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Originally published to great acclaim in 1976, The American Monument has become one of the most sought-after photography publications of the 20th century. Long out of print, this second edition is once again available again for all to enjoy and own. Published in the same oversized format as the first editionwith exquisite duotone reproductions of the original 213 photographsthe album of post-bound single sheets can easily be disassembled for display. Considered by many, including Friedlander himself, to be one of his most important books, The American Monument has influenced generations of photographers, curators and art historians. The second edition includes the original essay by Eakins Press founder Leslie George Katz along with a new essay by eminent past NYCs Museum of Modern Arts photography curator and Friedlander scholar Peter Galassi, which illuminates the history and continued significance of this iconic artist and this early publication. The deeply influential American curator of photography at MoMA during the 1960s-70s, John Szarkowski (19272007), stated: I am still astonished and heartened by the deep affection of those pictures, by the photographers tolerant equanimity in the face of the facts, by the generosity of spirit, the freedom from pomposity and rhetoric. One might call this work an act of high artistic patriotism, an achievement that might help us reclaim that word from ideologues and expediters. Lee Friedlander is the recipient of three Guggenheim Fellowships as well as a MacArthur Fellowship. He has published more than 50 monographs since 1969, and exhibited extensively around the world for the past five decades, including a major retrospective at the MoMA, NY, in 2005.
Traces the history of the National Mall in Washington, D.C., discussing its plan and structures, and considering how the concept of memorials and memorial space has changed since the nineteenth century.
Various issues regarding monuments have generated both controversy and lawsuits. Issues include the size of the areas and types of resources protected, the inclusion of non-federal lands within monument boundaries, restrictions on land uses that may result, the manner in which the monuments were created, the selection of the managing agency, and other legal issues. Courts have upheld both particular monuments and the President's authority to create them. This book addresses the authority of the President to create national monuments on federal lands under the Antiquities Act of 1906. It discusses the benefits of the Act and those aspects of the Act that have been controversial, including the size and types of resources protected; the level of and types of threat to designated areas; effects of proclamations on land uses; consistency of the Act with the withdrawal, public participation, and environmental review aspects of other laws; monument management by agencies other than the National Park Service (NPS); and the constitutionality of the Act. Contents: Preface; National Monuments and the Antiquities Act; Recent Designations and Issues; Authority of a President to Modify or Elimin
From the award-winning, bestselling author of Skyscrapers, Churches, and Bridges comes a stunning visual history that serves as a tribute to classic American landmarks.
Twentieth Anniversary Edition with a new preface and afterword From the removal of Confederate monuments in New Orleans in the spring of 2017 to the violent aftermath of the white nationalist march on the Robert E. Lee monument in Charlottesville later that summer, debates and conflicts over the memorialization of Confederate “heroes” have stormed to the forefront of popular American political and cultural discourse. In Written in Stone Sanford Levinson considers the tangled responses to controversial monuments and commemorations while examining how those with political power configure public spaces in ways that shape public memory and politics. Paying particular attention to the American South, though drawing examples as well from elsewhere in the United States and throughout the world, Levinson shows how the social and legal arguments regarding the display, construction, modification, and destruction of public monuments mark the seemingly endless confrontation over the symbolism attached to public space. This twentieth anniversary edition of Written in Stone includes a new preface and an extensive afterword that takes account of recent events in cities, schools and universities, and public spaces throughout the United States and elsewhere. Twenty years on, Levinson's work is more timely and relevant than ever.
A leading expert on the past, present, and future of public monuments in America. An urgent and fractious national debate over public monuments has erupted in America. Some people risk imprisonment to tear down long-ignored hunks of marble; others form armed patrols to defend them. Why do we care so much about statues? Which ones should stay up and which should come down? Who should make these decisions, and how? Erin L. Thompson, the country’s leading expert in the tangled aesthetic, legal, political, and social issues involved in such battles, brings much-needed clarity in Smashing Statues. She lays bare the turbulent history of American monuments and its abundant ironies, from the enslaved man who helped make the statue of Freedom that tops the United States Capitol, to the fervent Klansman fired from sculpting the world’s largest Confederate monument—who went on to carve Mount Rushmore. And she explores the surprising motivations behind contemporary flashpoints, including the toppling of a statue of Columbus at the Minnesota State Capitol, the question of who should be represented on the Women’s Rights Pioneers Monument in Central Park, and the decision by a museum of African American culture to display a Confederate monument removed from a public park. Written with great verve and informed by a keen sense of American history, Smashing Statues gives readers the context they need to consider the fundamental questions for rebuilding not only our public landscape but our nation as a whole: Whose voices must be heard, and whose pain must remain private?
A history of U.S. Civil War monuments that shows how they distort history and perpetuate white supremacy The United States began as a slave society, holding millions of Africans and their descendants in bondage, and remained so until a civil war took the lives of a half million soldiers, some once slaves themselves. Standing Soldiers, Kneeling Slaves explores how the history of slavery and its violent end was told in public spaces—specifically in the sculptural monuments that came to dominate streets, parks, and town squares in nineteenth-century America. Looking at monuments built and unbuilt, Kirk Savage shows how the greatest era of monument building in American history took place amid struggles over race, gender, and collective memory. Standing Soldiers, Kneeling Slaves probes a host of fascinating questions and remains the only sustained investigation of post-Civil War monument building as a process of national and racial definition. Featuring a new preface by the author that reflects on recent events surrounding the meaning of these monuments, and new photography and illustrations throughout, this new and expanded edition reveals how monuments exposed the myth of a "united" people, and have only become more controversial with the passage of time.
Stop, look, and discover—the streets and parks of Manhattan are filled with beautiful historic monuments that will entertain, stimulate, and inspire you. Among the 54 monuments in this volume are major figures in American history: Washington, Lincoln, Lafayette, Horace Greeley, and Gertrude Stein; more obscure figures: Daniel Butterfield, J. Marion Sims, and King Jagiello; as well as the icons of New York: Atlas, Prometheus, and the Firemen's Memorial. The monuments represent the work of some of America's best sculptors: Augustus Saint Gaudens’ Farragut and Sherman, Daniel Chester French’s Four Continents, and Anna Hyatt Huntington’s José Martí and Joan of Arc. Each monument, illustrated with black-and-white photographs, is located on a map of Manhattan and includes easy-to-follow directions. All the sculptures are considered both as historical mementos and as art. We learn of furious General Sherman court-martialing a civilian journalist, and also of exasperated Saint Gaudens’ proposing a hook-and-spring device for improving his assistants' artistic acuity as they help model Sherman. We discover how Lincoln dealt with a vociferous Confederate politician from Ohio, and why the Lincoln in Union Square doesn't rank as a top-notch Lincoln portrait. Sidebars reveal other aspects of the figure or event commemorated, using personal quotes, poems, excerpts from nineteenth-century periodicals (New York Times, Harper's Weekly), and writers ranging from Aeschylus, Washington Irving, and Frederic-Auguste Bartholdi to Mark Twain and Henryk Sienkiewicz. As a historical account, Outdoor Monuments of Manhattan: A Historical Guide is a fascinating look at figures and events that changed New York, the United States and the world. As an aesthetic handbook it provides a compact method for studying sculpture, inspired by Ayn Rand’s writings on art. For residents and tourists, and historians and students, who want to spend more time viewing and appreciating sculpture and New York history, this is the start of a unique voyage of discovery.