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An innovative look at the contribution of montage to twentieth-century architecture—now in paperback

Graphic Assembly unearths the role played by montage and collage in the development of architectural culture over the past century, revealing their unexamined yet crucial significance. Craig Buckley brings together experimental architectural practices based in London, Paris, Vienna, and Florence, showing how breakthroughs in optical media and printing technologies enabled avant-garde architects to reimagine their field.

Graphic Assembly considers a range of architects and movements from the 1950s through the early ’70s, including Theo Crosby, Hans Hollein, and John McHale; the magazine Clip-Kit; and the groups Archigram, Superstudio, and Utopie. It gives a thorough account of how montage concepts informed the design of buildings, prototypes, models, exhibitions, and multimedia environments, accompanied by Buckley’s insightful interpretations of the iconic images, exhibitions, and buildings of the 1960s that mark how the decade is remembered.

Richly illustrated with never-before-published material from more than a dozen archives and private collections, Graphic Assembly offers a comparative overview of the network of experimental architectural practice in Europe. It provides a deep historical account of the cut-and-paste techniques now prevalent with architecture’s digital turn, demonstrating the great importance of montage to architecture past, present, and future.

Ancient Greek inscriptions are crucially important in understanding the cultures of Greece and the Mediterranean in antiquity. They provide glimpses of the behavior of the people of the time, including clues about their mindsets and aspirations. These public records combine word and image in a multitude of ways and are rich in the insights they offer.

The inscriptions examined in this volume come from a range of objects on metal or stone that include laws, decrees, accounts and inventories, honorific texts, dedications to deities, and funerary epitaphs. They give a broad view of interstate relations, historical narratives, and the political administration of various city-states while also providing new perspectives on concepts such as democracy, citizenship, gender, ethnicity, religion, and the supernatural. Peter Liddel emphasizes the physical form of the texts alongside their importance in understanding ancient Greek culture. Accessible and insightful, Greek Inscriptions both highlights the significance and history of these artifacts and examines their reception in the modern world.

The first monograph to trace artist and activist Gregg Bordowitz’s visual practice.

For over four decades, Gregg Bordowitz has been a force in contemporary art, recognized for his work as an AIDS activist and an artist working in video, conceptual art, and institutional critique. During the 1980s, Bordowitz made vital contributions in the early years of ACT UP (AIDS Coalition to Unleash Power) in New York, where he cofounded video collectives including Testing the Limits and DIVA (Damn Interfering Video Activists). His collaborative activist work formed the foundation of his art practice—a sprawling, diverse, and deeply human endeavor that has explored his gay and Jewish identities within the context of the ongoing AIDS crisis. 

Despite his expansive artistic production, activism, and influence, there has yet to be a full monographic exploration of Bordowitz’s work. This landmark volume serves as the first publication dedicated exclusively to his visual work, offering a comprehensive portrait of an artist in constant motion. I Wanna Be Well—named after the 1977 Ramones song—traces the emergence of his visual art practice. Developed in close collaboration with Bordowitz and a team of art historians, curators, scholars, poets, and artists who have worked with him over the years, this book reveals Bordowitz’s practice as an evolving investigation of how to live, teach, and make art through sustained acts of care, critique, and remembrance. Lavishly illustrated with color throughout, the essays, interviews, poetry, and other writings gathered here present a rich look at Bordowitz’s life and career.

An in-depth examination of how computer vision in AI is indebted to artistic ideals from the Enlightenment

When Dutch megabank ING launched a 2016 advertising campaign spearheaded by an AI-generated “next Rembrandt,” it demonstrated just how deeply Western assumptions about the history of art had infiltrated fledgling artificial intelligence technologies. Working backward from this computer-generated Old Master painting, Elizabeth C. Mansfield traces the history of computer vision (the branch of AI research concerned with visual perception, recognition, and design) back to Enlightenment fantasies of intelligent machines and artistic automata.

Through her inquiry in eighteenth-century European fascination with art-making machines, Mansfield connects centuries-old automata to contemporary AI systems like DALL-E and Midjourney, showing how the history of art abides as a ghost in the machine of computer vision. She documents the artistic ambitions, aesthetic experiments, commercial pressures, and crises of authenticity that occur during the development of a technology designed to emulate aspects of human visual perception.

An innovative art historical response to computer vision, Ground Truth offers important new directions for a renewed engagement with art’s humanist and digital generation history. At a time when the humanist enterprise is being questioned, Mansfield makes the different worlds of art history and computer vision mutually intelligible in this compelling account of both.

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Gutai is the first book in English to examine Japan’s best-known modern art movement, a circle of postwar artists whose avant-garde paintings, performances, and installations foreshadowed many key developments in American and European experimental art.

Working with previously unpublished photographs and archival resources, Ming Tiampo considers Gutai’s pioneering transnational practice, spurred on by mid-century developments in mass media and travel that made the movement’s field of reception and influence global in scope. Using these lines of transmission to claim a place for Gutai among modernist art practices while tracing the impact of Japan on art in Europe and America, Tiampo demonstrates the fundamental transnationality of modernism. Ultimately, Tiampo offers a new conceptual model for writing a global history of art, making Gutai an important and original contribution to modern art history.