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Complementary Modernisms in China and the United States:

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ISBN: 9781950192571 Year: Pages: 696 DOI: 10.21983/P3.0269.1.00 Language: English
Publisher: punctum books Grant: Terra Foundation for American Art
Subject: History of arts
Added to DOAB on : 2020-08-05 23:59:06
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Complementary Modernisms in China and the United States: Art as Life/Art as Idea is the result of a conference where Chinese and Americanist art historians addressed the development of modernism in their respective cultural traditions. The chapters juxtapose historical developments without attempting to map connections or influences. Instead, both national modernisms are presented as part of the larger terrain of global modernism, but generated within specific, localized circumstances. This juxtaposition reveals significant differences as much as any particular moments of connection or similarities, disrupting any standard narrative of the primacy of French (or European) avant-garde art and its influence on more belated and peripheral communities.The differences that are revealed are not merely the result of the very different historical trajectories of each country’s moves into modernity. Rather, differences in attention and methodology are just as important, in particular the focus on the post-1980 development of Chinese art as part of the modernization of Chinese culture and economy, rather than the American perspective on post-1980s postmodern qualities. At the same time, significant convergent concerns emerge, such as the importance of urban centers and urbanization, the profound effect of political and technological disruption, and the question of identity.The volume represent a cross-section of Chinese and Americanist art historians, both early career and senior scholars, working on a wide variety of subjects, such as the Ashcan School, Impressionism, Cai Liang, Liang Sicheng, Huang Binhong, Cézanne, Bauhaus, Joseph Cornell, Andrew Wyeth, Louise Nevelson, Jackson Pollock, Andy Warhol, and contemporary art more broadly, with (as is usual in any survey of the 20th century these days) a concentration on the 1960s.《交互视野下的中国和美国的现代艺术: 艺术/生活或观念》这一会议论文集收录了中美艺术史家对现代主义在各自传统下的发展进行研究所得的成果。这些文章并置历史发展,而非试图详述其中的关联或影响。相反,两个国家的现代主义都被展现为全球现代主义大背景中的一部分,并被认为是在特定环境中产生的。这种并置显示了重要的差异性以及任何特殊情况下的联系或相似之处,打破了一般强调法国(或欧洲)先锋派首要地位及其对周围团体产生影响的标准论述。中国与美国现代主义发展上的差异,并不仅仅是由于两国进入不同历史轨道发展现代化而导致的。相反,关注点和方法论的差异也同样重要,尤其是关注八十年代后中国艺术的发展,将其作为中国文化与经济现代化的一部分,而不是从美国视角来看待八十年代后的后现代价值。同时,也出现了重要的趋同关注点:城市中心与城市化的重要性,政治或科技解体所造成的深远影响,以及自我认同的问题。本论文集所收录的文章,彰显了当今重要的中美艺术史家研究的多样性,从资深到青年一代,从阿什坎学派至当代艺术,(并与任何当下对二十世纪作出的概括论述相一致,)将重点放在二十世纪六十年代。

Barton Myers

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ISBN: 9781950192151 9781950192168 Year: Pages: 126 DOI: 10.21983/P3.0249.1.00 Language: English
Publisher: punctum books
Subject: Architecture
Added to DOAB on : 2019-07-03 11:21:05
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"Drawing on the vast archival resources of its Architecture and Design Collection, the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) presents an assessment of 50 years of design by Barton Myers (b. 1934), beginning with his work in the Toronto firm A.J. Diamond and Barton Myers (1967–1975) to his own offices in Toronto and Los Angeles, Barton Myers Associates (1975–present). Myers’s strongest architectural ideas come out of the planning strategies of his early neighborhood activism in 1970s Toronto, his grounding in history, and his training in the classical traditions of site and space planning. Barton Myers is an avowed urbanist—a self-described radical in his early advocacy of old-fashioned qualities like density, mixed-use of new and re-purposed materials, and contextual planning in the late 1960s when that fundamentally conservative position was considered counter-culture. Myers’ urban manifesto was codified in “Vacant Lottery,” the title of the Design Quarterly issue co-edited by Myers and Canadian architect and educator George Baird in 1978 and which led to a renewal of interest in urban planning and offered a strategy for increasing population densities within cities while preserving the existing residential fabric. The term lived on long past the journal’s circulation cycle as both an urban infill strategy and an acknowledgment of the ceding of city planning responsibility to the “lottery” of private developers. Myers’s design practice has thus always been a social justice practice as well. Myers is also a brilliant designer of residential houses that take advantage of local landscape contexts and adaptive reuse of building materials, including steel and glass. Five essays – on urban planning, civic structures, reuse of historic buildings, single- and multi-family housing, and theaters – reinforce Myers’s commitment to urbanism and reveal his flexibility with modes of modernism. Natalie Shivers introduces the early planning work in Toronto and traces the “vacant lottery” idea of neighborhood infill to the influential Grand Avenue project in Los Angeles. Howard Shubert examines the architectural and planning strategies, and political complexities, of several civic structures in Canada and the United States. Luis Hoyos explores Myers’s additions and adaptations to historic buildings in diverse urban contexts. Lauren Bricker focuses on the use of steel and other industrial materials in Myers’s houses and analyses the neighborhood-based designs of his multi-family housing. Charles Oakley describes the technical innovations, site planning, and historical underpinnings of Myers’s theaters and performance complexes."

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