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In the late 1960s feminism exploded into popular consciousness. As women began to carve their own spaces in politics and the workplace, so too they demanded to enter art history - where traditionally they had chiefly featured as anonymous bodily subjects of art produced, patronized, collected and theorized by men. Indeed most feminist art until the late 1970s was preoccupied with re-presenting the female body, ranging from the guerilla street actions of Valie Export to the naked performances of Hannah Wilke, to Ana Mendieta's outlines of absent female bodies in the landscape. The emerging debates surrounding new feminist art were fiercely discussed: should women artists compete with men or exclude them? Is the naked female body, even in feminist artists' performances, still an objectification of women? From the 1960s to the millennium, "Art and Feminism" traces the changing art practices, art historical debates, manifestos, challenges, rediscoveries and reawakenings that characterize the dynamic, continuing dialogue between feminism and contemporary art. "Art and Feminism" explores the spaces "between" feminism and art, uncovering a shifting, reciprocal relationship. Accessibly and comprehensively ranging across the whole spectrum of art practice and theory, this volume includes the key texts of each period, ranging from the polemics of Germaine Greer and Valerie Solanas to definitions of new artforms by Lucy R. Lippard, to Laura Mulvey's influential film theory, to Craig Owen's Postmodern criticism, as well as rare original artists' statements and reviews. The diverse range of artists featured includes Laurie Anderson, Vanessa Beecroft, Louise Bourgeois, Sophie Calle, Marlene Dumas, Tracey Emin, Coco Fusco, Nan Goldin, Mona Hatoum, Jenny Holzer, Rebecca Horn, Barbara Kruger, Yayoi Kusama, Shirin Neshat, Yoko Ono, Adrian Piper, Pipilotti Rist, Jenny Saville, Carolee Schneemann, Rosemarie Trockel, Gillian Wearing and many others.

This volume on Tomma Abts (b. 1967) will be published in conjuction with the exhibition of the same name that will be on display at New York's New Museum of Contemporary Art from 9 April to 29 June 2008. It explores how the artist creates forms that delight the eye and challenge the mind. While working within strict parameters, Abts has reinvented abstraction for the twenty-first century.This is the first monograph on Abts, providing an extensive overview of more than ten years of work. It includes illuminating essays by three top critics, as well as full color reproductions of virtually every painting and drawing made by the artist since 1997.

Moderní a stylový kapesní průvodce Stockholmem z úspěšné řady, kterou připravují zasvěcení autoři pracující z magazínu Wallpaper. Přináší top ten z oblasti designu, architektury, umění, ale i dobrého jídla a skvělého ubytování v metropolích. Nezáleží na

The world's oceans are one of the last great largely unexplored places on earth. They teem with life some of it familiar and some of it strange to us and "Fish Face" takes us closer to the fish that live here. Showing full-page pictures of close up portraits of their faces, the book takes us from the beautiful to the ugly, from spiky to rotund. The huge variety of species is appealing and astounding. The book takes a look at the work of David Doubilet, widely acclaimed as the world's leading underwater photographer. He has photographed fish for over 25 years and "Fish Face" looks at the most colourful, fun and bizarre fish he has encountered. This book should appeal to anyone who has ever wondered about the variety of fish living in our oceans and to naturalists and photographers alike.

Bestseller z nakladatelství Phaidon přináší tentokrát úplný přehled děl a životních mezníků mistra architektury 20. století. Louis I Kahn (1901-74) is one of the most influential architects of the mid-20th century, whose work marked a significant move aw

Eero Saarinen was one of the world's most celebrated architects at the time of his death at the age of 51, he designed and built more than 35 buildings in his lifetime and collaborated on 30 more with his father, renowned architect Eliel Saarinen. Eero's career began in childhood: As the son of the esteemed Eliel, designer of Cranbrook Academy in Bloomfield Hills, Michigan, Eero grew up in an intellectually charged environment surrounded by art and design, and entered his first architectural competition while still in grade school. Eero Saarinen trained and practiced with his father until the early 1950s, when he established his own firm and began to design some of the most influential institutions of his day, among them residential colleges and a hockey rink at Yale University, an auditorium and chapel at the Massachussetts Institute of Technology, American embassies in London and Oslo, and corporate complexes for General Motors, IBM, and Bell Laboratories that spearheaded the creation of the modern suburban office park. While all of these projects blur the boundaries between architecture, art, and landscape, none share a single, identifiable style. Saarinen explored new materials and techniques in every building, developing innovative uses of granite, glazed bricks, reflective glass, concrete, and curtain-wall technology to suit each program. Such wide-ranging approaches to his architecture made Saarinen difficult to classify, and interest in his work dissipated soon after his death. This volume is the most thorough monograph published to date on Eero Saarinen and the first major publication on the architect in 40 years. Organized chronologically in 14 chapters, it traces Saarinen's life and career from his childhood in Finland to collaboration with his father, through his iconic airport projects of the 1960s, documenting more than 60 commissions and competitions. The approximately 300 illustrations include period photography by renowned architectural photographers Ezra Stoller, Balthazar Korab, Harvey Croze, and others, rarely seen original sketches, concept drawings, and plans, and more recent color photography. The book also quotes numerous interviews with Saarinen's colleagues and architecture critics, such as Robert A.M. Stern, Florence Knoll, and Cesar Pelli, examining how Saarinen was viewed in his own time and today.

100 nejvýznamnějších a nejzajímavějších módních návrhářů vybralo 10 uznávaných odborníků na poli módy - návrháři, stylisté, kurátoři a další. A survey of 100 of the most significant contemporary fashion designers. Curated by Tim Blanks, Patricia Carta, U

A collection of landscape photographs of the past 50 years by Magnum photographers.

s A close look at the Mexico City-based artist's lyrical expansions of art into life.Survey by Cuauhtémoc Medina, Interview by Russell Ferguson, Focus by Jean Fisher, Artist's Choice by Augusto Monterroso, Writings by Francis Alÿs A look at the Mexi

The land that is now Egypt nurtured an extraordinary pioneering civilization - one of the oldest, most powerful, long-lasting and technically accomplished cultures the world has ever known. Over the millennia its achievements have never lost their power to amaze - and justly so, for the Egyptian architects and craftsmen produced some of the greatest masterpieces of world art. This book presents a carefully chosen selection of the finest works of art and architecture produced over a period of some 4000 years, from about 4000BC, when the first sophisticated works of art began to be made, to 200AD, when Egypt was a province of the Roman Empire and the old traditions had all but died out. Egyptian art is usually instantly recognizable and its basic formulas remained unchanged for thousands of years, yet at the same time it was remarkably varied in size, medium, subject-matter and type of object, ranging in size from the monumental pyramids and temples to the tiniest and most delicate pieces of jewellery, and embracing painting, sculpture, metalwork, woodwork, textiles and ceramics. At whatever scale, the art has an immediate appeal for its beauty and consummate craftsmanship, and the works illustrated in this book, all of the highest quality, can be enjoyed for their aesthetic qualities alone. They are also products of a culture very different from ours, and in his concise introduction Jaromir Malek provides the essential background for understanding why Egyptian art took the forms it did. The explanations continue in the informative captions to each illustration, and the chronological chart, map, bibliography and index provide quick reference. The works illustrated in Egypt: 4000 Years of Art" are all masterpieces that can be enjoyed in their own right. Presented in strict chronological order, they also form a succinct history of the subject that will be a valuable resource for students and teachers. For all readers it will provide a fresh and beautiful introduction to some of the most remarkable art ever produced. "

A timely overview of innovative contemporary design in the Netherlands, an international hotbed of design creativity. 1,000 images offer a visual sourcebook of Dutch design in all forms: architecture, urban planning, industrial design and graphic des ign. Features work by acclaimed designers Rem Koolhaas, MVRDV, Ben van Berkel & Caroline Bos, Marcel Wanders, Petra Blaisse and Jop van Bennekom, among others. A collaboration with renowned Dutch graphic designer Irma Boom.

Bela Bartok's (1881-1945) reputation as a key figure in twentieth-century music is well-established, but to understand the singular nature of his genius and the originality of his contribution, this biography is essential reading. The wide range of illustrations, showing contemporary photographs of people and events, help to bring the reculsive composer to life, and his story is set firmly into its social, cultural and historical contexts. Born into the heart of the Austro-Hungarian Empire, Bartok worked through his youthful nationalism to a clearer understanding of his native culture, setting off with his friend Zoltan Kodaly to record the folklore of Hungary before it was destroyed by the march of progress. He ventured further into Romania and North Africa in pursuit of original cultures. These sounds and experiences helped him to find his voice as a composer.Despite his nationalism, however, Bartok was a humane and moderate man, whose distaste for authoritarian rule brought him into conflict with a crypto-Fascist government in Hungary and with the Germany of Adolf Hitler. While composing some of his outstanding works, he felt increasingly pressured and in 1940, after the death of his beloved mother, he tore himself away from Hungary and migrated to the United States. Homesick, short of money and stricken with leukaemia, he composed the magnificent Concerto for Orchestra and, on his deathbed in 1945, was completing a poignantly nostalgic Third Piano Concerto. He had never compromised his ideals, nor lost his innocence.

Eugene Richards was born in Dorchester, Massachusetts, a neighborhood of Boston. After graduating from Northeastern University with a degree in English and journalism, he studied photography with Minor White at MIT. In 1968 he became a health care advocate in eastern Arkansas. Two years later, he helped found a social service organization and a community newspaper, Many Voices, that reported on black political action and the Ku Klux Klan. After publication of his first two books, Few Comforts or Surprises: The Arkansas Delta (1973) and Dorchester Days (self-published in 1978), Richards was invited to become a nominee at Magnum. He was a member until he departed in 1995, returned to the cooperative in 2002, and departed for a second time in 2005.Richards has been the recipient of numerous awards over the course of his career, including the W. Eugene Smith Memorial Award, a Guggenheim Fellowship, three National Endowment for the Arts grants, the Leica Medal of Excellence, the Leica Oskar Barnack Award, the Olivier Rebbot Award, and the Robert F. Kennedy Lifetime Achievement Award for coverage of the disadvantaged. His photographs are collected and exhibited widely, and a major touring retrospective of his work premiered at the Rencontres Internationales de la Photographies in Arles, France in 1997. His photo essays have appeared in countless publications, including The New York Times Magazine, Esquire, TIME, Newsweek, The New Yorker, Fortune, and Life. In addition to his prolific photography, Richards has also written, photographed, directed, and produced four short films as well as an hour-long documentary. His documentary, entitled Now, then, forever, is a cinema verite treatment of life inside a Nebraska nursing home that had its world premiere at the 2003 Full Frame Documentary Film Festival. Other films included Cocaine True, Cocaine Blue, a powerful portrait of a crack-infested neighborhood in Philadelphia, and But, the day came chronicles the passage of a 92-year-old farm into a nursing home. The latter received the Jury Award for Best Short Film at the 2000 Full Frame Documentary Film Festival.Despite his success in other fields, Richards remains best known for his books and photo essays on cancer, drug addiction, poverty, emergency medicine, the mentally disabled, aging, and death in America. His intense vision and unswerving commitment have led him to become what many believe is America's greatest living social documentary photographer. This new body of work, entitled The Blue Room, is one of Richards' most personal works to date. It his is first-ever color project, and it brings together the overarching themes of all his work ''the transient nature of things'' in a beautiful and moving series of pictures of the landscape and abandoned houses of the American West, covering the states of Kansas, Colorado, Wyoming, Montana, Arkansas, Nebraska, New Mexico, and the Dakotas. This is the area where settlers came around the turn of the twentieth century, pursuing the promise of homesteads where they could build successful communities. However, in the wake of the Great Depression and the dust storms of the 1930s, the farms in this isolated, semi-arid region faltered and failed, leaving the land littered with forgotten homes.Richards' photographs are a statement on the vulnerability of man in the face of the shifting economic opportunities and the climate, a commentary on the inevability of change. In these contemplative pictures we are inspired to imagine the lives of the homes' former occupants. Richards enigmatic pictures make The Blue Room a thought-provoking meditation on memory, a quiet yet incredibly powerful body of work.

Edward Hopper's (1882-1967) paintings are often described as belonging to a school of American realism, and were in part inspired by the works of European realists such as Gustave Courbet and Edouard Manet, however the underlying themes of loneliness, melancholy and silence that pervade his works also recall the surrealist, dream-like images of Giorgio de Chirico. These elements of the dream world and the subconscious - psychological states that are intrinsic to all people, however little we understand them - may be what make Hopper's works so universally compelling. The paintings embody a particularly American sensibility, Hopper's evocative depictions of both urban and rural settings, including theatre interiors, railways, restaurants, gas stations, hotels, street scenes and coastal landscapes, have become iconic images of early twentieth-century American culture. Edward Hopper studied illustration and painting in New York City, where he was taught by the artist Robert Henri. Travelling in Europe after completing his education, Hopper gained inspiration from the simple paintings of the realist school and his early works are testimony to this influence. 'House by a Railroad', completed in 1925, marked a turning point in Hopper's artistic development, he went on to hone his mature painting style, which included the use of stark contrasts of sunlight and shadow, the juxtaposed verticals and horizontals of architectural forms, large, bold shapes and often the presence of silent, emotionally detached figures. Walter Wells' informative yet eminently readable monograph explores the many facets of Hopper's art, discussing from various perspectives his etchings, watercolours and oil paintings, which represent a wide range of subjects. Particular attention is paid to the literary works from which Hopper took inspiration, as well as the ways in which the artist's own psychology and emotional states influenced his output.

This is the most comprehensive survey and analysis of twentieth-century Brazilian Architecture, written by Brazilian architects and writers for an international audience. Its key events and buildings appear not in a conventional chronological account but within a series of thematic chapters (critical reception, construction issues, urbanism, typological description of the modern house, affordable housing and new fields of practice, survey of recent works). It is a history of Brazilian modern architecture retold with a Brazilian voice by the new generation of critics and historians. This book offers a fresh reading of the well-known era of high-modernism of the 1930s-1960s placing it within both the context of architecture before and since and the broader changes taking place in Brazilian culture at the time. It also charts post-Brasilia developments, including contemporary projects, showing how architects have adapted to the contradictions of an increasingly polarised society and the relevance of Brazilian architecture for current debates around issues such as large-scale urban growth and the tension between local identities and global civilisation. Covering around 200 projects, it is extensively illustrated with both historical black and white photographs and new colour photographs and drawings In cultural terms, Brazil is famous for its music and its architecture. As the largest and richest country in Latin America, Brazil is set apart from the others by its language, and by the ethnic diversity of its population, all of which contribute to its cultural distinctiveness. Yet, the architecture of twentieth-century Brazil is all too often represented by the work of one man (Oscar Niemeyer) or by two cities (Rio de Janeiro and Sao Paulo). This book is a study of Brazilian architecture in the twentieth-century, from the first modern houses of the 1920s and Le Corbusier's seminal visits to the country, through the well-known 'heroic' period of the 1940s-1950s and its crisis post-1964 up to contemporary developments. The high-modernist era coincided with the period of Brazil's most rapid economic growth around the middle of the century, when the country was transformed from a predominantly agricultural economy with coffee as its principal export, into an urbanised society with an industrial economy that saw the creation of Brasilia, one of the most utopian projects of the Modern Movement. Towards the end of this period, as society became increasingly polarised between a prosperous middle class and a very poor underclass, architects also became more pre-occupied with the nature of public buildings and the problems linked to accelerated urban growth. What has usually been seen as a period of creative experimentation in architecture underwent a crisis with the advent of the military dictatorship in 1964, while the rapid growth of the economy was sustained and even increased, with the consequent rise in activity of the building industry until the 1980s, one of the inherent contradictions of Brazil that this book seeks to address. While conventional accounts treat 1964 as the end of Brazilian architecture, this was not the case. Brazilian architects adapted to the changed circumstances, and developed new strategies that were no less creative, but sometimes less demonstrative. This has been particularly so since the restoration of democracy in the early 1980s, and again, a major theme of the book is to show continuities between the more recent work and that of the high-modernist era of the mid-century. The book will be edited by Elisabetta Andreoli and Adrian Forty, who will frame the main chapters with the introduction and a foreword to the survey of recent works. Five Brazilian writers will contribute essays to the body of the book that, together, provide a thorough study of modernist architecture and beyond in Brazil, and examine the works from the 'inside', explaining the social, cultural and political context that is so crucial to understanding the architecture.

Swiss designer Josef Muller-Brockmann established himself as one of the most important and prolific voices of twentieth century graphic design, setting up his own studio in Zurich in 1936 and working until his death in 1996 for numerous clients, creating a countless quantity of design for posters, which he considered "barometers of social economic, political, and cultural events, as well as mirrors of intellectual and practical activities." Muller-Brockmann began his career as an illustrator, where his aesthetic sensibilities first took root, but it was not until his turn to graphic design that he found his true calling. He is perhaps best-known as graphic design's foremost proponent of grid systems to assist in functional, objective design, which he discussed in detail in his books "Grid System in Graphic Design" and "The Graphic Designer and his Design Problems". The grid system allowed Muller-Brockmann to organize his subject matter to create more effective design, to not be overwhelmed by the seeming chaos and complexity of design decisions. Muller Brockmann's wide-range passions, interests, and commitments enables one to approach his work from several points of view and his influence graphic design extends well beyond his familiar poster work. He also was an accomplished photographer, often integrating experimental photography, photomontages, and light paintings into his design work. He loved music and over the course on many years made now famous poster designs for the Zurich Tonhalle (Concert Hall), which were highly influenced by the "feeling" aroused by music-resulting in a seemingly more abstract design. Nevertheless, all his works were built upon a grid system, and it is interesting that even those designs that appeared free of structure were rigidly organized beneath the surface. Perhaps because if his design philosophies and his ability to create design systems, Muller-Brockmann's greatest legacy may be as an influential mentor to contemporary designers. The development of the grid was also the main subject of his teaching (he held many lectures and seminars throughout the world) and of his contributions to magazines such as "New Graphic Design." In many ways, Muller-Brockmann is the perfect subject to study for a representative understanding of the so-called Swiss Design movement. Muller-Brockmann's work ranged from social/civic projects such as posters for the Swiss Automobile Club and Zurich Police to commercial projects for IBM (for whom he was design advisor in western Europe), Rosenthal, and Hermes Typewriters. His large body of work, created as graphic design gained importance during the twentieth century, serves as a gauge for the study of design history and a acted as a harbinger for what was to come. Illustrated by images of the final designs but also by sketches, production drawings, and unused design drafts from Muller-Brockmann's archive-and with long captions explaining in detail the design structure and the brief given by the client-the monograph give a complete visual understanding of Muller-Brockmann's growth as a graphic designer. It is an essential volume for anyone interested in the history of graphic design, design students, and professional designers.