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This extensive publication by the Spanish Architectural magazine El Croquis presents a comprehensive overview of the major building projects that Koolhaas and his OMA have created since 1996. It shows conceptual plans, drawings, floor plans, cross-sections, models and photographs of the following projects: Hyperbuilding, Bordeaux House and Pool [The Sustainable House], Port of Genoa, Universal Headquarters Building, 'De Rotterdam' Building [Vertical City], MoCA [Museum of Contemporary Arts, Rome], UN City, Schiphol City [New Concept for the Schiphol Site], Wenner House [The Distributed House], 3 USA Prada Epicenters [in-store Technology, Prada San Francisco Epicenter, Prada New York Epicenter, Prada Los Angeles Epicenter, Astor Place Hotel, Cordoba Congress Center, Flick House I & II, Whitney Museum Extension, LACMA [Los Angeles County Museum of Art], Koningin Julianaplein, CCTV Television Station and Headquarters and TVCC Cultural Center, NATO Headquarters, Deltametropool, European Union and Brussels Study, The McCormick Tribune Campus Center at IIT, H e rmitage Museum Extension, St. Petersburg, Quartier des Halles [Urban Development Study], European Central Bank Headquarters, Netherlands Embassy in Berlin, and the Content Exhibition.
The Russian Constructivist Aleksandr Rodchenko (1891-1936) cannot be categorized by any one of his remarkable activities. His prodigious career in photography, graphic design, industrial design, painting, stage set and theater design, fashion and costume design, and architecture is at last given its full recognition in this splendidly illustrated and exhaustive study of the complete range of his work. Rodchenko's artistic production is considered against the complex background of the political, social, personal, and artistic circumstances of the period, from the beginning of his studies at the Art School of Kazan to his encounter with Mayakovsky and the Futurists, from the famous Moscow Exhibitions where Rodchenko took part in the founding phase of abstract art to the arguments with Kandinksy over cultural supremacy with the Institute of Artistic Culture (INCHUK) and the definitive embracing of Constructivism. Among the book's unusual contributions is the serious consideration given to Rodchenko's architectural projects and its generous treatment of unknown documents - newspaper reports, commentaries, debates, articles, letters - of the time. These give a lively sense of what was actually happening in Moscow art circles during the crucial formative years of the avant-garde movement. The visual material is particularly stunning. Five hundred illustrations, many in full color, are taken from Russian archives or from Rodchenko's private archive now owned by his nephew. The author, Selim Omarovich Khan-Magomedov is a Soviet architectural historian and critic who has achieved an enviable record of championing the rehabilitation of modern Soviet architecture from the 1920s. He almost single-handedly launched the bold campaign in 1962 to revive the historical legacy of Soviet modernism. Magomedov's studies of modern Soviet architecture, institutions, and personalities represent an impressive body of work in the face of formidable odds and official resistance and they are highly regarded in the West.
This Thing of Darkness, Joan Neuberger's engrossing production history of Sergei Eisenstein's Ivan the Terrible, is a major contribution to the study of Eisenstein and thus informs the history and theory of cinema and the study of Soviet culture and politics. Neuberger's ability to mine, interpret, and connect Eisenstein's voluminous, intriguingly digressive writings makes this book exceptional.— Karla Oeler, Stanford University Sergei Eisenstein's unfinished masterpiece, Ivan the Terrible, was no ordinary movie. Commissioned by Joseph Stalin in 1941 to justify state terror in the sixteenth century and in the twentieth, the film's politics, style, and epic scope aroused controversy even before it was released. In This Thing of Darkness, Joan Neuberger offers a sweeping account of the conception, making, and reception of Ivan the Terrible that weaves together Eisenstein's expansive thinking and experimental practice with a groundbreaking new view of artistic production under Stalin. Drawing on Eisenstein's unpublished production notebooks, diaries, and manuscripts, Neuberger's riveting narrative chronicles Eisenstein's personal, creative, and political challenges and reveals the ways cinematic invention, artistic theory, political critique, and historical and psychological analysis went hand in hand in this famously complex film. Neuberger's bold arguments and daring insights into every aspect of Eisenstein's work during this period, together with her ability to lucidly connect his wide-ranging late theory with his work on Ivan, show the director exploiting the institutions of Soviet artistic production not only to expose the cruelties of Stalin and his circle but to challenge the fundamental principles of Soviet ideology itself. Ivan the Terrible, she argues, shows us one of the world's greatest filmmakers and one of the 20th century's greatest artists observing the world around him and experimenting with every element of film art to explore the psychology of political ambition, uncover the history of recurring cycles of violence and lay bare the tragedy of absolute power.
These artists, heeding the call of Constructivist manifestos to abandon the nonobjective painting and sculpture of the early Russian avant-garde and enter into Soviet industrial production, aimed to work as "artist-engineers" to produce useful objects for everyday life in the new socialist collective." "Kiaer shows how these artists elaborated on the theory of the socialist object-as-comrade in the practice of their art. They broke with the traditional model of the autonomous avant-garde, Kiaer argues, in order to participate more fully in the political project of the Soviet state. She analyzes Constructivism's attempt to develop modernist forms to forge a new comradely relationship between human subjects and the mass-produced objects of modernity."--BOOK JACKET.
Theorieën van de Russische filmregisseur (1898-1948) over de vele mogelijkheden van het medium film
The first comprehensive book on the extensive, yet rarely seen, graphic works of pioneering filmmaker Sergei Eisenstein Sergei Eisenstein is regarded as one of cinema’s greatest revolutionaries. Less well known is that he was also a prolific graphic artist who drew compulsively as a means of expressing his ideas. Arranged chronologically, Eisenstein on Paper is divided into six chapters, each prefaced by short texts relating to the graphic works of each distinct period, and interwoven with excerpts from Eisenstein’s own essays and diary entries. In 1930 Eisenstein traveled to the United States and then Mexico, where he produced hundreds of drawings influenced by ancient and contemporary Mexican art. Forced to return to Russia in 1932, Eisenstein came under the scrutiny of the Communist government and, struggling to make further films without political interference, turned again to sketching for artistic freedom. By the end of his life, he had pared his style down to the utmost simplicity and sincerity. Despite completing relatively few films in his lifetime, Eisenstein made several thousand drawings. Eisenstein on Paper is the product of a groundbreaking collaboration with RGALI, the Russian State Archive of Arts and Literature, and is a fitting tribute to an incredible graphic talent.
Since the show's debut in 2007, Mad Men has invited viewers to immerse themselves in the lush period settings, ruthless Madison Avenue advertising culture, and arresting characters at the center of its 1960s fictional world. Mad Men, Mad World is a comprehensive analysis of this groundbreaking TV series. Scholars from across the humanities consider the AMC drama from a fascinating array of perspectives, including fashion, history, architecture, civil rights, feminism, consumerism, art, cinema, and the serial format, as well as through theoretical frames such as critical race theory, gender, queer theory, global studies, and psychoanalysis. In the introduction, the editors explore the show's popularity; its controversial representations of race, class, and gender; its powerful influence on aesthetics and style; and its unique use of period historicism and advertising as a way of speaking to our neoliberal moment. Mad Men, Mad World also includes an interview with Phil Abraham, an award-winning Mad Men director and cinematographer. Taken together, the essays demonstrate that understanding Mad Men means engaging the show not only as a reflection of the 1960s but also as a commentary on the present day. Contributors. Michael Bérubé, Alexander Doty, Lauren M. E. Goodlad, Jim Hansen, Dianne Harris, Lynne Joyrich, Lilya Kaganovsky, Clarence Lang, Caroline Levine, Kent Ono, Dana Polan, Leslie Reagan, Mabel Rosenheck, Robert A. Rushing, Irene Small, Michael Szalay, Jeremy Varon
Berlin Free University is an imagination of what a building might be - a building designed to function as a piece of the city, adapting to the needs of its users while generating opportunities for social interaction. The university offers a window onto the politicized and optimistic discourse of the Sixties and Seventies, but at the same time illuminates contemporary debates around large projects of infrastructure and public space. This extensive study of the building combines texts with a visual survey containing specifically commissioned photographs as well as archive material, plans and construction details.