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Public sculpture is a major draw in today’s cities, and nowhere is this more the case than in New York. In the Big Apple, urban art has become synonymous with the municipal “brand,” highlighting the metropolis as vibrant, creative, tolerant, orderly, and above all, safe. Sculpture in Gotham tells the story of how the City of New York came to be committed to public art patronage beginning in the mid-1960s. In that era of political turbulence, cultural activists and city officials for a time shifted away from traditional monuments, joining forces to sponsor ambitious sculptural projects as an instrument for urban revitalization. Focusing on specific people, agencies and organizations, and both temporary and permanent projects, from the 1960s forward, Michele H. Bogart reveals the changing forms and meanings of municipal public art. Sculpture in Gotham illustrates how such shifts came about at a time when art theories and styles were morphing markedly, and when municipalities were reeling from racial unrest, economic decline, and countercultural challenges—to culture as well as the state. While sculptural installations on New York City property took time and were not without controversy, Gotham’s processes and policies produced notable results, providing precedents and lessons for cities the world over.
Public sculpture is a major draw in today’s cities, and nowhere is this more the case than in New York. In the Big Apple, urban art has become synonymous with the municipal “brand,” highlighting the metropolis as vibrant, creative, tolerant, orderly, and above all, safe. Sculpture in Gotham tells the story of how the City of New York came to be committed to public art patronage beginning in the mid-1960s. In that era of political turbulence, cultural activists and city officials for a time shifted away from traditional monuments, joining forces to sponsor ambitious sculptural projects as an instrument for urban revitalization. Focusing on specific people, agencies and organizations, and both temporary and permanent projects, from the 1960s forward, Michele H. Bogart reveals the changing forms and meanings of municipal public art. Sculpture in Gotham illustrates how such shifts came about at a time when art theories and styles were morphing markedly, and when municipalities were reeling from racial unrest, economic decline, and countercultural challenges—to culture as well as the state. While sculptural installations on New York City property took time and were not without controversy, Gotham’s processes and policies produced notable results, providing precedents and lessons for cities the world over.
Volume two of the world famous trilogy on the history of New York
During the rise of New York from the capital of an upstart nation to a global metropolis, the visual language of Greek and Roman antiquity played a formative role in the development of the city’s art and architecture. This compilation of essays offers a survey of diverse reinterpretations of classical forms in some of New York’s most iconic buildings, public monuments, and civic spaces. Classical New York examines the influence of Greco-Roman thought and design from the Greek Revival of the late eighteenth and early nineteenth centuries through the late-nineteenth-century American Renaissance and Beaux Arts period and into the twentieth century’s Art Deco. At every juncture, New Yorkers looked to the classical past for knowledge and inspiration in seeking out new ways to cultivate a civic identity, to design their buildings and monuments, and to structure their public and private spaces. Specialists from a range of disciplines—archaeology, architectural history, art history, classics, and history— focus on how classical art and architecture are repurposed to help shape many of New York City’s most evocative buildings and works of art. Federal Hall evoked the Parthenon as an architectural and democratic model; the Pantheon served as a model for the creation of Libraries at New York University and Columbia University; Pennsylvania Station derived its form from the Baths of Caracalla; and Atlas and Prometheus of Rockefeller Center recast ancient myths in a new light during the Great Depression. Designed to add breadth and depth to the exchange of ideas about the place and meaning of ancient Greece and Rome in our experience of New York City today, this examination of post-Revolutionary art, politics, and philosophy enriches the conversation about how we shape space—be it civic, religious, academic, theatrical, or domestic—and how we make use of that space and the objects in it.
Leyendecker and Georgia O'Keeffe, the Metropolitan Museum of Art and Pepsi-Cola, the avant garde and the Famous Artists Schools, Inc.
In this utterly immersive volume, Mike Wallace captures the swings of prosperity and downturn, from the 1898 skyscraper-driven boom to the Bankers' Panic of 1907, the labor upheaval, and violent repression during and after the First World War. Here is New York on a whole new scale, moving from national to global prominence -- an urban dynamo driven by restless ambition, boundless energy, immigrant dreams, and Wall Street greed. Within the first two decades of the twentieth century, a newly consolidated New York grew exponentially. The city exploded into the air, with skyscrapers jostling for prominence, and dove deep into the bedrock where massive underground networks of subways, water pipes, and electrical conduits sprawled beneath the city to serve a surging population of New Yorkers from all walks of life. New York was transformed in these two decades as the world's second-largest city and now its financial capital, thriving and sustained by the city's seemingly unlimited potential. Wallace's new book matches its predecessor in pure page-turning appeal and takes America's greatest city to new heights.
DC BLACK LABEL, the highly anticipated new imprint from DC Comics, starts here! The Joker is dead. There is no doubt about that. But whether Batman finally snapped his scrawny neck or some other sinister force in Gotham City did the deed is still a mystery. Problem is, Batman can’t remember…and the more he digs into this labyrinthian case, the more his mind starts to doubt everything he’s uncovering. So who better to set him straight than…John Constantine? Problem with that is as much as John loves a good mystery, he loves messing with people’s heads even more. So with John’s “help,” the pair will delve into the sordid underbelly of Gotham as they race toward the mind-blowing truth of who murdered The Joker. BATMAN: DAMNED is a bimonthly super-natural horror story told by two of comics’ greatest modern creators-a visceral thrill-ride that proudly puts the “black” in BLACK LABEL.
This book maps the presence of moving images within the field of public art through encounters with passersby. It argues that far from mere distraction or spectacle, moving images can produce moments of enchantment that can renew, intensify, or challenge our everyday engagement with public space and each other. These artworks also offer frameworks for understanding how moving images operate in public space—how they move viewers and reconfigure the site of the screen. Each chapter explores a mode of address that examines how artists and curators leverage the moving image’s attentional power to engage audiences, create spaces, make place, and challenge assumptions. This book also examines the difficulties and compromises that arise when using urban screens for public art.
All of the GOTHAM CITY SIRENS starring Batman villains Catwoman, Poison Ivy and Harley Quinn, written by multiple Emmy and Eisner Award-winner Paul Dini are collected into one brilliant omnibus! This omnibus features the bad girls of Gotham City! Catwoman, Poison Ivy and Harley Quinn are tired of playing by other peoples' rules regardless of which side of the law they're on. These tough ladies have a new agenda that's all their own, and they'll use any means necessary to pursue it. But can they get along and work as a team? And who will get hurt along the way? Collects GOTHAM CITY SIRENS #1-26 and CATWOMAN #83.
The first site-specific outdoor public sculpture ever to be commissioned for the United States from Anselm Kiefer (b. 1945) was unveiled in 2019 at the top of Rockefeller Center's Channel Gardens, facing Fifth Avenue. Titled 'Uraeus', the work consists of a gigantic open book with eagle's wings 30 feet in span, both made of lead, on top of a 20-foot-tall lead-clad stainless steel column. Clustered around the base of the column are further outsize lead books, while a large snake coils up the column. Lead is one of the artist's preferred materials for its soft, fluid properties traditionally associated with alchemical transformation, especially its second stage: dissolution. In Kiefer's mind alchemy is a symbol for the artist you have to destroy and then recreate. Uraeus extends his vocabulary of striking mythic forms, presented at an arresting new scale. It explores longtime motifs in his work that, in this context and contemporary moment, resonate in powerful new ways. Kiefer is the most prominent German artist of the generation born in or shortly after World War II, a figure of international standing who was recently awarded the J. Paul Getty Medal (2017).