A SCHOLARLY BOOK REPOSITORY18 start with M start with M
In only a decade, Macau has exploded from a sleepy backwater to the world’s casino capital. It was bound to happen. Macau, a former Portuguese colony that became a special administrative region within the People’s Republic of China in 1999, was the only place in China where gambling was legal. With a consumer base of 1.3 billion mainland Chinese deprived of casino gambling, and the world’s largest growing consumer class, international corporations rushed in to enter the games. As a result, the casino influx has permanently transformed the Macau peninsula: its ocean reclaimed, hillside excavated, roads congested, air polluted, and glimmering hotel towers tossed into the skyline, dwarfing the 19th century church towers.
Essays by a number of experts give a deeper insight on topics ranging from the myth of the Chinese gambler, the role of feng shui in casino design, the city’s struggle with heritage conservation, the politics of land reclamation, and the effect of the casino industry on the public realm. Drawings and photographs in vivid color visualize Macau’s patchwork of distinct urban enclaves: from downtown casinos, their neon-blasting storefronts eclipsing adjacent homes and schools, to the palatial complexes along a new highway, a Las Vegas-style strip. They also reveal how developers go to great lengths to impress the gambler with gimmicks such as fluorescent lighting, botanic gardens, feng shui dragon statues, cast members’ costumes, Chinese art imitations, and crystal chandelier-decked elevators. It is a book that helps readers grasp the complex process of the development of the casino industry and its overall impact on the social and architectural fabric of the first and last colonial enclave in China.
The decades of the 1960s, ’70s, and ’80s were a time of growth and change in producing, marketing, and collecting Native American artwork and craftwork. During this time William R. Wright amassed a collection notable for its broad representation of twentieth-century Native American products. Focusing on the Southwest, he included contemporary Pueblo ceramics, Navajo and Hopi textiles, Navajo, Hopi, and Zuni jewelry, and baskets from some forty different Native American groups. The objects Wright gathered, which are now part of the collections of the Peabody Museum of Archaeology and Ethnology, reflect developments in the intersecting worlds of makers, markets, and collectors, including the challenges faced by makers to successfully balance tradition and innovation in their work and their lives.
This volume examines selected objects from the Wright collection to explore the market-influenced environment of modern Native American makers and their work, from what some consider the low end of tourist art multiples to the high end of unique, signed fine art objects.
This collection of ten case studies addresses the issues surrounding the improvement of energy consumption and thermal comfort in modern buildings built between 1928 and 1969 and offers valuable lessons for other structures facing similar issues. These buildings, international in scope and diverse in type, style, and size, range from the Shulman House, a small residence in Los Angeles, to the TD Bank Tower, a skyscraper complex in Toronto, and from the Calouste Gulbenkian Foundation, a cultural venue in Lisbon, to the Van Nelle Factory in Rotterdam, now an office building. Showing ingenuity and sensitivity, the case studies consider improvements to such systems as heating, cooling, lighting, ventilation, and controls. They provide examples that demonstrate best practices in conservation and show ways to reduce carbon footprints, minimize impacts to historic materials and features, and introduce renewable energy sources, in compliance with energy codes and green-building rating systems.
The Conserving Modern Heritage series, launched in 2019, is written by architects, engineers, conservators, scholars, and allied professionals. The books in this series provide well-vetted case studies that address the challenges of conserving twentieth-century heritage.
María Magdalena Campos-Pons (b. 1959) makes powerful work that holds and beholds the stories of historically silenced peoples and urges societal change. Her journey as an artist, teacher, and activist has taken her from Cuba through the United States, and her autobiographical compositions honor her Nigerian and Chinese ancestors while also facing the future. With an artistic practice that crosses boundaries, intertwines media—from photography to sculpture, film to performance—and references traditions and beliefs ranging from feminism to Santería, Campos-Pons’s work is deeply layered and complex.
This volume, the first critical look at the artist’s oeuvre in nearly two decades, surveys the concerns, materials, and places invoked throughout her forty-year career. Thoughtful essays explore her vibrant, arresting artwork, which confronts issues of agency and the construction of race and belonging and challenges us to reckon with these issues in our own lives.
This volume, copublished with the Brooklyn Museum, accompanies an exhibition on view at the Brooklyn Museum from September 15, 2023, to January 14, 2024, the Nasher Museum of Art at Duke University from February 15 to June 9, 2024, the Frist Art Museum from September 27, 2024, to January 5, 2025, and the J. Paul Getty Museum at the Getty Center from February 11 to May 4, 2025.
Examining a rich and previously unseen archive that includes photographs, film footage, and unpublished writing by Cunningham, Noland counters prior understandings of Cunningham’s influential embrace of the unintended, demonstrating that Cunningham in fact set limits on the role chance played in his dances. Drawing on Cunningham’s written and performed work, Noland reveals that Cunningham introduced variables before the chance procedure was applied and later shaped and modified the chance results. Chapters explore his relation not only to Cage, but also Marcel Duchamp, Robert Rauschenberg, James Joyce, and Bill T. Jones. Ultimately, Noland shows that Cunningham approached movement as more than “movement in itself,” and that his work enacted archetypal human dramas. This remarkable book will forever change our appreciation of the choreographer’s work and legacy.
Merchants of Style explores the accelerating convergence of art and fashion, looking at the interplay of artists and designers, and the role of institutions—both public and commercial—that have brought about this marriage of aesthetic industries. The book argues that one figure more than any other anticipated this moment: Andy Warhol. Beginning with an overview of art and fashion’s deeply entwined histories, and then picking up where Warhol left off, Merchants of Style tells the story of art’s emboldened forays into commerce and fashion’s growing embrace of art. As the two industries draw closer together than ever before, this book addresses urgent questions about what this union means and what the future holds.
Designed as a survey and focused on key examples and movements arranged chronologically from 1903 to 2003, this is the first comprehensive history of modern architecture in Latin America in any language.
Runner-up, University Co-op Robert W. Hamilton Book Award, 2015
Modern Architecture in Latin America: Art, Technology, and Utopia is an introductory text on the issues, polemics, and works that represent the complex processes of political, economic, and cultural modernization in the twentieth century. The number and types of projects varied greatly from country to country, but, as a whole, the region produced a significant body of architecture that has never before been presented in a single volume in any language. Modern Architecture in Latin America is the first comprehensive history of this important production.
Designed as a survey and focused on key examples/paradigms arranged chronologically from 1903 to 2003, this volume covers a myriad of countries; historical, social, and political conditions; and projects/developments that range from small houses to urban plans to architectural movements. The book is structured so that it can be read in a variety of ways—as a historically developed narrative of modern architecture in Latin America, as a country-specific chronology, or as a treatment of traditions centered on issues of art, technology, or utopia. This structure allows readers to see the development of multiple and parallel branches/historical strands of architecture and, at times, their interconnections across countries. The authors provide a critical evaluation of the movements presented in relationship to their overall goals and architectural transformations.
Leo Steinberg was one of the most original art historians of the twentieth century, known for taking interpretive risks that challenged the profession by overturning reigning orthodoxies. In essays and lectures ranging from old masters to modern art, he combined scholarly erudition with eloquent prose that illuminated his subject and a credo that privileged the visual evidence of the image over the literature written about it. His writings, sometimes provocative and controversial, remain vital and influential reading. Steinberg’s perceptions evolved from long, hard looking at his objects of study. Almost everything he wrote included passages of formal analysis that were always put into the service of interpretation.
Following the series publication on Pablo Picasso, this volume focuses on other modern artists, including Cézanne, Monet, Matisse, Max Ernst, Jasper Johns, Robert Rauschenberg, Roy Lichtenstein, Hans Haacke, and Jeff Koons. Included are seven unpublished lectures and essays, Steinberg’s landmark essay “Encounters with Rauschenberg,” a survey of twentieth-century sculpture, and an examination of the role of authorial predilections in critical writing. The final chapter presents a collection of Steinberg’s humorous pieces, witty forays penned for his own amusement.
Modern Art is the fifth and final volume in a series that presents Steinberg’s writings, selected and edited by his longtime associate Sheila Schwartz.
Examines the role of architecture in the history of global development and decolonization.
In Modernism’s Magic Hat, Ijlal Muzaffar examines how modern architects and planners help resolve one of the central dilemmas of the mid-twentieth-century world order: how to make decolonization plausible without accounting for centuries of capital drain under colonial rule. In the years after World War II, architects and planners found extensive opportunities in new international institutions—such as the World Bank, the UN, and the Ford Foundation—and helped shape new models of global intervention that displaced the burden of change onto the inhabitants. Muzaffar argues that architecture in this domain didn’t just symbolically represent power, but formed the material domain through which new modes of power acquired sense. Looking at a series of architectural projects across the world, from housing in Ghana to village planning in Nigeria and urban planning in Venezuela and Pakistan, Muzaffar explores how architects and planners shaped new ideas of time, land, climate, and the decolonizing body, making them appear as sources of untapped value. What resulted, Muzaffar argues, is a widespread belief in spontaneous Third World “development” without capital, which continues to foreclose any global discussion of colonial theft.
Contributors. Rebecca Amato, Michael Birchall, Ofri Cnaani, Michelle Coffey, Jennifer Dalton, Emma Drew, Pablo Helguera, Mary Jane Jacob, Jessica Lynne, Jeff Kasper, Kimsooja, Micaela Martegani, Andrea Mastrovito, Tony Oursler, William Powhida, Ernesto Pujol, Michael Rakowitz, Kirk Savage, Dread Scott, Andres Serrano, Gregory Sholette, Xaviera Simmons, Krzysztof Wodiczko
Today, the field of architecture faces a reckoning. While there is no longer consensus on what defines an architectural work, theorists, historians, and practitioners are grappling with urgent issues—among them the impact of climate change, the dynamics of power and race in relation with the built environment, and the technological, practical, and ethical dimensions of architecture. As established practices, academic objectives, and professional expectations come under scrutiny, architecture is in search of new definitions, identities, and voices.
Inspired by Italo Calvino’s memos about literature in the twenty-first century, this volume—the second in a series— situates architecture within a broad framework, exploring its complex interactions with environmental, cultural, political, social, artistic, and technological forces. The editors’ objective is to spur conversation across the boundaries that divide architecture’s theorists and historians from practitioners. In addition to the editors, the contributors include Sanford Kwinter, Aleksandra Jaeschke, Jennifer Mack, Rahul Mehrotra, Charles Waldheim, Kristi Cheramie, Jesse Reiser, Julian Harake, Jenny E. Sabin, Charles Davis, Esra Akcan, and David Karmon.
The fantasy of a male creator constructing his perfect woman dates back to the Greek myth of Pygmalion and Galatea. Yet as technology has advanced over the past century, the figure of the lifelike manmade woman has become nearly ubiquitous, popping up in everything from Bride of Frankenstein to Weird Science to The Stepford Wives. Now Julie Wosk takes us on a fascinating tour through this bevy of artificial women, revealing the array of cultural fantasies and fears they embody.
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