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In The Sympathy of Things, Lars Spuybroek argues that we must "undo" the twentieth century - the age in which the eighteenth-century ideal of the Sublime became a technological reality. Spuybroek returns to the insights of the great nineteenth-century art writer John Ruskin, for whom beauty always comprises variation, imperfection and fragility. Spuybroek argues that(...)
The sympathy of things: Ruskin and the ecology of design
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In The Sympathy of Things, Lars Spuybroek argues that we must "undo" the twentieth century - the age in which the eighteenth-century ideal of the Sublime became a technological reality. Spuybroek returns to the insights of the great nineteenth-century art writer John Ruskin, for whom beauty always comprises variation, imperfection and fragility. Spuybroek argues that these three concepts not only define relations between humans and their designed products but between all things: "sympathy is what things feel when they shape each other." Spuybroek then compares five twinned themes in Ruskin - the Gothic and work, ornament and matter, sympathy and abstraction, the picturesque and time, ecology and design - with later philosophers and theorists such as William James and Bruno Latour.
Architectural Theory
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Le livre part de l'idée que l'architecture est un art manqué à cause de sa nature complexe et de ses réalisations embarrassantes, qui ne connaîtra jamais la "facilité" directe avec laquelle agissent peintres et sculpteurs. Il affronte la question du dessin en l'assumant comme un élément constitutif de l'ailleurs idéal, de nature aussi bien littéraire, dans lequel la(...)
Écritures dessinées : art et architecture de Piranèse à Ruskin
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Le livre part de l'idée que l'architecture est un art manqué à cause de sa nature complexe et de ses réalisations embarrassantes, qui ne connaîtra jamais la "facilité" directe avec laquelle agissent peintres et sculpteurs. Il affronte la question du dessin en l'assumant comme un élément constitutif de l'ailleurs idéal, de nature aussi bien littéraire, dans lequel la substance humaniste de l'architecture se traduit par la libre définition de programmes, utopies, fantaisies, narrations qui font de la feuille de papier l'image d'un livre. Au-delà des exercices d'écriture dessinées, auxquels ont eu recours Piranesi, Quarenghi, Clérisseau, Boullée, Ledoux, Lequeu, Gilly, Schinkel dans un esprit pictural et littéraire à cheval entre XVIIIe et XIXe siècle, d'autres auteurs (John Ruskin, critique d'art et dessinateur hors pair, Eugène Viollet-le-Duc et Camillo Boito, architectes, théoriciens et écrivains) rédigent des manuels de dessin importants. Un appendice datant du XXe siècle termine l'ouvrage en enjoignant à la récupération du manuel dans un âge de technique.
Architectural Theory
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"Architecture of the nineteenth century", issued in the "History of world Architecture" series, offers a complete survey of European architecture during the eighteenth and nineteenth centuries, examining in particular the influence of the cultural trends of the period on the architects’ works. The first section of the book deals with the history of eighteenth-century(...)
Architecture of the nineteenth century
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"Architecture of the nineteenth century", issued in the "History of world Architecture" series, offers a complete survey of European architecture during the eighteenth and nineteenth centuries, examining in particular the influence of the cultural trends of the period on the architects’ works. The first section of the book deals with the history of eighteenth-century architecture in France and England, countries where Cartesian-school philosophical speculation and Anglo-Saxon philosophical empiricism wielded a determining influence. After analysing the developments of the classical tradition and its propagation throughout Europe, the book studies in depth the history of architectural movements, comprising neo-classicism, neo-Renaissance and neo-Gothic architecture. The outstanding, forerunning personalities of this brilliant artistic period who, in the course of the nineteenth century, offered fecund theoretic and stylistic contributions, include Gottfried Semper, John Ruskin and Eugène Viollet-le Duc.
History until 1900
Photography and Italy
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Photography and Italy traces the history of photography in Italy from its beginnings to the present as she guides us through the history of Italy and its ancient sites and Renaissance landmarks. Pelizzari specifically considers the role of photography in the formation of Italian national identity during times of political struggle, such as the lead up to Unification in(...)
Photography and Italy
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Photography and Italy traces the history of photography in Italy from its beginnings to the present as she guides us through the history of Italy and its ancient sites and Renaissance landmarks. Pelizzari specifically considers the role of photography in the formation of Italian national identity during times of political struggle, such as the lead up to Unification in 1860, and later in the nationalist wars of Mussolini’s regime. While many Italians and foreigners— such as Fratelli Alinari or Carlo Ponti, John Ruskin or Kit Talbot—focused their lenses on architectural masterpieces, others documented the changing times and political heroes, creating icons of figures such as Garibaldi and the brigands. Pelizzari’s exploration of Italian visual traditions also includes the photographic collages of Bruno Munari, the neorealist work of photographers such as Franco Pinna, the bold stylized compositions of Mario Giacomelli, and the controversial images created by Oliviero Toscani for Benetton advertising in the 1980s.
Photography monographs
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Why did British industrial cities build art museums? By exploring the histories of the municipal art museums in Birmingham, Liverpool, and Manchester, Transformative Beauty examines the underlying logic of the Victorian art museum movement. These museums attempted to create a space free from the moral and physical ugliness of industrial capitalism. Deeply engaged with(...)
Transformative beauty: art museums in industrial Britain
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Why did British industrial cities build art museums? By exploring the histories of the municipal art museums in Birmingham, Liverpool, and Manchester, Transformative Beauty examines the underlying logic of the Victorian art museum movement. These museums attempted to create a space free from the moral and physical ugliness of industrial capitalism. Deeply engaged with the social criticism of John Ruskin, reformers created a new, prominent urban institution, a domesticated public space that not only aimed to provide refuge from the corrosive effects of industrial society but also provided a remarkably unified secular alternative to traditional religion. Woodson-Boulton raises provocative questions about the meaning and use of art in relation to artistic practice, urban development, social justice, education, and class. In today's context of global austerity and shrinking government support of public cultural institutions, this book is a timely consideration of arts policy and purposes in modern society.
Museology
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In his previous project Migropolis, Wolfgang Scheppe proposed Venice, Italy, as a prototype of the increasingly globalized city. Here, the German philosopher reexamines the city from another perspective. Done. Book is an "inquiry into the depth of visual archives," and how the archives of a city can aid an understanding of its society. Under this rubric, Scheppe compares(...)
Done. Book, picturing the city of society
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In his previous project Migropolis, Wolfgang Scheppe proposed Venice, Italy, as a prototype of the increasingly globalized city. Here, the German philosopher reexamines the city from another perspective. Done. Book is an "inquiry into the depth of visual archives," and how the archives of a city can aid an understanding of its society. Under this rubric, Scheppe compares two obsessive attempts at archiving or summating Venice: the Venetian notebooks of English art critic John Ruskin (1819-1900), compiled for his classic study Stones of Venice, and previously unseen photographs assembled by Alvio Gavagnin (born 1944), a contemporary resident of the city's working-class district. Despite their differences, both projects stem from a similar self-imposed commitment on the part of their makers: to provide a comprehensive representation of the details of an urban network, whose truth can be glimpsed in the minutiae and hidden particulars.
Urban Theory
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In a sweeping panorama, Weatherland allows us to witness England’s cultural climates across the centuries. Before the Norman Conquest, Anglo-Saxons living in a wintry world wrote about the coldness of exile or the shelters they had to defend against enemies outside. The Middle Ages brought the warmth of spring; the new lyrics were sung in praise of blossoms and cuckoos.(...)
Weatherland: writers and artists under English skies
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In a sweeping panorama, Weatherland allows us to witness England’s cultural climates across the centuries. Before the Norman Conquest, Anglo-Saxons living in a wintry world wrote about the coldness of exile or the shelters they had to defend against enemies outside. The Middle Ages brought the warmth of spring; the new lyrics were sung in praise of blossoms and cuckoos. Descriptions of a rainy night are rare before 1700, but by the end of the eighteenth century the Romantics had adopted the squall as a fit subject for their most probing thoughts. The weather is vast and yet we experience it intimately, and Alexandra Harris builds her story from small evocative details. There is the drawing of a twelfth-century man in February, warming bare toes by the fire. There is the tiny glass left behind from the Frost Fair of 1684, and the Sunspan house in Angmering that embodies the bright ambitions of the 1930s. Harris catches the distinct voices of compelling individuals. “Bloody cold,” says Jonathan Swift in the “slobbery” January of 1713. Percy Shelley wants to become a cloud and John Ruskin wants to bottle one. Weatherland is a celebration of English air and a life story of those who have lived in it.
Art Theory
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Artists surveyed include: Joseph Albers, Mel Bochner, Daniel Buren, Carlos Cruz-Diez, Robert Delaunay, Sonia Delaunay, Jimmie Durham, Helen Frankenthaler, Paul Gauguin, Donald Judd, Wassily Kandinsky, Paul Klee, Yves Klein, Kazimir Malevich, Piero Manzoni, Henri Matisse, Henri Michaux, Beatriz Milhazes, Piet Mondrian, Barnett Newman, Kenneth Noland, Hélio Oiticica, Paul(...)
Colour: Documents on comtemporary art
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Artists surveyed include: Joseph Albers, Mel Bochner, Daniel Buren, Carlos Cruz-Diez, Robert Delaunay, Sonia Delaunay, Jimmie Durham, Helen Frankenthaler, Paul Gauguin, Donald Judd, Wassily Kandinsky, Paul Klee, Yves Klein, Kazimir Malevich, Piero Manzoni, Henri Matisse, Henri Michaux, Beatriz Milhazes, Piet Mondrian, Barnett Newman, Kenneth Noland, Hélio Oiticica, Paul Signac, Ad Reinhardt, Gerhard Richter, Aleksandr Rodchenko, Bridget Riley, Mark Rothko, Yinka Shonibare, Jessica Stockholder, Theo van Doesburg, Vincent van Gogh, Victor Vasarely, Rachel Whiteread. Writers include: Theodor Adorno, Roland Barthes, Charles Baudelaire, Jean Baudrillard, Walter Benjamin, Charles Blanc, Jacques Derrida, Thierry de Duve, Umberto Eco, Victoria Finlay, Joris-Karl Huysmans, Johannes Itten, Julia Kristeva, Claude Lévi-Strauss, Jacqueline Lichtenstein, Maurice Merleau-Ponty, John Ruskin, Adrian Stokes, Ludwig Wittgenstein. About the Editor: David Batchelor is an artist and writer who has exhibited widely in Europe and America. Senior Tutor in Critical Theory in the Department of Curating Contemporary Art at the Royal College of Art, London, he is a frequent contributor to such journals as Artforum and Frieze and the author of Minimalism and Chromophobia.
Art Theory
Ruskin on Venice
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Venice represented John Ruskin’s ideal of civic society—“The Paradise of Cities,” where culture, government, and faith existed in creative harmony. Robert Hewison traces Ruskin’s long and intricate relationship with the city. He shows how Ruskin shed his earlier Romantic vision of the city and developed a harder, clearer conception of neglected Gothic Venice through an(...)
Ruskin on Venice
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Venice represented John Ruskin’s ideal of civic society—“The Paradise of Cities,” where culture, government, and faith existed in creative harmony. Robert Hewison traces Ruskin’s long and intricate relationship with the city. He shows how Ruskin shed his earlier Romantic vision of the city and developed a harder, clearer conception of neglected Gothic Venice through an intense study of the city's physical fabric that would change the international understanding of the city. Drawing on the rich resources of Ruskin’s drawings, architectural notebooks, and manuscripts, Hewison offers insights into both Ruskin and nineteenth-century Venice and reveals how Ruskin’s work and his connection with the city from youth to old age have helped to shape the image of the Venice we know today.
Architectural Theory