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Este libro sigue el alzado de ese espectro que se ha convenido en denominar el saber de las artes, fortalecido con el paso del tiempo, desde los frágiles tanteos de sus inicios hasta la clara y destacada conciencia de su identidad, ya culminado el siglo XVII, que nos pone a las puertas de la Ilustración. La formación de este territorio se sigue bajo el esbozo de los grandes sistemas de conocimiento que se suceden, cuya transformación determina, durante nuestro arco histórico, los propios modelos teóricos que envuelven el universo de las artes. Nuestro libro va trazando la figura del saber de las artes, en concreto del saber de la arquitectura, a partir de sucesivos bocetos de un sistema general del conocimiento: porque, hasta la aparición de una mayor autonomía en la teoría de las artes, alcanzada a finales del XVII, la estructura del dominio artístico se encuentra engarzada en el tapiz continuo del saber.
Esta obra es una historia política de la ciudad de México, y comprende desde su fundación en el siglo XIV hasta las postrimerías del siglo XX. Por lo que sabemos no existe un ejemplo similar en la historiografía. Tal es el punto del volumen: vindicar la historia política como una necesidad absoluta en el entendimiento de la historia de la ciudad. Este proyecto es singular: lo político es el punto de fuga, el ámbito privilegiado del análisis y el principio ordenador de la narración.
The “biennale culture” now determines much of the art world. Literature on the worldwide dissemination of art assumes nationalism and ethnic identity, but rarely analyzes it. At the same time there is extensive theorizing about globalization in political theory, cultural studies, postcolonial theory, political economy, sociology, and anthropology. Art and Globalization brings political and cultural theorists together with writers and historians concerned specifically with the visual arts in order to test the limits of the conceptualization of the global in art. Among the major writers on contemporary international art represented in this book are Rasheed Araeen, Joaquín Barriendos, Susan Buck-Morss, John Clark, Iftikhar Dadi, T. J. Demos, Néstor García Canclini, Charles Green, Suman Gupta, Harry Harootunian, Michael Ann Holly, Shigemi Inaga, Fredric Jameson, Caroline Jones, Thomas DaCosta Kaufmann, Anthony D. King, Partha Mitter, Keith Moxey, Saskia Sassen, Ming Tiampo, and C. J. W.-L. Wee. Art and Globalization is the first book in the Stone Art Theory Institutes Series. The five volumes, each on a different theoretical issue in contemporary art, build on conversations held in intensive, weeklong closed meetings. Each volume begins with edited and annotated transcripts of those meetings, followed by assessments written by a wide community of artists, scholars, historians, theorists, and critics. The result is a series of well-informed, contentious, open-ended dialogues about the most difficult theoretical and philosophical problems we face in rethinking the arts today.
"The word is out that miracles still occur, and that a major one is happening here ... 'Have you seen Bilbao?' In architectural circles, the question has acquired the status of a shibboleth. Have you seen the light? Have you seen the future?" Herbert Muschamp's future is now. What can we learn from "The Guggenheim Effect"?" "Hailed as an "instant landmark," Gehry's Bilbao Guggenheim brought a new sense of relevance to architecture in the transformation of urban landscapes. It was the story of the architect as hero and, as Greeks believed, of architecture as the first art-arche. Bilbao was doing for the Basques what the Sydney Opera House had done for Australia. Gehry, while complaining of being "geniused to death," became not only the master architect but the master artist. As a result, after Bilbao, every city has dreamed of its own Guggenheim effect. Gehry's optimistic artichoke amid Bilbao's post-industrial ruin has become an icon of what architecture can do for a city in decline. Warhol seems to be right in his prognostication that every museum should become a supermarket. Yet Hal Foster wondered, "Why all the hoopla?" Wasn't Gehry's museum risking the most problematic aspects of modernist monumentality and post-modernist faux populism?" "In this volume, artists (Fraser, Haacke, Muntadas, Sekula), architecture critics (Colomina, Gilbert-Rolfe), urban planners (Azua), art historians (Guilbaut, Guasch, Moxey, Welchman), museum specialists (Camara, Viar), art and tourism writers (Lippard, MacCannell), and anthropologists (Zulaika) discuss the various aspects of the Bilbao Guggenheim from an interdisciplinary perspective." -- Book Jacket.