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While most famously associated with numerous mid-century architects, Brutalism was a style of visual art that was also adopted by painters, sculptors, printmakers, and photographers. Taking into account Brutalist work by eminent artists such as Richard Hamilton and Eduardo Paolozzi, as well as lesser-known practitioners like Nigel Henderson and Magda Cordell, this volume focuses on a ten-year period between 1952 and 1962 when artists refused a programmatic set of aesthetics and began experimenting with images that had no set focal point, using non-traditional materials like bombsite debris in their work, and producing objects that were characterized by wit and energy along with anxiety, trauma, and melancholia. This original study offers insights into how Brutalism enabled British artists of the mid-20th century to respond ethically and aesthetically to the challenges posed by the rise of consumer culture and unbridled technological progress. Published in association with the Paul Mellon Centre for Studies in British Art
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Using data from European experiments permitting the public to help determine the usage of technological innovation, Dorothy Nelkin provides information on a process involving difficult social choices. She examines the question of whether the public should be entitled to a say in determining the impact of technological processes on their daily lives. She details individual government efforts to promote broader public participation in decision-making. The book will be of value to all those concerned wth the social and policy dimensions of science and technology. 'Professor Nelkin's essay is written with the clarity and precision characteristic of her earlier writings. Apart from its value as a summary of information not readi
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This landmark volume offers a major re-assessment of the art that emerged in Britain in the twenty years following the end of the Second World War: a period of anxiety, profound social change and explosive creativity. Published to coincide with the Barbican Centre’s 40th anniversary, it draws together the work of fifty artists, exploring a period straddled precariously between the horror of the past and the promise of the future. Spanning painting, sculpture, architecture, ceramics and photography, Postwar Modern will explore a rich field of experiment which challenges the idea that Britain was a cultural backwater at this time. Through new texts by Jane Alison, Hilary Floe, Ben Highmore, ...
"For forty years, British architect Cedric Price has been one of the most challenging and witty provocateurs in the field, forcing us to cast a fresh eye on what architecture is." (Canadian Centre for Architecture, Montreal)