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Overzicht van werk van de Amerikaanse architectuurfotograaf (1910-2009) en van de architectuur in Californië uit de periode 1936-1986 die tot het modernisme gerekend wordt.
Julius Shulman, one of the great masters of modern architectural photography, is the preeminent recorder of early California modernism. By 1927 when he was sixteen, Shulman was already using the family Brownie box camera to document his Southern California surroundings and experiences; in 1936, his professional career was launched when he sent Richard Neutra some uncommissioned photographs of the architect's Kun House. Shulman went on to document the famous Case Study House Program (architects included Charles and Ray Eames, Pierre Koenig, and Eero Saarinen) and also the architecture of the 1930s through the 1980s, especially that of Southern California, but also country- and worldwide. His subjects included the buildings of R. M. Schindler, John Lautner, Raphael Soriano, Frank Lloyd Wright, Mies van der Rohe, and Oscar Niemeyer, among many others. Through his work, Shulman defined the image of Los Angeles and framed the architecture of the time for a global audience. In addition to an overview of Shulman's career and photographic oeuvre, this book emphasizes Shulman's method of "constructing" photographic views. These constructions, which complemented his innate ability to compose striking photographs often transcend reality to capture the spirit, time and place of a work of architecture. An analysis of architecture's visual presentation examines not only the media of the era - John Entenza's Arts & Architecture, for instance - but also the work of Shulman's photographic contemporaries.
This book is open access under a CC BY 4.0 license. This book explores how the socially disputed period of the Cold War is remembered in today’s history classroom. Applying a diverse set of methodological strategies, the authors map the dividing lines in and between memory cultures across the globe, paying special attention to the impact the crisis-driven age of our present has on images of the past. Authors analysing educational media point to ambivalence, vagueness and contradictions in textbook narratives understood to be echoes of societal and academic controversies. Others focus on teachers and the history classroom, showing how unresolved political issues create tensions in history education. They render visible how teachers struggle to handle these challenges by pretending that what they do is ‘just history’. The contributions to this book unveil how teachers, backgrounding the political inherent in all memory practices, often nourish the illusion that the history in which they are engaged is all about addressing the past with a reflexive and disciplined approach.
Drawing Ambience showcases a selection of drawings from the personal collection of the noted architectural educator Alvin Boyarsky (1928-1990). As chairman of the Architectural Association (AA) in London (1971-1990), Boyarsky accumulated an impressive collection of drawings at a time when the AA produced an extraordinary program of exhibitions and publications rooted in drawing not only as a representational medium but also a form of architecture in its own right. Boyarsky s drawing collection emerged at the confluence of modernism, postmodernism, and other cultural currents worldwide, capturing the work of artists and architects such as Alexander Brodsky and Ilya Utkin, Frank Gehry, Zaha Hadid, John Hejduk, Daniel Libeskind, Mary Miss, OMA, Eduardo Paolozzi, Superstudio, Shin Takamatsu, Bernard Tschumi, and Peter Wilson. The publication features a full-length essay situating Boyarsky s collection in the emergence of architecture as a global discursive discipline as well as close analysis of fifty of the most imaginative, visionary drawings in it. Exquisite reproductions of each of the featured drawings and prints, along with portfolios of limited-edition publications from the AA, are supplemented by close-up and microscopic images, providing an unprecedented opportunity to explore the imaginative spirit of drawing practices central to the magnetic web of conversations in the architectural discourse, both historical and contemporary, including the discipline s renewed interest in the hand as it relates to drawing and making. "
Using the frameworks of systems theory, modernization, and the world system, New Age Globalization presents a composite multilevel, multidirectional picture of globalization informed by eight different but interdependent subsystems.
The Encyclopedia of Hinduism contains over 900 entries reflecting recent advances in scholarship which have raised new theoretical and methodological issues as well as identifying new areas of study which have not been addressed previously. The debate over the term 'Hinduism' in the light of post-Orientalist critiques is just one example of how once standard academic frameworks have been called into question. Entries range from 150-word definitions of terms and concepts to 5,000-word in-depth investigations of major topics. The Encyclopedia covers all aspects of Hinduism but departs from other works in including more ethnographic and contemporary material in contrast to an exclusively textual and historical approach. It includes a broad range of subject matter such as: historical developments (among them nineteenth and twentieth century reform and revival); geographical distribution (especially the diaspora); major and minor movements; philosophies and theologies; scriptures; deities; temples and sacred sites; pilgrimages; festivals; rites of passage; worship; religious arts (sculpture, architecture, music, dance, etc.); religious sciences (e.g. astrology); biographies of leading figures; local and regional traditions; caste and untouchability; feminism and women's religion; nationalism and the Hindu radical right; and new religious movements. The history of study and the role of important scholars past and present are also discussed. Accessibility to all levels of reader has been a priority and no previous knowledge is assumed. However, the in-depth larger entries and the design of the work in line with the latest scholarly advances means that the volume will be of considerable interest to specialists. The whole is cross-referenced and bibliographies attach to the larger entries. There is a full index.
A major new survey of American sculpture, exploring how it both reflects and redefines concepts of race and identity in the United States How does American sculpture intersect with the history of race in the United States? The three-dimensional qualities of sculpture give it a distinct advantage over other art forms in capturing a subject’s likeness, and our minds can swiftly conjure a body and racialize it from the most minimal of prompts. The Shape of Power examines the role of American sculpture, from the nineteenth century to today, in understanding and constructing the concept of race in the United States and how this medium has shaped the way generations have learned to visualize and think about race. Exploring the relationship between sculpture and ideas about race in the United States, this book provides fresh perspectives on artists ranging from Hiram Powers, Edmonia Lewis, and Augusta Savage to Barbara Chase-Riboud, Titus Kaphar, Raven Halfmoon, Sanford Biggers, Betye Saar, Yolanda López, and Simone Leigh. It reveals how sculptors use this versatile medium to challenge discriminatory ideologies and entrenched social and cultural constructions of race while offering bold new visions of community, identity, and selfhood. Featuring superb illustrations of sculptural works in a broad range of media, The Shape of Power contributes new scholarship to the understudied field of American sculpture, which hasn't been the subject of a major publication survey in more than fifty years. Published in association with the Smithsonian American Art Museum, Washington, DC Exhibition Schedule Smithsonian American Art Museum, Washington, DC November 8, 2024–September 14, 2025