An alluring glimpse into magnificent Cornell-like boxes created by some of the world’s leading architects and designers
"Lady Charlotte's translation of the Mabinogion opens a window into several important nineteenth-century intellectual issues. It sheds light on the interrelationships among antiquarianism, philosophy, folklore collection, and children's literature that underlie the works of such seminal creators of the Victorian fairy tale as the Brothers Grimm.".
This is a curio cabinet full of the objects of our life. Miniature deserts, Small chili restaurants, and inch high roller coasters that tested our nerve and our poetic lives. Miniature poetry books in leather bindings piled in every corner and you closer than my very own heart
*With wonderful illustrations in a refreshing, contemporary lay-out, this book is a 'Wunderkammer', a Cabinet of Curiosity, in itself*Brings the world of explorers back to life, inspiring budding collectors*In the same series as Wonders are Collectible Wunderkammern are showing up everywhere these days. Design webshops, expos, interior design stores: they all try to bring back the memory of the century-old tradition of Wunderkammer, or 'the Cabinet of Curiosities'. This book is a Wunderkammer in itself, showcasing the most beautiful exotica, which explorers and adventurous merchants brought back from all over the world for rich collectors. Be amazed by beautiful seashells, stuffed animals, sculptured ostrich eggs, botanical drawings, 'dragons' preserved in formaldehyde, and bewildering Indiana Jones-like stories. A fascinating New World presented itself to them, and in this book, you'll see it through their eyes.
This collection of essays explores objects that changed Australian women’s lives through their association with women’s liberation, the women’s movement, and feminism since 1970. The volume combines personal narrative, historical analysis, and memoir, creating a highly readable collection and a novel way of documenting, historicising, remembering and writing the Australian women’s movement, its affects, and its material culture. The contributors include high profile women and grass roots activists, academics and writers, and everyday women living the ideas of liberation and feminism from a range of locations. They are funny and serious, raw and sophisticated, analytical and emotional. Some are factual, while others delight in gossip. Each essay hinges on a particular object that is remembered for its symbolic value and practical use as an object of liberation, ranging from overalls and Gestetners, to seasponges and kombis. The editors’ introduction canvasses the current fascination with ‘things’, ‘stuff’, ‘objects’ and other material culture that comprises and shapes our lives; with ideas around memory and emotion as increasingly important components of social histories, and about the ways in which the Australian women’s movement is remembered. Combined, this volume of essays presents a fascinating collection of objects, writing, remembrance and the affects of one of the major social movements of the twentieth century. Things that Liberate is an experiment in thinking about the ways in which social movements can be documented and studied through material culture and memory.
As digital technology advances at breakneck speed, Images are circulating quicker than ever before. But what is the status of the image in the digital era? In The Digital Wunderkammer, art historian Hubert Burda (born 1940) examines the "iconic turn" in ten themed chapters and conversations with leading cultural theorists. In the first chapter, "The View Through the Window," Burda traces the connection between perspectival painting and the television, demonstrating in the second chapter how the image requires a frame, which in turn requires a material vehicle--the topic of the third chapter--that in our era has become a non-material vehicle with its own formal parameters. In the fourth chapter, "The Mobile Image," Burda shows how images have always been linked to portability, but now migrate to an unprecedented degree, so that anyone with a personal device can globally disseminate, say, footage from a concert via Youtube. A discussion of the capacity of individual images to placate or ennervate leads to a seventh chapter on the appetite for the Sublime and the rhetoric and representation of power throughout art history. Following a discussion of the democratization of celebrity culture, Burda proposes that the Google search box is perhaps the most interesting "interface" of our times, analogous to the seventeenth-century cabinet of curiosities (or wunderkammer). Conversations with Friedrich Kittler, Peter Sloterdijk, Bazon Brock, Horst Bredekamp and Hans Belting further extend this imaginative debate on the "iconic turn."
Exhibition catalog presents almost 100 rare and beautiful books drawn from the collection of Florence Fearrington, a former trustee of Grinnell College. Modern museums and art galleries have their origins in late Renaissance private collections of artifacts gathered for study and admiration. These collections, or "wunderkammers," were the work of scholars, kings and priests, each driven to gather pieces of the world and fashion a personally coherent whole. "From Wunderkammer to the Modern Museum" documents the fascinating intersection of science and art in these collections, and explores the shift from private spaces to public institutions.
Als einer der prominentesten Vertreter seines Faches hat Horst Bredekamp nicht nur die Kunst- und Bildgeschichte tiefgehend geprägt, sondern auch in Kultur und Politik gewirkt. Dabei hat er es geschafft, belastbare Brücken zwischen diesen oft weit auseinander liegenden Bereichen zu schlagen. Ein Porträt Bredekamps als Gelehrter und disziplinübergreifender Vermittler scheint aufgrund dieser Fülle an Handlungsebenen nur über ein Tableau von Berichten derjenigen möglich, die mit ihm über die Jahre im Austausch standen, ihn begleitet und geprägt, mit ihm diskutiert und gestritten haben. Dabei sind die Fragen an diese Wegbegleiter auch gleichzeitig an den Wissenschaftsbetrieb des 21. Jahrhunderts gerichtet; Sie bilden somit eine Positionsschrift zur Lage der Wissenschaft in Deutschland und an internationalen Forschungsinstituten.
This splendid volume invites you to take a voyage and explore Odile Decq's unique and complete universe of architecture, urban planning, design and art, which celebrates the freedom of imagination and shines a light on her distinctive approach to what is conventionally defined as architecture. From her signature concept of dynamic space, setting body into tension and movement, to lifelong ideals of organic transformation of object, perception, and fluidity of things. Spectactularly bound in Odile Decq's signature black, as well as with black gilding, and with intricate sketches and concept models, rich photography and insightful commentary, this book showcases the quintessential frameworks of Odile Decq's multidisciplinary design approach, illuminates her inspirational sources, and most importantly, demonstrates the coherence that is legible on every scale of her work. AUTHOR: Odile Decq is a French architect and urban planner. International renown came in 1990 with her first major commission: La Banque Populaire de l'Ouest, in Rennes, France. Since then, she has been faithful to her fighting attitude while diversifying and radicalising her research. Being awarded The Golden Lion of Architecture during the Venice Biennale in 1996 acknowledged her early and unusual career. Other than just a style, an attitude or a process, Odile Decq's work materialises a complete universe that embraces urban planning, architecture, design, and art. Her multidisciplinary approach was also recognised with the Jane Drew Prize in 2016, and she was honoured with Architizer's Lifetime Achievement Award in 2017 for her pioneering work, but also her engagement and contribution to the debate on architecture. She was also invited to create two installations (Phantom's Phantom and Diagonal 0) for the Biennale Architettura 2018. In 2018, she received an Honorary Fellowship from the Royal Architectural Institute of Canada in recognition of her outstanding contributions in building science, design and education. SELLING POINTS: * In 2017 Odile Decq was described by Vanity Fair as being one of the 50 most influential French personalities in the world; she's been awarded the Jane Drew Prize in 2016 for her relentless work in advocating for equality for women in architecture * Notable works include Populaire de l'Ouest in Rennes (the first metal-construction office building in France); FRAC Bretagne (one of France's first new contemporary art museums) in Rennes; interior designs of the Le Cargo offices in Paris; Viaduct and Operation Center of the A14 motorway, Nanterre, France; Phantom (the L'Opera Restaurant of the Opera Garnier) in Paris; Fangshan Tangshan National Geopark Museum in Nanjing, China; and the Museum of Contemporary Art in Rome. 400 colour images
Die in diesem Band versammelten Beiträge befassen sich mit den vielfältigen Beziehungen zwischen „Technik“, „Kunst“, „Kultur“ und „Wissenschaft“, die sich an der TU Wien im Laufe ihrer 200jährigen Geschichte ergeben haben. Nach einer allgemeinen Reflexion über das Verhältnis zwischen Kunst und Technik und ihrer Zusammenführung in der „Wiener Wunderkammer 2015“ werden die Verbindungen zwischen Angehörigen und Absolventen der TU Wien und ihrer Vorgängerorganisationen zum künstlerischen, insbesondere musikalischen und literarischen Leben ihrer Zeit betrachtet. Weitere Beiträge widmen sich der Rolle des Polytechnischen Instituts beziehungsweise der TH/TU Wien für die Entwicklung der frühen Fotografie und des Films sowie den Bemühungen der Hochschule um die populäre Vermittlung technischen Wissens in den ersten Jahrzehnten des 20. Jahrhunderts im Rahmen der „University Extension“.
First edition, second printing with some corrections. The German term "Wunderkammer" refers to a room full of wondrous things, objects noteworthy for their beauty, or their rarity, or their curious nature, or their artistic, scholarly, or monetary value. Wunderkammers originated as private collections in the 16th century, and proliferated throughout the 17th and 18th centuries, but began to decline when a more systematic approach to the accumulation of natural and man-made objects gave rise to our modern museums of art, culture, and natural history. Published to accompany the exhibition "Rooms of Wonder: from Wunderkammer to Museum, 1599-1899," the book focuses on the beautiful and elaborately illustrated catalogues produced by collectors over three hundred years to celebrate their "cabinets of curiosities." 0Exhibition: Grolier Club, New York, USA (5.12.2012-2.2.2013).
From Ferdinand Chevel's Palais Ideal (1879-1905) and Simon Rodia's Watts Towers (1921-1954) to Ant Farm's Cadillac Ranch (1974) and Richard Serra's Tilted Arc (1981), installation art has continually crossed boundaries, encompassing sculpture, architecture, performance, and visual art. Although unique in its power to transform both the site in which a work is constructed and the viewer's experience of being in a place, installation art has not received the critical attention accorded other art forms. In Space, Site, Intervention, some of today's most prominent art critics, curators, and artists view installation art as a diverse, multifaceted, and international art form that challenges institutional assumptions and narrow conceptual frameworks. The contributors discuss installation in relation to the genealogy of modern art, community and corporate space, multimedia cyberspace, public and private ritual, the gallery and the museum, public and private patronage, and political action. This ambitious volume focuses on issues of class, sexuality, cultural identity rase, and gender, and highlights a wide range of artists whose work is often marginalized by mainstream art history and criticism. Together, the essays in Space, Site, Intervention investigate how installation resonates within modern culture and society, as well as its ongoing influence on contemporary visual culture.