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How Much House?
The space we live in, reduced to a minimum, has been fascinating us for generations - the writer Thoreau lived in a self-built hut in the forest from 1845 -1847. In 1952, Le Corbusier built a hut at the Côte d'Azur for himself and his wife. Inspired by this, Urs Peter Flückiger, together with his students, built an ecologically and economically sustainable cabin in the Texan prairie. All three projects share the idea of minimal space and its relationship with the surrounding nature. In text, drawings, and photographs, this book analyses the three projects and shows parallels and similarities. Inspired by Tolstoy's story How Much Land Does A Man Need?, the author asks: "How much house does a man need?", thereby providing a pointed contribution to the current discussion on the requirement for housing.
The New Monuments and the End of Man
How leading American artists reflected on the fate of humanity in the nuclear era through monumental sculpture In the wake of the atomic bombings of Japan in 1945, artists in the United States began to question what it meant to create a work of art in a world where humanity could be rendered extinct by its own hand. The New Monuments and the End of Man examines how some of the most important artists of postwar America revived the neglected tradition of the sculptural monument as a way to grapple with the cultural and existential anxieties surrounding the threat of nuclear annihilation. Robert Slifkin looks at such iconic works as the industrially evocative welded steel sculptures of David Sm...
The Recording Machine
A revealing look at the irrevocable change in art during the 1960s and its relationship to the modern culture of fact This refreshing and erudite book offers a new understanding of the transformation of photography and the visual arts around 1968. Author Joshua Shannon reveals an oddly stringent realism in the period, tracing artists’ rejection of essential truths in favor of surface appearances. Dubbing this tendency factualism, Shannon illuminates not only the Cold War’s preoccupation with data but also the rise of a pervasive culture of fact. Focusing on the United States and West Germany, where photodocumentary traditions intersected with 1960s politics, Shannon investigates a broad variety of art, ranging from conceptual photography and earthworks to photorealist painting and abstraction. He looks closely at art by Bernd and Hilla Becher, Robert Bechtle, Vija Celmins, Douglas Huebler, Gerhard Richter, and others. These artists explored fact’s role as a modern paradigm for talking, thinking, and knowing. Their art, Shannon concludes, helps to explain both the ambivalent anti-humanism of today’s avant-garde art and our own culture of fact.
Home, Heat, Money, God
"The idea for this book came about when architectural historian Kathryn O'Rourke and architect / photographer Ben Koush collaborated on a piece on postmodern architecture for Texas Architect. The two enjoyed working together--with O'Rourke writing and Koush providing visuals--and, together with UTP, developed the framework for a similarly rich, book-length treatment of modern architecture in Texas. Conceived to be accessible to a general readership, this project explores in photographs and words approximately fifty years of Texas modern architecture, from the 1930s to the 1980s. As O'Rourke writes, "In this period, modern architecture and Texas grew and changed at an astonishing pace. The st...
Donald Judd
"Gathers the main monographic essays written on the work of one of the most influential American artists of the postwar era"--
On Becoming an Architect
From his boyhood in Sherman, Texas, through his education at Texas A&M in the 1950s and his first professional ventures, Welch's story is a remarkable memoir of how he became one of the Southwest's most important architects. Welch's postgraduate years on the Continent and his professional career in Texas are beautifully rendered in a volume richly illustrated with sketches, photographs, and floor plans of some of the most intriguing architectural gems in the region.
Een simpel leven
Waar komt ons verlangen naar eenvoud vandaan? Journalist en historicus Roderick Nieuwenhuis gaat in Simpel Leven na wat er zo aansprekend is aan minimalisme en ontspullen. Waarom hechten we zo aan ontspullen, aan ongerepte natuur en authenticiteit? Heeft eenvoud ons eigenlijk wel iets te bieden? Al in het oude Griekenland werd het streven naar een eenvoudig leven gezien als tegengif voor de vermeende corrumperende werking van welvaart en decadentie. Eenvoud stond voor puurheid, waarheid en soberheid. In onze huidige consumptiemaatschappij komt dit idee terug in het verlangen naar een tiny house in de bossen, #vanlife, minimalisme en het ontspullen van Marie Kondo. Waar komt ons eeuwenoude ve...
Design [does Not Equal] Art
"Design [does not equal] Art presents distinctive functional designs that share the limited palette, materials, and elegant, geometric abstract forms characteristic of Minimalist and post-Minimalist art, including pine desks and porcelain tableware by Judd, stone and steel tables and chairs by Burton, lamps by Tuttle, folding screens by LeWitt, rugs by Rosemarie Trockel and Barbara Bloom, daybeds by Whiteread, and much more." "Filled with hundreds of photographs and drawing on candid conversations with many of the artists, Design [does not equal] Art is an authoritative, essential resource for designers, scholars of Minimalist and post-Minimalist art, collectors, and anyone interested in furniture and design of the late twentieth and early twenty-first centuries."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Prayers in Stone
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