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From the moment of the very first contact in the sixteenth century, Japan has always possessed an irresistible fascination for the West. The fascination was if anything increased when Japan closed its borders in 1638, and for over 200 years the only contact was through a small colony of Dutch traders who were permitted to live on the tiny island of Deshima in Nagasaki Bay. After 1858, full trade was resumed, and a wave of 'Japanomania' swept across Europe and America. The 1862 Great Exhibition in London was the first to display a wide range of Japanese goods in the west. Visited by hundreds of thousands of people, the prints, ceramics and lacquer work became the height of fashion. Christopher Dresser travelled to Japan in 1876 as an agent for Tiffany &, Co. He visited 64 potteries and dozens of other manufacturers. Not only did he take photographs home to spread the word there, but he also advised the Japanese how best to export their trade. This two way dialogue offers a rich synthesis of fine art and the decorative arts, as well as popular culture. Lionel Lambourne tells this remarkable story in a fluent and engaging narrative that focuses on the human drama - often amusing but sometimes tragic - of the individual personalities involved in the two-way dialogue between cultures. After an introduction telling the story of the first contacts, the long isolation and the events leading to the renewal of free trade in Japan, he turns to Europe and captures the excitement as artists - notably Whistler and the Impressionists - discovered Japanese prints and artefacts, and began to incorporate their influence in their own work. The story spreads far beyond fine art and follows the Japanese craze into the decorative arts, interior design, furnishings, fashion accessories and, importantly, literature and theatre. With his inimitable style and his rich store of well-chosen anecdotes, the author brings the personalities to life, and conveys a vivid impression of the enthusiasm that Japonisme generated. He also devotes chapters to travel, Japonisme in America, landscape and gardens, and the curious subject of spooks and ghosts. The visual impact of Japan on the West was enormous, and this is wonderfully conveyed in the rich and varied selection of illustrations - some 250 in all - which include many original Japanese prints and artefacts juxtaposed with the works that they directly inspired, as well as the whole range of the decorative arts, posters, advertisements, book illustrations, fashion, cartoons, photography, gardens and architecture. With its lively text full of human interest and closely supported by a wealth of beautiful illustrations, "Japonisme" will provide the perfect introduction to this popular subject for the widest possible audience, and will also be a valuable reference source for teachers and students.

It was during the depth of the Great Depression of the late 1920s and 30s, when at least 14 million people were out of work in the USA, that Dorothea Lange (1895-1965) first ventured out on the streets with her camera. In 1935 a report on migrant workers, illustrated with Lange's photographs, came to the attention of Roy Stryker and in response he invited Lange to become a member of the Farm Security Administration (FSA) photographic unit. Like Stryker, Lange believed that photography was a tool of political action, and this was no more apparent then when the federal government responded to the starvation crisis shortly after the San Francisco News received Lange's photographs - it quickly supplied 20,000 pounds of food to feed hungry migrants at the camps. Lange's championing of black migrants can be seen in the photograph "Plantation Overseer"and his Field Hands" of 1936, in which Lange captured the image of a man who exemplified the racist, exploitative and un-democratic attitudes that were rife in Southern plantation life. The evidence of racism revealed in this photograph - and others - is countered by Lange's many dignifying portraits of black subjects. When the bitter years of the Depression were overtaken by the advent of World War II, she continued to demonstrate her opposition to the poor treatment of migrants by opposing the relocation of 110,000 American Japanese to internment camps. She recorded the evacuation in Northern California after being assigned by the War Relocation Authority. In 1955, after a bout of ill health, Lange continued to work on contemporary social issues, namely a photo-essay for "Life" magazine, a sensitive study of the work of a Yugoslav-American public defender, representing those who could not afford to pay their own legal expenses. Lange watched and photographed him on and off for a year, catching the reflective moments of his defendants' body language. Lange was the first woman to be awarded the Guggenheim Fellowship (1941) and was placed on the Honour Roll of the American Society of Magazine Photographers in 1963. She was honoured with major solo exhibitions at the San Francisco Museum of Art (1960) and the Oakland Art Museum (1960) and she began preparing a retrospective at the Museum of Modern Art, New York shortly before she died in 1965.

After studying architecture at Cornell University, Matta-Clark developed more interest in buildings about to be destroyed than in the ones about to be built, as most architects would. He first forced his way into abandoned apartment buildings in the Bronx , and using a chain saw, would act as an architecture pirate, cutting pieces of walls and floors, only to leave behind the remains of what once was architecture. From pieces of walls his work shifted, in 1974, to the scale of a whole suburban house. "Splitting", probably his most popular work, was made by cutting a vertical line through the entire width of the house, and transforming the cut into a yawn, after lowering the foundations on both sides of the house. Erasing the boundaries between architecture, sculpture, and even drawing (his cuts have often been refered to as drawings in space), his building-cuts can also be understood as a social critique of the standardized suburban architecture that flourished during the postwar decades. The book opens with Thomas Crow's survey text on the artist (24,000 words). Divided into 4 chapters plus an epilogue, this richly illustrated essay provides insight into the career of the artist, from his childhood spent between New York and Paris, to his premature death in 1978 at the age of 35. These essays span the multi-faceted practice of Gordon Matta-Clark, with a particular emphasis on his building-cuts, the group of works he is most renowned for and that compose the most important part of his career. This book also includes a "Documents" section, composed of original interviews, articles, and documents compiled by editor Corinne Diserens. Several interviews, some of them never published before, allow the reader to understand more fully, and through Matta-Clark's own voice, the more pragmatic, technical, and physical dimensions related to the creation of his building-cuts. Some articles and essays of reference, most of them published in the 1970s and today out of print, are also republished and offer a unique critical background and context to his work.

A collection of unique portraits by British born, New York based, fashion photographer Platon. Over 120 photographs have been selected from an enormous range of powerful images taken over the last decade and together they constitute a unique and dynamic cross-section through the cult of fame and power. Platon’s Republic is a window into today’s media-led culture that bombards, and sometimes overwhelms us with images of world-wide importance juxtaposed with frivolity. Platon’s Republic replicates the same intense and sometimes surreal experience with portraits of Al Pacino, Bill Clinton, Vivienne Westwood, Leonard Cohen as well as more documentary photographs of Jesse Jackson and Bianca Jagger demonstrating against the death penalty and football supporters. Granted extraordinary access to some of the west’s most powerful people, Platon’s subjects are all leaders in their field. Whether they are from the TV industry, politicians, actors, fashion designers, writers or musicians, they all wield enormous influence within their arena. Platons’ portraits are graphic and intimate, but the unusual angles and revealing expressions are his hallmark.

This is the first book published on Los Angeles architect Archibald Quincy Jones (1913-1979), a pioneer in affordable housing designed with a modern aesthetic. The introductory essay traces Jones's life and career, his post-war planning projects and his long association with Palo Alto building magnate Joseph Eichler. The book contains a catalogue of sixty of Jones's projects illustrated with high-quality black and white period photographs, as well as plans and renderings by Jones. These projects are quintessential examples of mid-twentieth-century American architecture.

Dating from the 1850s to the First World War, the Arts and Crafts Movement was an international phenomenon of enormous scope and influence. It encompassed everything from architecture to town planning, metalwork and embroidery, in places as diverse as California and Budapest. Born of thinkers and practitioners in Victorian England its ideological currents reflect the era's most pressing social, political and artistic concerns. In this book Rosalind Blakesley explores the common ideas that give cohesion to a movement of otherwise bewildering breadth and stylistic heterogeneity. At the origins of the movement was a reaction against industrialization, the long-standing division between traditional crafts and Fine Art and the over-elaborate ornamentation which disguised an object or building's true 'function'. Early British Arts and Crafts practitioners campaigned for a revival of old craft techniques, for the elevation of the applied arts and for 'honesty' in design, ideas that were picked up and developed across Europe and the United States, with national variants quickly emerging. Germany, for example, recognized the potential of industrial techniques and experimented with standardization in design, in Finland, then annexed to Russia, Arts and Crafts was allied to the search for self-expression and a national style in art. Examining both acknowledged Arts and Crafts centres and lesser-known communities, Rosalind Blakesley concludes her authoritative and accessible survey with an evaluation of the Movement's significance in the twenty-first century.

Isa Genzken's work encompasses sculpture, collage, film and photography. As one of Germany's leading sculptors to have emerged since the 1980s, her work is noted for combining references to architecture, modernism and art history with the personal, such an installation drawing together photographic images of her own body set alongside sleek, 'constructivist' forms. She is interested in the detritus of material culture, particularly architectural detritus of concrete blocks, glass, mirrored sheets and steel. The combination of materials in her work is remarkable, drawing together animal heads, transparent fluorescent plastic, spray-painted pinecones, found objects such as binoculars or kitchen utensils, and airplane windows, to name but a few. Her work can be uncomfortably 'ugly' - assemblages of unrelated objects and artist's materials (oil paint on store-bought action figures, for example) - or shining and beautiful, as with her magnificent 'cities' of 'New Buildings': small, impeccably crafted, glass and wood skyscrapers. One of her best known and loved works, Rose (1997) is a romantic public sculpture of a single long-stemmed rose made from enamelled stainless steel, rising over 8 metres in height and permanently installed in Leipzig's museum district. Genzken has been exhibiting since the 1970s, but her work came to international attention particularly following her impressive installation of skyscrapers at Documenta 11 in Kassel, Germany, in 2002. She is included at this year's prestigious Carnegie International in Pittsburgh, Pennsylvania (2005). Genzken's work is represented by Galerie Daniel Buchholz, Neven-DuMont-Str. 17, Cologne 50667, Germany, [email protected], Hauser &, Wirth, 196A Piccadilly, London, W1J 9DY, [email protected] and David Zwirner Gallery, 525 W 19th Street, New York, NY 10011, USA, [email protected]

A contemporary of Walter Gropius and Le Corbusier, Asplund pursued a unique architecture that displayed a blend of classical tradition, vernacular architecture and Modernism. Above all, he achieved a sensitive understanding of the relationship between architecture and its surrounding landscape, and it is such contributions that have made him recognized as Sweden's leading architect of the twentieth century. His abilities are amply demonstrated in masterpieces like the Woodland Cemetery. In 1915, Asplund and Sigurd Lewerentz won the competition to plan a new cemetery for Stockholm. Their romantic plan, in which a symbolically straight, narrow pathway abruptly curves blindly away into the forest, and with open fields capped by burial-mound-like hillocks, earned both of them further commissions for buildings within the cemetery. Asplund's "Woodland Chapel" of 1920 is tucked into the forest, and uses classical elements such as Doric columns, but sparingly and in unusual ways, while manipulating scale in ways that further the spiritual and contemplative nature of the building. The Crematorium and Monument Hall of 1935 are dignified and powerful, unornamented but not austere, to offer comfort to those who use them. "The Gothenburg Law Courts", another critical work which was finally completed in 1937, shows how Asplund relates the architecture of Modernism to a historical plan and facade. Buildings such as the architect's own summer house at Stennas and the crematoria at Kviberg and Skovde, dating from the later part of his life when he had begun to embrace Modernism, still show traditional classical and vernacular influences, and are evidence that not all forms of Modernism constituted a fresh start. This will be a comprehensive monograph on Asplund, and will include extensive new colour photography, as well as many original drawings. It was produced in collaboration with the archives of the Swedish Architectural Museum in Stockholm.

The best works of contemporary world architecture in an ultra-convenient format. For everyone who owns the comprehensive edition of The Phaidon Atlas of Contemporary World Architecture, here is its companion to throw in your suitcase or put in your pocke

This lovingly restored 1960s children's classic takes design lovers of all ages on a fantastic journey via an imaginative and entertaining series of trades and swaps. The trades start small, with a tiny butterfly, and end up including absolutely everything in the world, from straw hats to the stars in the sky. A Balloon for a Blunderbuss is a beautifully woven sequence of entertaining text by Alastair Reid and bold illustrations by Bob Gill. It will delight the youngest and oldest of readers.

Kniha mapuje vývoj techniky a provedení staveb v průběhu staletí – od Egypta a klasického Řecka a Říma přes stavební rozmach v období gotiky a renesance, od průmyslové revolucek současné době digitální modelace. Tato obsáhlá a bohatě ilustrovaná publikace

Most famous in the English-speaking world for his instantly recognizable "New Yorker" covers, Jean-Jacques Sempe has delighted readers in France and beyond with his witty drawings and keen eye for the finer points of the human condition for over 40 years. Now, his sharply observed and beautifully drawn cartoons are available in English for the first time. The pithy captions were translated from the original French by Anthea Bell, who also translated the Asterix comics into English.

Since the 1960s Mary Ellen Mark has worked on over 100 film sets as what the film studios call a 'special stills photographer', making thousands of documentary photographs of life behind the scenes, rather than the conventional still photographs made of actors on camera. This exciting book presents the best of her images ranging from the first films that Mark shot in the 1960s such as "Fellini's Satyricon", to legendary 1970s productions like Francis Ford Coppola's "Apocalypse Now" and Milos Forman's "One Flew Over the Cuckoo's Nest", as well as films from the ensuing decades that range from "Network" to "Tootsie", from "Gandhi" to "Showgirls". She continues to work on film sets and over the last decade has photographed recent Oscar-winning productions such as Baz Luhrmann's "Moulin Rouge", Alejandro Gonzalez Inarritu's "Babel" and Tim Burton's "Sweeney Todd".Over her career, Mark has been given unprecedented access to the film sets she has worked on, roaming freely among cast and directors, and photographing in make-up, during rehearsals, on the set and off the set to provide a full picture of life behind the scenes. Her experience over the last forty years reveals much about the changes in film-making. She recalls in her introduction how she loved to photograph the director's reaction and interaction during rehearsal when he was behind the camera; but now in contemporary film-making the director is nowhere near the camera, but rather in front of a video monitor away from the set. Her iconic 1960s portraits of Fellini behind his camera fix this moment in film history and are evidence of the changes in technology. Mark's 1960s, 1970s and 1980s portraits also reveal the changing nature of celebrity.When she first started working she would be just another person on set with full access to every cast member and every set. Now with the massive power and impact of celebrity it has become more difficult for photographers to work on set, when actors are constantly surrounded by their entourage of publicists and agents and have their schedules carefully planned with every minute accounted for. In this current climate Mark's more recent, candid pictures of major celebrities such as Cate Blanchett, Brad Pitt, Johnny Depp and Nicole Kidman are rare and particularly special.This book includes beautiful and engaging portraits, documentary pictures that reveal the way a film is made, dramatic moments in direction and filming, and amusing pictures that reveal the camaraderie on set - such as Henry Fonda making faces behind Katharine Hepburn, well-known prankster Jack Nicholson turning Stockard Channing upside down, and Dustin Hoffman causing a lot of amusement in his female costume in between scenes on "Tootsie". The text for the book comes from a number of high profile actors, directors and film industry professionals who complete this picture of life 'behind the scenes' by sharing their anecdotes and thoughts about their profession. Among these engaging texts

99 opravdových a imaginárních úzkostí moderního života v pojení bulharského umělce Nedka Solakova. Kresby jsou doplněny ručně psaným komentářem plným nezvykle ostrého humoru. Událost na výstavě Dokumenta 12 (2007). Text v angličtině 99 real and imagined a

William Henry Fox Talbot (1800-77) is widely considered to be the father of modern photography, having developed the process by which photographic images could be reproduced. However, he has yet to be sufficiently appreciated as a photographer in his own right. Over the course of his photographic career, he has made more than 5,000 images that include fascinating pictures of his home, Lacock Abbey, portraits of family and friends, and still lifes of botanical specimens, cloth, and household objects. A key intellectual figure of the nineteenth century in science, mathematics, astronomy, politics, and archaeology, Talbot is arguably the most important figure in the invention of photography. His practice established many of the medium's most familiar genres. Talbot was devoted to the advancement of photography, publishing the first photographically illustrated book, The Pencil of Nature (1844-46), which revealed the potential of the medium to a wider audience.This new monograph features many of Talbot's best-known landscapes made around Lacock Abbey and some of the first negatives ever made. It also includes lesser-known and previously unpublished work that reveals the extraordinarily diverse scope of his work. His photographs reflect and embody the social and cultural issues of the time, but they are also fascinating, often beautiful images that are still as engaging today as they were nearly 200 years ago.

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