live and work here, the physical university—its stately buildings and beautiful grounds—forms an important part of its character. Building Ideas: An Architectural Guide to the University of Chicago explores the environment that has supported more than a century of exceptional thinkers. This photographic guide traces the evolution of campus architecture from the university’s founding in 1890 to its plans for the twenty-first century. When William Rainey Harper, the university’s first president, and the trustees decided to build a set of Gothic quadrangles, they created a visual link to European precursors and made a bold statement about the future of higher education in the United States. Since then the university has regularly commissioned forward-thinking architects to design buildings that expand—or explode—traditional ideals while redefining the contemporary campus. Full of panoramic photographs and exquisite details, Building Ideas features the work of architects such as Frank Lloyd Wright, Henry Ives Cobb, Holabird & Roche, Eero Saarinen, Ludwig Mies van der Rohe, Walter Netsch, Ricardo Legorreta, Rafael Viñoly, César Pelli, Helmut Jahn, and Tod Williams Billie Tsien Architects. The guide also includes guest commentaries by prominent architects and other notable public figures. It is the perfect collection for Chicago alumni and students, Hyde Park residents and visitors, and anyone inspired by the institutional ideas and aspirations of architecture.
Building Ideas: An Architectural Guide to the University of Chicago
by Jay PridmoreMany books have been written about the University of Chicago over its 120-year history, but most of them focus on the intellectual environment, favoring its great thinkers and their many breakthroughs. Yet for the students and scholars who live and work here, the physical university—its stately buildings and beautiful grounds—forms an important part of its character. Building Ideas: An Architectural Guide to the University of Chicago explores the environment that has supported more than a century of exceptional thinkers. This photographic guide traces the evolution of campus architecture from the university’s founding in 1890 to its plans for the twenty-first century. When William Rainey Harper, the university’s first president, and the trustees decided to build a set of Gothic quadrangles, they created a visual link to European precursors and made a bold statement about the future of higher education in the United States. Since then the university has regularly commissioned forward-thinking architects to design buildings that expand—or explode—traditional ideals while redefining the contemporary campus. Full of panoramic photographs and exquisite details, Building Ideas features the work of architects such as Frank Lloyd Wright, Henry Ives Cobb, Holabird & Roche, Eero Saarinen, Ludwig Mies van der Rohe, Walter Netsch, Ricardo Legorreta, Rafael Viñoly, César Pelli, Helmut Jahn, and Tod Williams Billie Tsien Architects. The guide also includes guest commentaries by prominent architects and other notable public figures. It is the perfect collection for Chicago alumni and students, Hyde Park residents and visitors, and anyone inspired by the institutional ideas and aspirations of architecture.
Between the Black Box and the White Cube: Expanded Cinema and Postwar Art
by Andrew V. UroskieToday, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s, when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art. Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a post-cinematic age and helped to develop a novel space between the “black box” of the movie theater and the “white cube” of the art gallery. Packed with over one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art.
Between the Black Box and the White Cube: Expanded Cinema and Postwar Art
by Andrew V. UroskieToday, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s, when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art. Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a post-cinematic age and helped to develop a novel space between the “black box” of the movie theater and the “white cube” of the art gallery. Packed with over one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art.
Between the Black Box and the White Cube: Expanded Cinema and Postwar Art
by Andrew V. UroskieToday, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s, when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art. Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a post-cinematic age and helped to develop a novel space between the “black box” of the movie theater and the “white cube” of the art gallery. Packed with over one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art.
Between the Black Box and the White Cube: Expanded Cinema and Postwar Art
by Andrew V. UroskieToday, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s, when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art. Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a post-cinematic age and helped to develop a novel space between the “black box” of the movie theater and the “white cube” of the art gallery. Packed with over one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art.
Between the Black Box and the White Cube: Expanded Cinema and Postwar Art
by Andrew V. UroskieToday, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s, when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art. Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a post-cinematic age and helped to develop a novel space between the “black box” of the movie theater and the “white cube” of the art gallery. Packed with over one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art.
Between the Black Box and the White Cube: Expanded Cinema and Postwar Art
by Andrew V. UroskieToday, the moving image is ubiquitous in global contemporary art. The first book to tell the story of the postwar expanded cinema that inspired this omnipresence, Between the Black Box and the White Cube travels back to the 1950s and 1960s, when the rise of television caused movie theaters to lose their monopoly over the moving image, leading cinema to be installed directly alongside other forms of modern art. Explaining that the postwar expanded cinema was a response to both developments, Andrew V. Uroskie argues that, rather than a formal or technological innovation, the key change for artists involved a displacement of the moving image from the familiarity of the cinematic theater to original spaces and contexts. He shows how newly available, inexpensive film and video technology enabled artists such as Nam June Paik, Robert Whitman, Stan VanDerBeek, Robert Breer, and especially Andy Warhol to become filmmakers. Through their efforts to explore a fresh way of experiencing the moving image, these artists sought to reimagine the nature and possibilities of art in a post-cinematic age and helped to develop a novel space between the “black box” of the movie theater and the “white cube” of the art gallery. Packed with over one hundred illustrations, Between the Black Box and the White Cube is a compelling look at a seminal moment in the cultural life of the moving image and its emergence in contemporary art.
Close-Up: How to Read the American City
by Grady Clay"Grady Clay looks hard at the landscape, finding out who built what and why, noticing who participates in a city's success and who gets left in a 'sink,' or depressed (often literally) area. Clay doesn't stay in the city; he looks at industrial towns, truck stops, suburbs—nearly anywhere people live or work. His style is witty and readable, and the book is crammed with illustrations that clarify his points. If I had to pick up one book to guide my observations of the American scene, this would be it."—Sonia Simone, Whole Earth Review "The emphasis on the informal aspects of city-shaping—topographical, historical, economic and social—does much to counteract the formalist approach to American urban design. Close-Up...should be required reading for anyone wishing to understand Americans and their cities."—Roger Cunliffe, Architectural Review "Close-Up is a provocative and stimulating book."—Thomas J. Schlereth, Winterthur Portfolio "Within this coherent string of essays, the urban dweller or observer, as well as the student, will find refreshing strategies for viewing the environmental 'situations' interacting to form a landscape."—Dallas Morning News "Clay's Close-Up, first published in 1973, is still a key book for looking at the real American city. Too many urban books and guidebooks concentrate on the good parts of the city....Clay looks at all parts of the city, the suburbs, and the places between cities, and develops new terms to describe parts of the built environment—fronts, strips, beats, stacks, sinks, and turf. No one who wants to understand American cities or to describe them, should fail to know this book. The illustrations are of special interest to the guidebook writer."—American Urban Guidenotes
The Decision Between Us: Art and Ethics in the Time of Scenes
by John Paul RiccoThe Decision Between Us combines an inventive reading of Jean-Luc Nancy with queer theoretical concerns to argue that while scenes of intimacy are spaces of sharing, they are also spaces of separation. John Paul Ricco shows that this tension informs our efforts to coexist ethically and politically, an experience of sharing and separation that informs any decision. Using this incongruous relation of intimate separation, Ricco goes on to propose that “decision” is as much an aesthetic as it is an ethical construct, and one that is always defined in terms of our relations to loss, absence, departure, and death. Laying out this theory of “unbecoming community” in modern and contemporary art, literature, and philosophy, and calling our attention to such things as blank sheets of paper, images of unmade beds, and the spaces around bodies, The Decision Between Us opens in 1953, when Robert Rauschenberg famously erased a drawing by Willem de Kooning, and Roland Barthes published Writing Degree Zero, then moves to 1980 and the “neutral mourning” of Barthes’ Camera Lucida, and ends in the early 1990s with installations by Felix Gonzalez-Torres. Offering surprising new considerations of these and other seminal works of art and theory by Jean Genet, Marguerite Duras, and Catherine Breillat, The Decision Between Us is a highly original and unusually imaginative exploration of the spaces between us, arousing and evoking an infinite and profound sense of sharing in scenes of passionate, erotic pleasure as well as deep loss and mourning.
The Decision Between Us: Art and Ethics in the Time of Scenes
by John Paul RiccoThe Decision Between Us combines an inventive reading of Jean-Luc Nancy with queer theoretical concerns to argue that while scenes of intimacy are spaces of sharing, they are also spaces of separation. John Paul Ricco shows that this tension informs our efforts to coexist ethically and politically, an experience of sharing and separation that informs any decision. Using this incongruous relation of intimate separation, Ricco goes on to propose that “decision” is as much an aesthetic as it is an ethical construct, and one that is always defined in terms of our relations to loss, absence, departure, and death. Laying out this theory of “unbecoming community” in modern and contemporary art, literature, and philosophy, and calling our attention to such things as blank sheets of paper, images of unmade beds, and the spaces around bodies, The Decision Between Us opens in 1953, when Robert Rauschenberg famously erased a drawing by Willem de Kooning, and Roland Barthes published Writing Degree Zero, then moves to 1980 and the “neutral mourning” of Barthes’ Camera Lucida, and ends in the early 1990s with installations by Felix Gonzalez-Torres. Offering surprising new considerations of these and other seminal works of art and theory by Jean Genet, Marguerite Duras, and Catherine Breillat, The Decision Between Us is a highly original and unusually imaginative exploration of the spaces between us, arousing and evoking an infinite and profound sense of sharing in scenes of passionate, erotic pleasure as well as deep loss and mourning.
The Decision Between Us: Art and Ethics in the Time of Scenes
by John Paul RiccoThe Decision Between Us combines an inventive reading of Jean-Luc Nancy with queer theoretical concerns to argue that while scenes of intimacy are spaces of sharing, they are also spaces of separation. John Paul Ricco shows that this tension informs our efforts to coexist ethically and politically, an experience of sharing and separation that informs any decision. Using this incongruous relation of intimate separation, Ricco goes on to propose that “decision” is as much an aesthetic as it is an ethical construct, and one that is always defined in terms of our relations to loss, absence, departure, and death. Laying out this theory of “unbecoming community” in modern and contemporary art, literature, and philosophy, and calling our attention to such things as blank sheets of paper, images of unmade beds, and the spaces around bodies, The Decision Between Us opens in 1953, when Robert Rauschenberg famously erased a drawing by Willem de Kooning, and Roland Barthes published Writing Degree Zero, then moves to 1980 and the “neutral mourning” of Barthes’ Camera Lucida, and ends in the early 1990s with installations by Felix Gonzalez-Torres. Offering surprising new considerations of these and other seminal works of art and theory by Jean Genet, Marguerite Duras, and Catherine Breillat, The Decision Between Us is a highly original and unusually imaginative exploration of the spaces between us, arousing and evoking an infinite and profound sense of sharing in scenes of passionate, erotic pleasure as well as deep loss and mourning.
The Decision Between Us: Art and Ethics in the Time of Scenes
by John Paul RiccoThe Decision Between Us combines an inventive reading of Jean-Luc Nancy with queer theoretical concerns to argue that while scenes of intimacy are spaces of sharing, they are also spaces of separation. John Paul Ricco shows that this tension informs our efforts to coexist ethically and politically, an experience of sharing and separation that informs any decision. Using this incongruous relation of intimate separation, Ricco goes on to propose that “decision” is as much an aesthetic as it is an ethical construct, and one that is always defined in terms of our relations to loss, absence, departure, and death. Laying out this theory of “unbecoming community” in modern and contemporary art, literature, and philosophy, and calling our attention to such things as blank sheets of paper, images of unmade beds, and the spaces around bodies, The Decision Between Us opens in 1953, when Robert Rauschenberg famously erased a drawing by Willem de Kooning, and Roland Barthes published Writing Degree Zero, then moves to 1980 and the “neutral mourning” of Barthes’ Camera Lucida, and ends in the early 1990s with installations by Felix Gonzalez-Torres. Offering surprising new considerations of these and other seminal works of art and theory by Jean Genet, Marguerite Duras, and Catherine Breillat, The Decision Between Us is a highly original and unusually imaginative exploration of the spaces between us, arousing and evoking an infinite and profound sense of sharing in scenes of passionate, erotic pleasure as well as deep loss and mourning.
The Compass: The Improvisational Theatre that Revolutionized American Comedy (Centennial Publications of the University of Chicago Press)
by Janet ColemanJanet Coleman brilliantly recreates the time, the place, the personalities, and the neurotic magic whereby the Compass made theater history in America. The Compass began in a storefront theater near the University of Chicago campus in the summer of 1955 and lasted only a few years before its players—including David Shepherd, Paul Sills, Elaine May, Mike Nichols, Barbara Harris, and Shelley Berman—moved on. Out of this group was born a new form: improvisational theater and a radically new kind of comedian. "They did not plan to be funny or to change the course of comedy," writes Coleman. "But that is what happened." "For anyone who is interested in theatre, underground theatre, improvisational theatre, and the sheer madness of trying something new with a repertory group, The Compass will prove a welcome history with fascinating details."—Norman Mailer "Janet Coleman has done a spectacular job of capturing the history, the almost alarmingly diverse cultural influences, and the extraordinary people who made up the Compass."—Neal Weaver, Los Angeles Village View "Engrossing. . . . An open window on a part of the theater that should be known."—Arthur Miller "A valuable chronicle of an important chapter in the history of comedy and theater."—William Wolf, New York Observer "The eruptive, disruptive talents who made the theater memorable are the same ones who make The Compass a good read."—Jay Cocks, Time "A moving, inspirational, anecdote-studded feast."—Publishers Weekly
Surface: Matters of Aesthetics, Materiality, and Media
by Giuliana BrunoWhat is the place of materiality—the expression or condition of physical substance—in our visual age of rapidly changing materials and media? How is it fashioned in the arts or manifested in virtual forms? In Surface, cultural critic and theorist Giuliana Bruno deftly explores these questions, seeking to understand materiality in the contemporary world. Arguing that materiality is not a question of the materials themselves but rather the substance of material relations, Bruno investigates the space of those relations, examining how they appear on the surface of different media—on film and video screens, in gallery installations, or on the skins of buildings and people. The object of visual studies, she contends, goes well beyond the image and engages the surface as a place of contact between people and art objects. As Bruno threads through these surface encounters, she unveils the fabrics of the visual—the textural qualities of works of art, whether manifested on canvas, wall, or screen. Illuminating the modern surface condition, she notes how façades are becoming virtual screens and the art of projection is reinvented on gallery walls. She traverses the light spaces of artists Robert Irwin, James Turrell, Tacita Dean, and Anthony McCall; touches on the textured surfaces of Isaac Julien’s and Wong Kar-wai’s filmic screens; and travels across the surface materiality in the architectural practices of Diller Scofidio + Renfro and Herzog & de Meuron to the art of Doris Salcedo and Rachel Whiteread, where the surface tension of media becomes concrete. In performing these critical operations on the surface, she articulates it as a site in which different forms of mediation, memory, and transformation can take place. Surveying object relations across art, architecture, fashion, design, film, and new media, Surface is a magisterial account of contemporary visual culture.
Surface: Matters of Aesthetics, Materiality, and Media
by Giuliana BrunoWhat is the place of materiality—the expression or condition of physical substance—in our visual age of rapidly changing materials and media? How is it fashioned in the arts or manifested in virtual forms? In Surface, cultural critic and theorist Giuliana Bruno deftly explores these questions, seeking to understand materiality in the contemporary world. Arguing that materiality is not a question of the materials themselves but rather the substance of material relations, Bruno investigates the space of those relations, examining how they appear on the surface of different media—on film and video screens, in gallery installations, or on the skins of buildings and people. The object of visual studies, she contends, goes well beyond the image and engages the surface as a place of contact between people and art objects. As Bruno threads through these surface encounters, she unveils the fabrics of the visual—the textural qualities of works of art, whether manifested on canvas, wall, or screen. Illuminating the modern surface condition, she notes how façades are becoming virtual screens and the art of projection is reinvented on gallery walls. She traverses the light spaces of artists Robert Irwin, James Turrell, Tacita Dean, and Anthony McCall; touches on the textured surfaces of Isaac Julien’s and Wong Kar-wai’s filmic screens; and travels across the surface materiality in the architectural practices of Diller Scofidio + Renfro and Herzog & de Meuron to the art of Doris Salcedo and Rachel Whiteread, where the surface tension of media becomes concrete. In performing these critical operations on the surface, she articulates it as a site in which different forms of mediation, memory, and transformation can take place. Surveying object relations across art, architecture, fashion, design, film, and new media, Surface is a magisterial account of contemporary visual culture.
Surface: Matters of Aesthetics, Materiality, and Media
by Giuliana BrunoWhat is the place of materiality—the expression or condition of physical substance—in our visual age of rapidly changing materials and media? How is it fashioned in the arts or manifested in virtual forms? In Surface, cultural critic and theorist Giuliana Bruno deftly explores these questions, seeking to understand materiality in the contemporary world. Arguing that materiality is not a question of the materials themselves but rather the substance of material relations, Bruno investigates the space of those relations, examining how they appear on the surface of different media—on film and video screens, in gallery installations, or on the skins of buildings and people. The object of visual studies, she contends, goes well beyond the image and engages the surface as a place of contact between people and art objects. As Bruno threads through these surface encounters, she unveils the fabrics of the visual—the textural qualities of works of art, whether manifested on canvas, wall, or screen. Illuminating the modern surface condition, she notes how façades are becoming virtual screens and the art of projection is reinvented on gallery walls. She traverses the light spaces of artists Robert Irwin, James Turrell, Tacita Dean, and Anthony McCall; touches on the textured surfaces of Isaac Julien’s and Wong Kar-wai’s filmic screens; and travels across the surface materiality in the architectural practices of Diller Scofidio + Renfro and Herzog & de Meuron to the art of Doris Salcedo and Rachel Whiteread, where the surface tension of media becomes concrete. In performing these critical operations on the surface, she articulates it as a site in which different forms of mediation, memory, and transformation can take place. Surveying object relations across art, architecture, fashion, design, film, and new media, Surface is a magisterial account of contemporary visual culture.
The Robie House of Frank Lloyd Wright (Chicago Architecture and Urbanism)
by Joseph ConnorsThe Robie House in Chicago is one of the world's most famous houses, a masterpiece from the end of Frank Lloyd Wright's early period and a classic example of the Prairie House. This book is intended as a companion for the visitor to the house, but it also probes beneath the surface to see how the design took shape in the mind of the architect. Wright's own writings, rare working drawings from the period, and previously unpublished photographs of the house in construction help the reader look over the shoulder of the architect at work. Beautiful new photographs of the Robie House and related Wright houses have been specially taken to illustrate the author's points, and a bibliography on Wright is provided.
Eye of Newt and Toe of Frog, Adder's Fork and Lizard's Leg: The Lore and Mythology of Amphibians and Reptiles
by Marty CrumpFrogs are worshipped for bringing nourishing rains, but blamed for devastating floods. Turtles are admired for their wisdom and longevity, but ridiculed for their sluggish and cowardly behavior. Snakes are respected for their ability to heal and restore life, but despised as symbols of evil. Lizards are revered as beneficent guardian spirits, but feared as the Devil himself. In this ode to toads and snakes, newts and tuatara, crocodiles and tortoises, herpetologist and science writer Marty Crump explores folklore across the world and throughout time. From creation myths to trickster tales; from associations with fertility and rebirth to fire and rain; and from the use of herps in folk medicines and magic, as food, pets, and gods, to their roles in literature, visual art, music, and dance, Crump reveals both our love and hatred of amphibians and reptiles—and their perceived power. In a world where we keep home terrariums at the same time that we battle invasive cane toads, and where public attitudes often dictate that the cute and cuddly receive conservation priority over the slimy and venomous, she shows how our complex and conflicting perceptions threaten the conservation of these ecologically vital animals. Sumptuously illustrated, Eye of Newt and Toe of Frog, Adder’s Fork and Lizard’s Leg is a beautiful and enthralling brew of natural history and folklore, sobering science and humor, that leaves us with one irrefutable lesson: love herps. Warts, scales, and all.
Eye of Newt and Toe of Frog, Adder's Fork and Lizard's Leg: The Lore and Mythology of Amphibians and Reptiles
by Marty CrumpFrogs are worshipped for bringing nourishing rains, but blamed for devastating floods. Turtles are admired for their wisdom and longevity, but ridiculed for their sluggish and cowardly behavior. Snakes are respected for their ability to heal and restore life, but despised as symbols of evil. Lizards are revered as beneficent guardian spirits, but feared as the Devil himself. In this ode to toads and snakes, newts and tuatara, crocodiles and tortoises, herpetologist and science writer Marty Crump explores folklore across the world and throughout time. From creation myths to trickster tales; from associations with fertility and rebirth to fire and rain; and from the use of herps in folk medicines and magic, as food, pets, and gods, to their roles in literature, visual art, music, and dance, Crump reveals both our love and hatred of amphibians and reptiles—and their perceived power. In a world where we keep home terrariums at the same time that we battle invasive cane toads, and where public attitudes often dictate that the cute and cuddly receive conservation priority over the slimy and venomous, she shows how our complex and conflicting perceptions threaten the conservation of these ecologically vital animals. Sumptuously illustrated, Eye of Newt and Toe of Frog, Adder’s Fork and Lizard’s Leg is a beautiful and enthralling brew of natural history and folklore, sobering science and humor, that leaves us with one irrefutable lesson: love herps. Warts, scales, and all.
Eye of Newt and Toe of Frog, Adder's Fork and Lizard's Leg: The Lore and Mythology of Amphibians and Reptiles
by Marty CrumpFrogs are worshipped for bringing nourishing rains, but blamed for devastating floods. Turtles are admired for their wisdom and longevity, but ridiculed for their sluggish and cowardly behavior. Snakes are respected for their ability to heal and restore life, but despised as symbols of evil. Lizards are revered as beneficent guardian spirits, but feared as the Devil himself. In this ode to toads and snakes, newts and tuatara, crocodiles and tortoises, herpetologist and science writer Marty Crump explores folklore across the world and throughout time. From creation myths to trickster tales; from associations with fertility and rebirth to fire and rain; and from the use of herps in folk medicines and magic, as food, pets, and gods, to their roles in literature, visual art, music, and dance, Crump reveals both our love and hatred of amphibians and reptiles—and their perceived power. In a world where we keep home terrariums at the same time that we battle invasive cane toads, and where public attitudes often dictate that the cute and cuddly receive conservation priority over the slimy and venomous, she shows how our complex and conflicting perceptions threaten the conservation of these ecologically vital animals. Sumptuously illustrated, Eye of Newt and Toe of Frog, Adder’s Fork and Lizard’s Leg is a beautiful and enthralling brew of natural history and folklore, sobering science and humor, that leaves us with one irrefutable lesson: love herps. Warts, scales, and all.
Eye of Newt and Toe of Frog, Adder's Fork and Lizard's Leg: The Lore and Mythology of Amphibians and Reptiles
by Marty CrumpFrogs are worshipped for bringing nourishing rains, but blamed for devastating floods. Turtles are admired for their wisdom and longevity, but ridiculed for their sluggish and cowardly behavior. Snakes are respected for their ability to heal and restore life, but despised as symbols of evil. Lizards are revered as beneficent guardian spirits, but feared as the Devil himself. In this ode to toads and snakes, newts and tuatara, crocodiles and tortoises, herpetologist and science writer Marty Crump explores folklore across the world and throughout time. From creation myths to trickster tales; from associations with fertility and rebirth to fire and rain; and from the use of herps in folk medicines and magic, as food, pets, and gods, to their roles in literature, visual art, music, and dance, Crump reveals both our love and hatred of amphibians and reptiles—and their perceived power. In a world where we keep home terrariums at the same time that we battle invasive cane toads, and where public attitudes often dictate that the cute and cuddly receive conservation priority over the slimy and venomous, she shows how our complex and conflicting perceptions threaten the conservation of these ecologically vital animals. Sumptuously illustrated, Eye of Newt and Toe of Frog, Adder’s Fork and Lizard’s Leg is a beautiful and enthralling brew of natural history and folklore, sobering science and humor, that leaves us with one irrefutable lesson: love herps. Warts, scales, and all.
An Audience of Artists: Dada, Neo-Dada, and the Emergence of Abstract Expressionism
by Catherine CraftThe term Neo-Dada surfaced in New York in the late 1950s and was used to characterize young artists like Robert Rauschenberg and Jasper Johns whose art appeared at odds with the serious emotional and painterly interests of the then-dominant movement, Abstract Expressionism. Neo-Dada quickly became the word of choice in the early 1960s to designate experimental art, including assemblage, performance, Pop art, and nascent forms of minimal and conceptual art. An Audience of Artists turns this time line for the postwar New York art world on its head, presenting a new pedigree for these artistic movements. Drawing on an array of previously unpublished material, Catherine A. Craft reveals that Neo-Dada, far from being a reaction to Abstract Expressionism, actually originated at the heart of that movement’s concerns about viewers, originality, and artists’ debts to the past and one another. Furthermore, she argues, the original Dada movement was not incompatible with Abstract Expressionism. In fact, Dada provided a vital historical reference for artists and critics seeking to come to terms with the radical departure from tradition that Abstract Expressionism seemed to represent. Tracing the activities of artists such as Robert Motherwell, Barnett Newman, and Jackson Pollock alongside Marcel Duchamp’s renewed embrace of Dada in the late 1940s, Craft composes a subtle exploration of the challenges facing artists trying to work in the wake of a destructive world war and the paintings, objects, writings, and installations that resulted from their efforts. Providing the first examination of the roots of the Neo-Dada phenomenon, this groundbreaking study significantly reassesses the histories of these three movements and offers new ways of understanding the broader issues related to the development of modern art.