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This comprehensive photographic monograph celebrates the life and work of Marshall Fredericks, demonstrating the breadth and innovation of his creativity within the figurative monumental sculpture tradition.
Alden Dow (active 1930s-1970s) produced more than five hundred designs—often daringly modern structures. This book traces Alden Dow's life and work as well as the intensely personal philosophy that governed everything he did: houses, churches, schools, business and civic structures, and even a new town in Texas. Dow changed the face of his hometown of Midland, Michigan, leaving more than one hundred buildings, including his Home and Studio, a National Historic Landmark. 185 color and 220 black-and-white illustrations.
Michigan Modern: An Architectural Legacy takes readers on a privileged tour of iconic buildings and interiors designed by some of the world¿s most renowned and celebrated architects and interior designers. Each of the 34 selected projects is carefully documented to record its place in art history and the story behind both its architect and client.
The shopping mall is both the most visible and the most contentious symbol of American prosperity. Despite their convenience, malls are routinely criticized for representing much that is wrong in America—sprawl, conspicuous consumption, the loss of regional character, and the decline of Mom and Pop stores. So ubiquitous are malls that most people would be suprised to learn that they are the brainchild of a single person, architect Victor Gruen. An immigrant from Austria who fled the Nazis in 1938, Gruen based his idea for the mall on an idealized America: the dream of concentrated shops that would benefit the businessperson as well as the consumer and that would foster a sense of shared community. Modernist Philip Johnson applauded Gruen for creating a true civic art and architecture that enriched Americans' daily lives, and for decades he received praise from luminaries such as Lewis Mumford, Winthrop Rockefeller, and Lady Bird Johnson. Yet, in the end, Gruen returned to Europe, thoroughly disillusioned with his American dream. In Mall Maker, the first biography of this visionary spirit, M. Jeffrey Hardwick relates Gruen's successes and failures—his work at the 1939 World's Fair, his makeover of New York's Fifth Avenue boutiques, his rejected plans for reworking entire communities, such as Fort Worth, Texas, and his crowning achievement, the enclosed shopping mall. Throughout Hardwick illuminates the dramatic shifts in American culture during the mid-twentieth century, notably the rise of suburbia and automobiles, the death of downtown, and the effect these changes had on American life. Gruen championed the redesign of suburbs and cities through giant shopping malls, earnestly believing that he was promoting an American ideal, the ability to build a community. Yet, as malls began covering the landscape and downtowns became more depressed, Gruen became painfully aware that his dream of overcoming social problems through architecture and commerce was slipping away. By the tumultuous year of 1968, it had disappeared. Victor Gruen made America depend upon its shopping malls. While they did not provide an invigorated sense of community as he had hoped, they are enduring monuments to the lure of consumer culture.
Michigan Modern: Design That Shaped America is an impressive collection of important essays touching on all aspects of Michigan’s architecture and design heritage. The Great Lakes State has always been known for its contributions to twentieth-century manufacturing, but it’s only beginning to receive wide attention for its contributions to Modern design and architecture. Brian D. Conway, Michigan’s State Historic Preservation Officer, and Amy L. Arnold, project manager for Michigan Modern, have curated nearly thirty essays and interviews from a number of prominent architects, academics, architectural historians, journalists, and designers, including historian Alan Hess, designers Mira Nakashima, Ruth Adler Schnee, and Todd Oldham, and architect Gunnar Birkerts, describing Michigan’s contributions to Modern design in architecture, automobiles, furniture and education.
Over the last twenty years, numerous scholarly publications have treated the work of African American artists of the 1950s, 1960s and 1970s. At that time, Detroit was the fifth largest city in the country with a large African American population and a vibrant Black arts scene. Nevertheless, the aforementioned publications fail to discuss Detroit African American artists. This book, which accompanies an exhibition of the same title, focuses on the life and work of Memphis born, Detroiter Harold Neal, who created some of the most forceful artistic statements of the Civil Rights and Black Power Movements. It also discusses other Detroit African American artists, including his predecessors Hughie Lee Smith and Oliver LaGrone, who greatly influenced his career; his contemporaries Glanton Dowdell, Charles McGee, Jon Onye Lockard, Henri Umbaji King, LeRoy Foster and Shirley Woodson, and his successors Aaron Ibn Pori Pitts and Allie McGhee, who were greatly impacted by his work. Additionally the book addresses the rift in the Detroit African American art community in the wake of the Black Power/Black Arts Movements. Neal, like other artists of the Black Arts Movement, felt that art should speak directly to the experience of African Americans using African American figurative subjects, while others artists, like Charles McGee, sought to compete in the white art world, working in the abstract, non-objective styles then dominant in New York galleries. The result of some ten years of research, this book presents a view of post-World War II African American art history essentially unknown to other scholars. It expands our understanding of Detroit African American art first set forth in the author's 2009 publication Energy: Charles McGee at Eighty Five. For this later project, Dr. Myers conducted extensive interviews with artists, scholars, friends and family members of the above mentioned artists. Most of their works remains in private collections, and Dr. Myers surveyed many of these, some in states outside of Michigan, in order to select the highest quality works for the exhibition. The book is based on hundreds of contemporary articles, published in Michigan Chronicle, Detroit's African American newspaper and in other local newspapers, as well as on other hard-to-locate archival materials. Dr. Myers assesses these Detroit artists in relation to their peers in other major metropolises such as New York, Chicago, Los Angeles/San Francisco, thus establishing that Detroit artists were significant contributors to African American art in the 1950s, 1960s and 1970s.
A story in English and Spanish from The House on Mango Street in which a child describes how each person in the family has hair that looks and acts different--Papa's like a broom, Kiki's like fur, and Mama's with the smell of warm bread.
For many people, especially those who came of age after landmark civil rights legislation was passed, it is difficult to understand what it was like to be an African American living under Jim Crow segregation in the United States. Most young Americans have little or no knowledge about restrictive covenants, literacy tests, poll taxes, lynchings, and other oppressive features of the Jim Crow racial hierarchy. Even those who have some familiarity with the period may initially view racist segregation and injustices as mere relics of a distant, shameful past. A proper understanding of race relations in this country must include a solid knowledge of Jim Crow—how it emerged, what it was like, how it ended, and its impact on the culture. Understanding Jim Crow introduces readers to the Jim Crow Museum of Racist Memorabilia, a collection of more than ten thousand contemptible collectibles that are used to engage visitors in intense and intelligent discussions about race, race relations, and racism. The items are offensive. They were meant to be offensive. The items in the Jim Crow Museum served to dehumanize blacks and legitimized patterns of prejudice, discrimination, and segregation. Using racist objects as teaching tools seems counterintuitive—and, quite frankly, needlessly risky. Many Americans are already apprehensive discussing race relations, especially in settings where their ideas are challenged. The museum and this book exist to help overcome our collective trepidation and reluctance to talk about race. Fully illustrated, and with context provided by the museum’s founder and director David Pilgrim, Understanding Jim Crow is both a grisly tour through America’s past and an auspicious starting point for racial understanding and healing.
"Landlord Colors: On Art, Economy, and Materiality reconsiders periods of economic and social collapse through the lens of artistic innovations and material-driven narratives. It examines five art scenes generated during heightened periods of upheaval: America’s Detroit from the 1967 rebellion to the present; the cultural climate of the Italian avant-garde during the 1960s-1980s; authoritarian-ruled South Korea of the 1970s; Cuba since the collapse of the Soviet Union in the 1990s to the present; and contemporary Greece since the financial crisis of 2009. Featuring more than sixty artists, Landlord Colors is a landmark exhibition, publication, and public art and performance series. While the project unearths microhistories and vernaculars specific to place, it also examines a powerful global dialogue communicated through materiality. Landlord Colors discovers textured and unexpected relationships between these artists whose investigations share themes of ingenuity, resourcefulness, and resistance." -- Cranbrook Art Museum website