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December 31, 2009

What is Contemporary Art? wins the Mather Award

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We are pleased to announce that Terry Smith, author of What Is Contemporary Art? has won the 2010 Frank Jewett Mather Award for Art Criticism. The award, given each year by the College Art Association, is considered one of the most important in art criticism and will be presented to Smith on the evening of Wednesday, February 10 at the CAA's annual conference in Chicago.

Terry Smith is the Andrew W. Mellon Professor of Contemporary Art History and Theory at the University of Pittsburgh. His many books include The Architecture of Aftermath, also published by the University of Chicago Press.

Navigate to the CAA website for more information about the CAA awards and to view the complete list of previous Frank Jewett Mather Award winners.

December 17, 2009

'Pictures which are interpretable… are bad pictures'

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Bookslut contributor Guy Cunningham has recently posted a review of Dietmar Elger's biographical account of one of the most important and influential artists of the post-war era, Gerhard Richter: A Life in Painting.

In his review, Cunningham notes how Richter's work strikes a profoundly ambivalent note somewhere between literal representation and the abstraction of concern to most of his modernist contemporaries, and takes special note of Elger's biography for its ability to duplicate this aspect of Richter's work in the telling of the artist's life. As Cunningham writes: "The great accomplishment of Gerhard Richter: A Life in Painting is the way it captures [the] ambivalence, which runs throughout much of the artist's work.

This detachment emerged early in Richter's career, beginning with his 'photo' paintings—paintings based on and evocative of particular photographs—in the 1960s. As Elger explains, 'Working from a photo eliminates the artifice of form, color, composition… The intention is to give paintings the most unartistic, impersonal, and distanced character possible.…'"

Accordingly, Cunningham continues, "any details [in Elger's biography] that could influence our view of Richter's work are intentionally played down… in keeping with Richter's stated belief that 'Pictures which are interpretable, and which contain a meaning, are bad pictures.'"

Offering readers a detailed yet disinterested look at Richter's artistic practice Gerhard Richter: A Life in Painting promises to be the foundational portrait of this prolific artist for years to come.

Read the full text of the review on the Bookslut website.

December 08, 2009

"Picturing the Studio," Dec. 11—Feb. 13 at The School of the Art Institute of Chicago

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Beginning with a reception this Friday, December 11th at 4:30 pm at the Art Institute of Chicago's Sullivan Galleries and running through February 13, 2010, The School of the Art Institute of Chicago presents "Picturing the Studio"—an exhibition exploring "the richly complex politically- and psychologicaly-charged notion of the artist's studio today… with works by over 30 artists spanning the past two decades… including several specially designed installations undertaken by artists on site." Curated by Michelle Grabner, (SAIC), and Annika Marie, (Columbia College), featured artists include: Jan Bas Ader, Conrad Bakker, John Baldessari, Stephanie Brooks, Ivan Brunetti, Ann Craven, Julian Dashper, Dana DeGuilio, Susanne Doremus, Joe Fig, Dan Fischer, Julia Fish, Nicholas Frank, Alicia Frankovich, Judith Geichman, Rodney Graham, Karl Haendel, Shane Huffman, Barbara Kasten, Matt Keegan, Daniel Lavitt, Daniel; Adelheid Mers, Tom Moody, Bruce Nauman, Paul Nudd, Leland Rice, David Robbins, Kay Rosen, Amanda Ross-Ho, Carrie Schneider, Roman Signer, Amy Sillman, Frances Stark, Nicholas Steindorf, and James Welling.

In conjunction with the School of the Art Institute the University of Chicago press is also pleased to announce the forthcoming companion volume to the exhibition, The Studio Reader: On the Space of Artists edited by Mary Jane Jacob and Michelle Grabner. Like the exhibition The Studio Reader pulls back the curtain from the art world to reveal the real activities behind artistic production. What does it mean to be in the studio? What is the space of the studio in the artist's practice? How do studios help artists envision their agency and, beyond that, their own lives? This forward-thinking anthology features an all-star array of contributors, ranging from Svetlana Alpers, Bruce Nauman, and Robert Storr to Daniel Buren, Carolee Schneemann, and Buzz Spector, each of whom locates the studio both spatially and conceptually—at the center of an art world that careens across institutions, markets, and disciplines. A companion for anyone engaged with the spectacular sites of art at its making, The Studio Reader reconsiders this crucial space as an actual way of being that illuminates our understanding of both artists and the world they inhabit. (Forthcoming in March of 2010.)

To find out more about the exhibition check the SAIC's website or online events calendar. The exhibition is also part of "Studio Chicago", a collaborative project exploring the artist's studio.

November 12, 2009

Up-close and personal with a bobcat

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Ever wondered about the techniques the pros use to produce such seemingly impossible images as the one above?
In a recent article for the Omaha World-Herald staff writer Rick Ruggles offers some insights into those used by Michael Forsberg, author of the new book Great Plains: America's Lingering Wild—a fascinating photographic journey through some of the last remaining natural landscapes of the Great Plains.

In his new book, Forsberg—whose work has also appeared in such publications as Audubon, National Geographic, Natural History, and National Wildlife—has captured a number of amazing images of natural landscapes and wildlife. But as the World-Herald article reveals, the intimacy with which Forsberg is able to approach his subject matter is, perhaps ironically, due to the fact that much of the time, he's not even there when the shutter opens. As Ruggles writes:

Wildlife photographers like Michael Forsberg, who just published the book Great Plains: America's Lingering Wild, now have the ability to capture close-ups of wary creatures that can hear or sniff out a person from hundreds of yards away.

Forsberg intended to deploy that strategy this bright-blue October day just west of the headquarters of the National Audubon Society's Rowe Sanctuary. The sanctuary is known as one of the finest spots from which to view the sandhill crane migration in March.

Forsberg, 43, looked for a place to assemble a "camera trap," which includes two small devices with an infrared beam running from one, the transmitter, to the other, the receiver. The photographer also sets out a camera and lights, or flashes.

A predator that steps through the invisible red beam triggers the camera, which in turn triggers the flashes. Forsberg can be far away, eating dinner with his wife and two daughters in Lincoln or photographing swans in the Sand Hills, when the image he covets is captured.

Continue reading about Forsberg's photographic techniques at the Omaha World-Herald or to preview some of its results, check out our online gallery of images from the book, and these sample pages in PDF format.

October 21, 2009

The Great Plains you've never seen

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An article in today's Omaha World-Herald begins by quoting photographer and author Michael Forsberg as he describes one one his initial experiences with the midwestern landscapes that inspired his newest book, Great Plains: America's Lingering Wild. The World-Herald's David Hendee writes:

Laid out prone in South Dakota's Badlands, wildlife photographer Michael Forsberg focused on burrowing owls in the prairie dog town far down the prairie.

During weeks spent hunkered in Dakota dirt, Forberg's aim shifted.

"I was amazed day after day at all the wildlife I saw," he said. "Not just the amount, but the diversity. Everything from dragon flies to pronghorn and a bunch in between. But I knew that people in cars screaming by off in the distance were looking over this landscape and thinking there wasn't anything there."

Forsberg set out to challenge the notion that the Great Plains is a place to drive through or fly over by revealing the region in ways rarely seen or thought about.

And with Great Plains: America's Lingering Wild Forsberg has accomplished just that. Revealing a midwestern landscape alien even to many of those who live in its midst, Forsberg's book demonstrates the surprisingly diverse natural communities that still exist on the Great Plains, despite their increasingly endangered status through several centuries of westward expansion and the rise of large scale industrial agricultural practices. Practices which continues to threaten some of the last strongholds of virgin prairie left in the U.S.

More than just pretty pictures, in his new book Forsberg has enlisted the help of former poet laureate Ted Kooser, writer-rancher Dan O'Brien, and geographer David Wishart to provide a foreword and essays complementing his stunning images of some of the last key habitats holding the plains ecosystem, and its arability, together. (For an interesting historical look at the consequences of human mismanagement of the Great Plains see Dorothea Lange's photographs of some of the first Dust Bowl migrants in Anne Whiston Spirn's recent book Daring to Look.) As Hendee writes:

Great Plains rivers have run dry. Aquifers have been mined. Wildlife populations have disappeared. Top soil has blown away. And native grassland continues to be turned under by plows.

"This is a working (farming) landscape and always will be," Forsberg said. "But we have choices to make about whether we want wildlife to have a seat at the table. If we don't value this natural heritage—and there will continue to be change if we don't value it—we could lose it altogether."

Read the full article on the Omaha World-Herald website. Also see a gallery of photographs and sample pages in PDF format (4.2Mb).

October 07, 2009

Preserving the last wild habitats of the Great Plains

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Driving through the Midwest without falling asleep at the wheel can be a test despite the ubiquitous presence of Starbucks at nearly every overpass from Nebraska to Chicago. Not that it wouldn't be rather, well, "plane" otherwise, but American industrial agriculture definitely has transformed much of the landscape of the North American interior into a monotonous, homogeneous grid. And the adverse impacts of these short-sighted agricultural practices go far beyond aesthetics, threatening public health, as well as the profitability of other industries that rely on the fragile ecosystems of the American heartland—ecosystems that have, over the last century, been all but obliterated. All the more reason why we should celebrate the hard work of folks like Michael Forsberg whose stunning photographic journey through some of the last remaining wild habitats in the Midwest has just hit the bookstore shelves in Great Plains: America's Lingering Wild.

In a recent article for the Nebraska based publication Prairie Fire, Forsberg himself details some of the trials and tribulations he endured to capture the rare images included in his new book, as well as some of the reasons he has for enduring. Toward the end of his piece Forsberg writes:

Will we as a culture also decide to find equal value and virtue in protecting and restoring our Plains' rich natural heritage, its amazing natural diversity and all the ecosystem services that its nature provides? In the long view, can the Great Plains function as working wilderness?

The contents of this book, and its … photographs, are not sufficient enough to answer these questions, but perhaps it is a sufficient start to a conversation. Time is short. Let's not waste it.

Read the rest on the Prairie Fire website and check out this recent review of the book in Lincoln's Journal Star.

Also see a gallery of photographs and sample pages in PDF format (4.2Mb).

October 06, 2009

Press Release: Forsberg, Great Plains

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Spanning the area west of the Mississippi River and east of the Rocky Mountains, the Great Plains once ranked among the most magnificent grasslands on the planet, second only to the Serengeti in sheer size, grandeur, and biodiversity. But today this broad expanse of prairie and steppe is among the most endangered ecosystems in the entire world. Here award-winning photographer Michael Forsberg—a frequent contributor to such publications as National Geographic, Audubon, National Wildlife, and Natural History—reveals the lingering wild that still survives on the Plains and whose diverse natural communities, landscapes, and native flora and fauna together create one extraordinary whole. Featuring contributions from novelist and wildlife biologist Dan O’Brien, noted geographer and environmentalist David Wishart, and American poet laureate Ted Kooser, Great Plains features 150 stunning full-color images along with literary, historical, and scientific passages that bring this extraordinary part of the country into more vivid focus than ever before.

Most Americans know little about the landscape, wildlife, and history of this vast part of our country. But here, the beauty and majesty of the Great Plains come alive in all their quiet glory.

Read the press release. Also see a gallery of photographs from the book, or these sample pages in PDF format.

October 02, 2009

Press Release: Ford, Soldier Field

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As fall beckons with changing leaves and shortening days, one thing is certain: NFL football is back, and Chicagoans everywhere are packing their coolers and grills for a trip to Soldier Field. For decades, the stadium’s signature columns provided an iconic backdrop for the Chicago Bears, but few realize that it has been much more than that. Soldier Field: A Stadium and Its City explores how this amphitheater evolved from a public war memorial into a majestic arena that helped define Chicago.

Chicago Tribune staff writer Liam T. A. Ford led the reporting on the stadium’s 2003 renovation—and simultaneously found himself unearthing a dramatic history. As he tells it, the tale of Soldier Field truly is the story of Chicago, filled with political intrigue and civic pride. Designed by Holabird and Roche, Soldier Field arose through a serendipitous combination of local tax dollars, City Beautiful boosterism, and the machinations of Mayor “Big Bill” Thompson. The result was a stadium that stood at the center of Chicago’s political, cultural, and sporting life for nearly sixty years, long before the arrival of Walter Payton and William “the Refrigerator” Perry.

Ford describes it all in the voice of a seasoned reporter: the high school football games, track and field contests, rodeos, and even NASCAR races. Photographs, including many from the Chicago Park District’s extensive collections, capture remarkable scenes of the swelling crowds at ethnic festivals, Catholic masses, and political rallies. This book will remind readers that Soldier Field hosted such luminaries as Billy Graham and Martin Luther King Jr., Judy Garland and Johnny Cash—as well as the Grateful Dead’s final show.

Now part of the city’s bid for the 2016 Olympic Games, Chicago’s stadium on the lake continues to make dramatic history. Soldier Field captures this history in the making and will captivate armchair historians and sports fans alike.

Read the press release.

September 10, 2009

Dorothea Lange's forgotten photographs

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Having produced some of the most powerful images of Depression-era rural America, including the now iconic Migrant Mother, Dorothea Lange's documentary photography for the Farm Security Administration offers a profound (and timely) record of the devastating effects of the Depression, as well as American's resilience in the face of hardship. But surprisingly, many of Lange's photographs for the FSA, (and arguably some of her best) have remained hidden from the public eye, consigned to archives where they have languished for years, rarely seen. Now, in Anne Whiston Spirn's recent Daring to Look: Dorothea Lange's Photographs and Reports from the Field Lange's never-before-published photos and captions from her fieldwork in California, the Pacific Northwest, and North Carolina during 1939 can finally receive the exposure they merit.

Focusing on selections of photographs accompanied by field notes and citations strategically selected by Spirn, as a recent review in Bookforum notes, [Daring to Look] "presents a case study of Lange's artistic agility"—the juxtapositions of image and text allowing readers to experience a diversity of voices and points of view, dismissing what reviewer Jordan Bear calls the "maudlin sentimentality" sometimes ascribed to Lange's work.

And for a sampling of some of these images see this illustrated excerpt from the book. Read Jordan Bear's full review on the Bookforum website.

September 09, 2009

The organization behind the Burning Man

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Last weekend Nevada's Black Rock Desert once again played host to the annual alternative community / neo-pagan festival known as the Burning Man. And since 2005 Katherine K. Chen author of Enabling Creative Chaos: The Organization Behind the Burning Man Event has been there, helping to organize efforts to safely and successfully execute the festival—which can attract upwards of 40,000 people—and organize its participants into a temporary alternative community where (according to the official Burning Man website) "transactions of value take place without money, advertising, or hype…" and "care emerges in place of structural service."

In her book, she draws on her own first-hand experiences of the Burning Man event and its unique community, to offer some fascinating insights into how the event's organizers have managed to pull it off. And beginning this week, she will also be offering her insights on the event as a new guest blogger at orgtheory.net. In her first post she demonstrates how analysis of such "unusual" cases of civic organization such as the Burning Man can be used to understand larger phenomena.

Navigate over to orgtheory.net to read.

Also, visit the author's own Enabling Creative Chaos blog.

August 26, 2009

Looting the birthplace of civilization

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Lawrence Rothfield's The Rape of Mesopotamia: Behind the Looting of the Iraq Museum offers a revealing look at the plundering of Iraq's cultural heritage during the Iraq war. Housing relics dating back to the dawn of human civilization some twelve thousand years ago, Iraq's National Museum as well as many important archeological sites were looted while, according to Rothfield, nearly everyone, including some of the highest ranking U.S. government officials, simply looked the other way. As Benjamin Moser writes his review for the September edition of Harper's magazine:

The destruction inevitable in wartime might have been mitigated if Iraq had not suffered the bad luck of being invaded by George W. Bush and Donald Rumsfeld. One of the many low points of their low endeavor came when Rumsfeld (whose boundless self-regard was untethered to any reckonable aptitude) said that "stuff happens" in reply to early reports of widespread looting. "The images you are seeing on television you are seeing over and over and over," Rumsfeld scoffed, "and its the same picture of some person walking out of some building with a vase, and you see it twenty times and you think 'M y goodness, were there that many vases?'"

This attitude, Rothfield shows, … even placed Rummy and his "war president" in unfavorable contrast with Saddam Hussein, who, during his invasion of Kuwait, took precautions to prevent the looting of the Kuwait Museum.… After Rumsfeld ignored repeated pleas to prevent the entirely foreseeable looting, disaster came: a full-scale destruction of countless monuments in the birthplace of civilization.

A powerful, infuriating chronicle of the disastrous conjunction of military adventure and cultural destruction, The Rape of Mesopotamia is essential reading for all concerned with the future of our past.

Pick up a copy of Harper's magazine to read the full review and in the meantime, read this excerpt from the book.

August 13, 2009

Pervasive policy failure

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In a new review essay on protecting cultural artifacts, n+1's Alexander Bevilacqua singles out Lawrence Rothfield's The Rape of Mesopotamia: Behind the Looting of the Iraq Museum as "an exposé that is all the more powerful for its calm tone.… His conclusion: Americans in positions of power and responsibility are collectively culpable for the destruction of the Iraqi cultural heritage, a 'pervasive policy failure.'"

Bevilacqua praises Rothfield for delving "deeper into the matter than simply blaming the Bush administration" for the April 2003 looting of the Iraq Museum, when more than 15,000 artifacts—some of the oldest evidence of human culture—disappeared into the shadowy worldwide market in illicit antiquities. In the years since that then, the losses have only mounted, with gangs digging up roughly half a million artifacts that had previously been unexcavated. Bevilacqua writes that:

The US is a global power with no cultural ministry and was not a member of UNESCO from 1984 to late 2003. There were, therefore, structural causes for US negligence in Iraq: for one, "the absence of social networks between cultural heritage advocates and war planners." This, Rothfield notes, stands in contrast to the (otherwise regrettable) British occupation, in which political players had a lively interest in Mesopotamian archaeology and were connected by social networks to scholars. In the American case, within a generally hurried and often inefficient war planning process, protecting cultural sites received little attention. General Tommy Franks was most succinct: "I don't have time for this fucking bullshit." If war planners failed to think of Iraq's heritage, archaeologists and curators share the blame for what came to pass. Archaeologists did not focus on the problem of preserving Iraq's cultural heritage until the fall of 2002. Once they did, they found they had no access to important players in the State and Defense departments.

As a curator and collector tells Rothfield in this excerpt "nobody thought of culture."

August 07, 2009

The Burnham Plan Centennial with author Carl Smith

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In 1909, with the backing of the Commercial Club of Chicago, architects Daniel Burnham and Edward Bennett published one of the most influential documents in the history of urban planning: The Plan of Chicago. Responsible for many of the city's most distinctive features, including its lakefront parks and roadways, the Magnificent Mile, and Navy Pier, the Plan (see a digitized scan of the original Plan at the Encyclopedia of Chicago website) reflected the city elite's response to the massive influx of inhabitants to urban centers during America's industrial age. Even today as the City of Chicago celebrates the centennial of the Plan's publication Burnham's influential document continues to spark debate over how urban planners can strike a balance between providing a livable habitat and one that can sustain industrial and economic growth.

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For the centennial celebration, the city—along with the University of Chicago, the Press, the Chicago Public Library, and many other supporting organizations—is offering a chance for Chicagoans to engage that debate first-hand with a number of events and activities this summer and fall—from Zaha Hadid and the UNStudio's architectural exhibits in Millennium Park, "honoring the forward-looking spirit of the Plan of Chicago, to the CPL's One Book, One Chicago series which has, for it's Fall 2009 program, chosen author Carl Smith's fascinating examination of the Burnham Plan in, The Plan of Chicago: Daniel Burnham and the Remaking of the American City.

The One Book, One Chicago program will run throughout the months of September and October with a number of readings and talks, hosted by some of the city's most prominent architects and scholars among others, focusing on Smith's book and it's insightful examination of Burnham's Plan. But beginning today and running through the weekend, Carl Smith himself will be hosting daily lectures and guided tours highlighting some of the city's most prominent historic landmarks and their relationship to the Plan. Smith will also give a talk this Sunday at the Arlington Heights Memorial Library and another at the Harold Washington Public Library downtown on October 24th (become a fan of our Plan of Chicago Facebook page for updates on more activities and talks featuring Smith and other UCP authors during the centennial celebrations).

It's impossible to understand where our fair city is headed without understanding its past, so read up on the subject with a copy of Smith's The Plan of Chicago: Daniel Burnham and the Remaking of the American City or one of our other fascinating books on Chicago's storied architectural history (scroll down the page a bit) and then get involved with some of the great events for the Plan of Chicago Centennial Celebration.

Read the introduction and first chapter to Smith's book.

July 30, 2009

Beyond the limits of self-consciousness

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A central issue for many photographers is the peculiar way in which the presence of a camera affects the phenomenon being observed—especially when human subjects are involved. Jed Fielding's new exposition of photographs in Look at me—a pictorial study of blind schoolchildren in Mexico, offers a fascinating exploration of this concept by documenting what happens when the subjects of photographic portraits cannot look back at the photographer or even see their own image. Capturing a rare sense of unmediated contact with his subjects Fielding has concentrated closely on these children's features and gestures, probing the enigmatic boundaries between surface and interior, innocence and knowing, beauty and grotesque. Confronting disability in a way that affirms life, Fielding's sightless subjects project a vitality that seems to extend beyond the limits of self-consciousness to produce images that reveal essential gestures of absorption and the basic expressions of our humanity.

For a preview of his work navigate to Fielding's website where he has posted online a selection from Look at me. And if you're in the New York area, Fielding will be exhibiting his work from September 10 through October 17th at the Andrea Meislin Gallery. See the gallery website for more details or navigate to the press's website to find out more about the book.

The world of airport design

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Slate architecture critic Witold Rybczynski posted a slide-show essay last week on the history and future of airport design. Airports, he begins, started out as grassy fields, but "by the late 1920s, as air travel became more widespread, larger buildings were required, with ticketing counters, waiting rooms, baggage handling, customs and immigration, and so on.… Architects have struggled with the problem of how to design airports ever since—and have produced a variety of different solutions."

Their architectural solutions, of course, did not exist in a vacuum, and in Naked Airport, Alistair Gordon does a brilliant job of evoking the cultures that influenced and were influenced by what he calls the world's most revolutionary structure. He does so by tracing their history from those grassy fields to their current position on the front lines in the struggle against international terrorism.

"Here is a book," one reviewer commented, "with more than enough quirky details to last a long layover." Which itself is a detail particularly worth noting if you're lucky enough to have a summer vacation ahead of you.

July 24, 2009

Faking Knossos

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From Freud, to Joyce, to Hilda Doolittle, and Robert Graves, many of the twentieth-century's most influential artists and intellectuals have, through their work, demonstrated an obsession with the roots of Western culture in ancient Minoan civilization. The source of this phenomenon, as Cathy Gere argues in her new book Knossos and the Prophets of Modernism, can be traced in large part to British archaeologist Arthur Evans' coetaneous discovery of the palace of Knossos on Crete.

Beginning in the Spring of 1900 Evans engaged in an unprecedented project to not only unearth the ancient Minoan civilization, but to recreate it, commissioning a cadre of artists and architects like Piet de Jong, and Swiss artist Émile Gilliéron to reconstruct the city's ancient buildings out of reinforced concrete, and piece together sparse fragments of Minoan frescoes with artwork of their own. The result, as Mary Beard notes in her review of Gere's book for the August New York Review of Books, was a "radical blurring of the boundary between authentic Minoan artifact" and modern fakes.

Yet despite its historical inaccuracies, as Gere shows, Evans' work gained intense popularity amongst modern interpreters who found in his fanciful reconstruction at Crete, the ancient pagan precedents for their own visions of Western civilization. In her review Beard praises Gere's work for its insightful demonstration that as much as "twentieth-century culture, from Evans on, projected its own concerns onto Minoan archaeology," Minoan archaeology conversely influenced twentieth-century culture. And with Knossos and the Prophets of Modernism, we now have a fascinating chronicle of this unprecedented confluence between the ancient and modern worlds—one which continues to shape western culture to the present day.

You can read Beard's full review at the New York Review of Books website, or read the introduction to the book.

July 16, 2009

Millennium turns five

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The City of Chicago is celebrating the five-year anniversary of Millennium Park this week with a series of free outdoor events hosted at the park.

The past five years, though, represent only a tiny fraction of the history of the landmark. And, in Millennium Park, Timothy Gilfoyle tells that story from the beginning, when the site of the park was part of Lake Michigan. To do so, he studied the history of downtown; spent years with the planners, artists, and public officials behind Millennium Park; documented it at every stage of its construction; and traced the skeins of financing through municipal government, global corporations, private foundations, and wealthy civic leaders. As the Chicago Sun-Times observed when the book appeared, "the creation of the $475 million park—which opened in July 2004 four years late and at more than twice its originally projected cost—was fraught with tension among its high-powered participants, including Mayor Richard M. Daley, fund-raiser John H. Bryan and his network of deep-pocket private donors, and architects Frank Gehry and Adrian Smith, among others.… This high-stakes game of push-and-pull forms the dramatic core of historian Timothy J. Gilfoyle's absorbing and lavishly illustrated Millennium Park."

The tribute this lovely book pays to the park will last for many, many birthdays. But our Trivia Quiz based on the book will only be fun before you read Millennium Park and learn all of the answers yourself!

July 01, 2009

CPL showcases The Plan of Chicago for the One Book, One Chicago program this Fall

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The Chicago Public Library has just announced that Carl Smith's The Plan of Chicago: Daniel Burnham and the Remaking of the American City has been selected for its One Book, One Chicago program starting this Fall. According to the CPL website the "One Book, One Chicago encourages all Chicagoans to read the same book at the same time, offering events, discussions, exhibits and more to enhance the experience." And what better topic to bring together our diverse city than the fascinating story of how it all began?

Arguably the most influential document in the history of urban planning, Daniel Burnham's 1909 Plan of Chicago, coauthored by Edward Bennett and produced in collaboration with the Commercial Club of Chicago, proposed many of the city's most distinctive features, including its lakefront parks and roadways, the Magnificent Mile, and Navy Pier. And as Carl Smith's fascinating history points out, the Plan continues to influence debates, even a century after its publication, about how to create a vibrant and habitable urban environment.

Beginning this August, we'll be blogging here, and at our Plan of Chicago Facebook page to keep you updated on all the forthcoming One Book, One Chicago events and discussions. You can also find out more about the program at the Chicago Public Library website.

June 18, 2009

A Philosophical Exploration of Art and Humanity

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As Bert Archer notes in his book review for Monday's Globe and Mail, Ben-Ami Scharfstein, professor emeritus of philosophy at Tel Aviv University, "has spent decades studying and publishing on Chinese, Japanese, African, European, American, South American and Pacific island culture." And in his new book, Art Without Borders: A Philosophical Exploration of Art and Humanity, Scharfstein brings the full force of his arsenal of cultural knowledge to bear in a fascinating study of art as a universal part of human experience. Archer writes for the Globe:

[Scharfstein's encyclopedic erudition] has given him a fluency of reference that allows him to efficiently, easily and convincingly compare a 16th-century Chinese artist with Picasso, use Yanagi Sôetsu's take on art in the age of mechanical reproduction to add to the usual Benjamin version, and describe second millennium BC Egyptian art in ways that recall Andy Warhol films such as Blow Job.

Indeed, this breadth of references is an inherent part of the book's argument. When Scharfstein uses a Congolese proverb to remind us that history is written by the victors, Nigeria's Prince Twins Seven-Seven as an example of a surreal artist, or the 11th-century Chinese forger Mi Fu to discuss the nature of authenticity, he is reinforcing the point that art's big issues are universal and at the same time expanding our own comparatively anemic cultural frames of reference and highlighting the fact that art crosses historical and cultural borders rather easily.

"Art everywhere has aesthetic values that are available to persons everywhere else," he says, and we believe him because he has shown us.

A profound and personal meditation on the human hunger for art, Art Without Borders unearths those essential elements that make artistic production a global endeavor, and articulates a common framework for cross-cultural artistic appreciation.

To find out more read the review online or see this excerpt.

June 16, 2009

Press Release: Camille, The Gargoyles of Notre Dame

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Any fan of the public radio show This American Life will remember the classic episode in which host Ira Glass takes Michael Camille, renowned scholar of the Middle Ages, to Medieval Times—the chain of “castles” that offer such attractions as jousting shows and meals served by “wenches.” Glass was “wondering what this academic is going to think,” one of Camille’s colleagues later recalled. “But Michael’s attentive, delighted response captures so much of his pleasure in discovery.” The Gargoyles of Notre-Dame, the last work Camille completed before his passing in 2002, reflects not only that trademark joie de vivre but also the intellectual heft he embodied just as fully.

Constructed in the 1800s, the famous gargoyles represent a later era’s notion of the Middle Ages (not entirely unlike Medieval Times). In his sweeping, comprehensive history of these chimeras, Camille shows for the first time how they transformed an iconic thirteenth-century cathedral into a modern monument. From the nineteenth-century reconstruction of Notre-Dame through the gargoyles’ twentieth-century afterlives, Camille tells a story that will delight anyone whose imagination has been sparked by the enigmatic creatures who gaze at Paris from one of the world’s most celebrated vantage points.

Read the press release.

June 09, 2009

Frank Lloyd Wright's lost masterpiece

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Following up on SXH's recent post commemorating the anniversary of Frank Lloyd Wright's birthday, another fascinating article on the life and career of the Midwest's iconic architect appeared last month in Newsweek. In her article, contributor Cathleen McGuigan writes on the two buildings bookending the great architect's life work. It is widely recognized that New York City's Guggenheim Museum, the last major work undertaken by Wright in his lifetime, provided the capstone to his career, but Buffalo's Larkin Building, "Wright's first large scale project," is too often forgotten. Why?

McGuigan writes:

[Opening in 1906 the building was] "revolutionary in the world of business, and within its mighty brick walls, it expressed the optimism of an era, and the excitement of a booming city." … Outside, the imposing building was a fortress against its grimy industrial neighborhood. But inside it was airy, planned around a skylit, sun-filled, five-story atrium. The executives sat there together at long desks, not in private offices, so the 1,800 clerical workers could overlook them from the upper-floor balconies along the sides—an arrangement that symbolized the openness of the Larkin corporate culture. On the building's exterior was inscribed the motto: HONEST LABOR NEEDS NO MASTER.

But Larkin's soap making business, which the building housed, proved not to be as stalwart as the walls which surrounded it, and folded during the Great Depression. Abandoned, the building was finally bulldozed in 1950, despite protests by preservationists. But while McGuigan's article laments the demise of Wright's first masterpiece, Jack Quinan's Frank Lloyd Wright's Larkin Building: Myth and Fact brings it back to life with more than one hundred photographs, floor plans, maps, and diagrams. More than a historical record of the building's conception, construction, evaluation, and finally demolition, Quinan also examines the Larkin Building as a structure at the center of economic and personal relationships, providing the definitive take on this lost treasure of American architecture.

Read McGuigan's article online or find out more about Frank Lloyd Wright's Larkin Building: Myth and Fact.

The good, the bad, and the naked

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In a contest based on the results of 8.6 million passenger surveys covering 190 airports, South Korea's Incheon International Airport emerged today as the winner of the World Airport Awards, which aim to evaluate traveler experiences in 39 different areas, from check-in and arrivals to departure at the gate.

The BBC reports, for example, that "Dubai had the best duty free shopping; Hong Kong the best dining; Helsinki the best baggage delivery, and Kansai in Japan the 'cleanest airport washrooms.'"

The stark practicality of such rankings underscores the difference between today's airports and their earlier cousins, which were once the backdrops for jet-setters who strutted, martinis in hand, through curvilinear terminals designed by Eero Saarinen. In Naked Airport, his cultural history of the airport, Alastair Gordon traces the institution's many incarnations from its origins in the muddy fields of flying machines to its role in the fight against international terrorism.

If you're unlucky enough to be stuck on your next trip in one of the many global airports not lauded for their quick check-in times or great duty-free shopping, a copy of Naked Airport is sure to offer a bit of solace—or at least a needed reminder that the place where you've been waiting for what seems like forever is itself an intriguing part of modern history that has profoundly changed our sense of time and space.

June 08, 2009

Knossos and the Prophets of Modernism—talk and book signing at the Corcoran Gallery

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In the spring of 1900, British archaeologist Arthur Evans began an unprecedented project to reconstruct the palace of Knossos on Crete, but instead, as Cathy Gere demonstrates in her new book, Knossos and the Prophets of Modernism, created a complex of concrete buildings on the site owing at least as much to modernist architecture as to Bronze Age remains. As Tom Holland of the Times Literary Supplement writes: "the fabulously ancient palace of Knossos enjoys, as Gere points out in her arresting first sentence, 'the dubious distinction of being one of the first reinforced concrete buildings ever erected on the island.'"

Gere shows how Evans' idiosyncratic reconstruction of the palace of Knossos was nevertheless successful at bringing ancient Greek legends to life and sparking the imaginations of a host of twentieth century artists and intellectuals. Influencing the likes of Joyce, Picasso, and Sigmund Freud to name a few, Evans' often fanciful vision of Cretan civilization, promulgated through the work of visionaries like these, had a profoundly transformative effect on the way Western culture viewed its past, as well as its future.

On Thursday, June 25, 2009 at 7:00 PM Gere is scheduled to make an appearance at Washington DC's Corcoran Gallery of Art to deliver a talk on the subject, examining how—based on Evans' work—European modernism reimagined ancient Cretean civilization in its own image, employing its creative reinterpretation of Cretan society as an early blueprint for twentieth century movements as disparate as fascism, pacifism, feminism and psychoanalysis.

For more about the book see Tom Holland's recent review for the TLS and another review from the May 14 edition of the Economist. For more details on Gere's lecture, navigate to Corcoran Gallery website.

May 21, 2009

Press Release: Gere, Knossos and the Prophets of Modernism

jacket imageThroughout human history, people have looked to the ancient world for lost knowledge and timeless wisdom—perhaps never more so than in the aftermath of World War I, whose swathe of devastation left millions dead and the Enlightenment dream in ruins. So when British archaeologist Arthur Evans began publishing breathless accounts of the ancient Minoan civilization he was uncovering on Crete—pagan, pacifistic, and matriarchal—it fired the imaginations of a whole generation of artists and intellectuals.

With Knossos and the Prophets of Modernism, Cathy Gere tells the story of Evans’s excavations and their wide-ranging influence on the world of Western ideas. Over the first three decades of the twentieth century, Evans’s fanciful depiction of Minoan society drew the fervent attention of writers, artists, and thinkers who were at the forefront of the burgeoning modernist movement, including Robert Graves, H.D., Girgio de Chirico, Sigmund Freud, and James Joyce. As Gere traces the unexpected paths of Evans’s ideas through the lives and works of these figures, what emerges is an unforgettable portrait of an age of wrenching change—and of those who responded to it with intellectual vigor and fervid innovation.

Read the press release.

May 14, 2009

Architectural history on the ground and between two covers

jacket imageWhether we're waiting for the El, reading virtually any local publication, or—of course—walking along South Michigan Avenue, Chicagoans can't help but remember that the Art Institute of Chicago's much-anticipated Modern Wing opens this weekend.

But we are not, of course, the only ones paying attention. Joining the many stories that have already begun to appear about the event, New York Times architecture critic Nicolai Ouroussof noted in his review Wednesday that "the addition manages to weave the various strands of Chicago's rich architectural history into a cohesive vision."

So what, exactly, are those strands? Whether you can talk about them endlessly or are still trying to sort them out, our deep list of architecture books will bring you up to speed on everything from our most iconic structures to alternative takes on the city's architectural history.

This weekend, for example, those lucky enough to try out the new bridgeway connecting the Modern Wing with Millennium Park might wonder about the history of this particular destination. Needless to say, we've got that covered.

April 14, 2009

Press Release: Uglow, Nature’s Engraver

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Thomas Bewick's (1753-1828) History of British Birds was the first field guide for ordinary people, illustrated with woodcuts of astonishing accuracy and beauty. In Nature's Engraver, Jenny Uglow tells the story of the farmer's son from Tyneside who became one of Britain's greatest and most popular engravers. It is a story of violent change, radical politics, lost ways of life, and the beauty of the wild—a journey to the beginning of our lasting obsession with the natural world.

"A refined and engaging biography, as beautifully wrought, in its way, as Bewick's woodcuts." —New York Times

"Uglow's clear prose sparkles like Bewick's River Tyne." —Los Angeles Times

"This is a lovely book, not just in the quality and sympathy of the writing but in the care of its design and illustration. [Uglow] has turned a rich but undramatic life into a vignette as full of interest and details as one of Bewick's own woodcuts." —Sunday Telegraph

Read the press release.

April 03, 2009

Art Deco & The Chicagoan

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In 1926 a new magazine graced Chicago newsstands. With its pages filled with witty cartoons, profiles of local personalities, and a whole range of incisive articles, The Chicagoan was a hit, on par with its east coast counterpart The New Yorker, which it was clearly an attempt to emulate. Yet while the New Yorker would grow to achieve a national readership, after only nine years The Chicagoan was defunct and forgotten—that is, until its serendipitous re-discovery in the stacks of the Regenstein Library by University of Chicago Professor of History Neil Harris. Now, Harris has brought the magazine back into the spotlight with The Chicagoan: A Lost Magazine of the Jazz Age—a collection of covers, cartoons, editorials, reviews, and features from the magazine.

Although the book overflows with a variety of historic material from one of the most fascinating eras in the city's history, perhaps the most interest has been generated by its lavish reproductions of the magazine's Art Deco covers and illustrations. We've received more than a few requests for poster-sized prints of the book's art, and recently the Chicago Art Deco Society Magazine even ran a feature article—written by one of the book's contributor's, Teri Edelstein—that focuses on the magazine from the perspective of Art Deco design. In her article Edelstein writes:

The Art Deco style permeated the entire magazine, not only for obvious subjects. Football players, dandies, golfers, and bathing beauties all succumbed to the colorful, abstracting, geometricizing treatments of Arthur Hugh Ruddy in a series of covers. The smoke from the cigarette of a blasé flapper bifurcates a black sky in Nightscape of September 24, 1927, by William Cotant, as she blankly regards a wall of buildings from the Blackstone Hotel to the tower of Montgomery Ward which stretch in orange and yellow cubes. Inflected by Parisian style, the angular Chicagoans of Mervin Gunderson vainly try to retain their hats as the wind even blows over a traffic signal in Boul.Mich from March 10, 1928.

You can check out a gallery of covers and illustrations that includes a few of those Edelstein cites on our website, as well as download these sample pages in PDF (7.0Mb), or read an interview with the author.

And no, we don't currently have any posters for sale, but it sounds like a great idea for any savvy Art Deco entrepreneurs out there!

April 02, 2009

Press Release: Hickey, The Invisible Dragon

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In 1993, Dave Hickey published a sharply opinionated book on art called The Invisible Dragon. It was a small volume, but the response was outsized—and, in many cases, outraged. While artists flocked to it, drawn by its forceful call for attention to beauty, huge numbers of more theoretically oriented professional critics absolutely savaged it, calling Hickey everything from naïve to reactionary.

Sixteen years later, Hickey’s back—and time hasn’t dulled his edge. With this new edition of The Invisible Dragon, Hickey has both revised and dramatically expanded his controversial book, addressing his critics and supporters both, while simultaneously placing the book—and the reactions it provoked—firmly in the context of larger cultural battles of the time. Bringing the works of Warhol, Raphael, Caravaggio, and Mapplethorpe to bear on the current situation of contemporary art, museum culture, and art criticism, Hickey argues powerfully for a renewed attention to the inherently democratic—and thus essential—concept of beauty. Writing with a liveliness and excitement rarely seen in serious criticism, Hickey invests The Invisible Dragon with the passion and drama that lie at the heart of great art.

Read the press release.

March 04, 2009

How to use the stimulus funds wisely

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It has been widely reported recently that Illinois hasn't yet revealed any concrete plans for the cash allotted to it for highway, bridge and transit projects via the President's economic stimulus bill. And this morning, U.S. Transportation Secretary Ray LaHood issued a warning that time is running out. Washington is required to distribute funds by the 10th. Combined with Illinois' recently bolstered reputation for political corruption and mismanagement, the report seems at once predictable and worrisome, bringing to the fore the central pitfall of Obama's attempts to jump-start the economy—the potential for local governments to simply squander billions of taxpayer dollars—a problem that Barry B. LePatner, author of Broken Buildings, busted Budgets, argues is compounded by a construction industry that "is just as broken as the infrastructure it's charged with building and repairing." In his article, "Five Points the Government MUST Consider Before Doling Out Billions to the Construction Industry" LePatner delivers a critical assessment of the construction industry and its inefficiencies, and outlines the steps a responsible government must take to ensure the money from one of the biggest spending programs in history is used wisely. Read the article on the American Surveyor website, or find out more about LePatner's book at www.brokenbuildings.com.

February 17, 2009

Art on TV

The latest issue of ArtForum magazine contains an interesting review of Lynn Spigel's new book, TV by Design: Modern Art and the Rise of Network Television. The review, which builds upon the positive assessment given by Andy Battaglia in his recent article for the magazine's sister publication BookForum, praises the work for "contradicting our peculiar amnesia" regarding TV's early links to the urbane world of modern art.

As Spigel aptly demonstrates, from the 1940's through the '60s TV served as an exciting new platform for the arts, inviting the participation of architects and designers like and Eero Saarinen and Saul Bass, to fine artists like Andy Warhol. Offering a stark contradiction to former FCC chairman Newton Minow's characterization of the medium as a "vast wasteland," Spigel's account even suggests that their work actually profited from their relationship with the "vulgar medium."

As ArtForum's Matthew Brannon writes, "since advertisers take it for granted that their job is to sell, they are denied that most dangerously available solipsistic avenue that fine art borders: I don't care what you think.…" Thus Brannon concludes that advertising offered these artists a lesson in visual communication: "how to say much with little [and] how to persuade someone without insulting them. I'm as interested in tact as I am in taste."

Pick up a copy of ArtForum to read the rest of Brannon's review, or read an excerpt from the book.

February 10, 2009

Press Release: Fielding, Look at me

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Sight is central to the medium of photography. But what happens when the subjects of photographic portraits cannot look back at the photographer or even see their own image? An in-depth pictorial study of blind school children in Mexico, Look at me draws attention to (and distinctions between) the activity of sight and the consciousness of form.

Combining elements of his earlier, acclaimed street work with an innovative approach to portraiture, Chicago-based photographer Jed Fielding dwells closely on these children’s features and gestures, exploring the enigmatic boundaries between surface and interior, innocence and knowing, beauty and grotesque. Fielding’s work achieves what only great art, and particularly great portraiture can: it launches and then complicates a process of identification across the barriers that separate us from each other. Look at me contains more than sixty arresting images from which we often want to look away, but into which we are nevertheless drawn by their deep humanity and palpable tenderness. This is a monograph of uncommon significance by an important American photographer.

Read the press release.

February 09, 2009

The soldier-artists of the Mekong Delta

The latest issue of Time magazine is running a noteworthy review of Sherry Buchanan's new book, Mekong Diaries: Viet Cong Drawings and Stories, 1964-1975—a collection of works by ten artists recruited by the Viet Cong during the U.S. conflict to carry their sketchbooks, ink, and watercolors into combat. Buchanan traveled across Vietnam to gather some of this never-before-published material, and as the Time review notes, the resulting book is a fascinating departure from the "common American narrative," offering "extraordinary insight into Vietnamese hearts, military and civilian."

To find out more read the article on the Time magazine website or see these sample pages [PDF format] featuring a selection of artworks form the book.

February 03, 2009

Press Release: Spigel, TV by Design

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TV by Design takes us back to the cold war years to witness the rise of two cultural superpowers: modern art and network television. Often mistakenly cast as polar opposites, television and fine art were intimately linked in this period as TV creators and producers drew inspiration from the latest trends in graphic design, avant-garde cinema, pop art, and modernist architecture. By broadcasting art’s cutting edge directly into America’s living rooms, TV gave modern art unprecedented national exposure. Lynn Spigel populates this fascinating history with the stories of the many artists—including Eero Saarinen, Duke Ellington, Ben Shahn, Saul Bass, Andy Warhol, William Golden, and Richard Avedon—that worked in or were influenced by television and illustrates it with an array of photos, ads, and stills from the period. A lively correction to the medium’s reputation as a vast wasteland, TV by Design reveals the dynamic history of the ways television brought entertainment and art into people’s everyday lives.

Read the press release.

Also, read an excerpt.

January 29, 2009

The Things They Carried (and Painted)

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This weekend marks the 41st anniversary of the beginning of the Tet Offensive, a major assault launched during the tacit lunar New Year ceasefire by the Viet Cong against the South Vietnamese and American armies. Though American forces quickly turned back the onslaught, the campaign was a political and psychological victory for the Communists and further eroded US support for the war.

Demonized by Americans as reds, gooks, and fanatical killers, the Viet Cong were said to have "committed the most unbelievable acts of terrorism the world has ever known," as Hubert Humphrey once declared. But a new book offers an entirely new perspective on these enemy fighters. Mekong Diaries: Viet Cong Drawings and Stories, 1964-1975, by Sherry Buchanan, presents never-before-published drawings, poems, letters, and oral histories by ten of the most celebrated Viet Cong war artists.

These guerrilla artists—some military officers and some civilians—lived clandestinely with the fighters, moving camp alongside them, going on reconnaissance missions, and carrying their sketchbooks, ink, and watercolors into combat. Trained by professors from the Hanoi Institute of Fine Arts who journeyed down the perilous Ho Chi Minh Trail to ensure a pictorial history of the war, they recorded battles and events from Operation Junction City to Khe Sanh to the Tet Offensive. They also sketched as the spirit moved them, rendering breathtaking landscapes, hut and bunker interiors, activities at base camps, troops on the move, portraits for the families of fallen soldiers, and the unimaginable devastation that the conflict left in its wake. The collective record of these supposedly savage soldiers is an extraordinary historical and artistic document of people at war.

See sample images from the interior here. And also check out Buchanan's Vietnam Zippos: American Soldiers' Engravings and Stories (1965-1973) to see more of the things they carried. The engravings gathered in this copiously illustrated volume are at once searing, caustic, and moving, running the full emotional spectrum with both sardonic reflections—I Love the Fucking Army and the Army Loves Fucking Me—and poignant maxims—When the Power of Love Overcomes the Love of Power, the World Will Know Peace. Part pop art and part military artifact, they collectively capture the large moods of the sixties and the darkest days of Vietnam—all through the world of the tiny Zippo.

January 19, 2009

Artistry of the Viet Cong

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Arts and culture blog truthdig.com posted a review last week of Sherry Buchanan's recent book, Mekong Diaries: Viet Cong Drawings and Stories, 1964-1975—a collection of work by ten Vietnamese soldier-artists that, as truthdig contributor Christian G. Appy notes, offers the western world new insight into the experiences of those on the other side of the Vietnam War and the resilience of those soldiers in the face of the much better equipped U. S. military. Appy's article begins by quoting a Chicago novelist:

"We lost the war because the Vietnamese just flat out beat us. And we lost the war because we didn't understand that they were poets." I was offered this Delphic explanation of American defeat in Vietnam by Larry Heinemann, a novelist who survived some of the war's fiercest fighting in 1967 and 1968 as a soldier with the 25th Infantry Division near the Cambodian border in Tay Ninh province.… But how could poetry, or any kind of art, help explain one of history's most astonishing victories? I think what Heinemann meant was that the Communist-led cause in Vietnam mobilized not just bodies, but souls.…

To maintain morale, the government of the Democratic Republic of Vietnam (North Vietnam) deployed hundreds of artists, writers, actors, singers, photographers, puppeteers and dancers. These members of the "Literature and Arts" section of the military (Van Nghe) did not just visit combat troops, or lecture to them; they lived with them, moved with them, camped with them, and sometimes fought along with them. They were military artists in residence, only the residence was a war zone, not a campus. When combat was imminent they might move to the rear, but, when necessary, they picked up arms and fought, and died.…

Sherry Buchanan's new book, Mekong Diaries: Viet Cong Drawings & Stories, 1964-1975, gives us a stunning look at some of the wartime art produced by the Vietnamese soldier-artists who served in the "American War" to drive out the U.S., topple the American-backed government in Saigon and reunite Vietnam. The book's title is a bit misleading. This is not a collection of diaries. There are a few scraps of moving wartime correspondence and some wartime poems by Nguyen Duy, but this is, primarily, a collection of watercolors and sketches created during the war by soldier-artists.

And you can preview a selection of these watercolors and sketches in PDF format here , or continue reading Christian Appy's article on Mekong Diaries on the truthdig blog.

January 16, 2009

TV as fine art

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In a speech before the National Association of Broadcasters in 1961, the then-chairman of the FCC Newton N. Minow famously dubbed TV a "vast wasteland." And as Andy Battaglia notes in his article for the February/March issue of Bookforum, "ambassadors of high culture voiced similar worries almost from the moment the first televised image was broadcast to a putatively unwitting and undereducated public." But in her new book TV by Design: Modern Art and the Rise of Network Television, author Lynn Spigel offers an alternative account of the medium's history that "upends talk of early television as an empty enterprise," by demonstrating a surprising partnership between television and the world of modern art that transformed the way Americans experienced the world visually. Battaglia writes:

Focusing on broadcasting's formative era, the '40s through the '70s, Lynn Spigel… looks at the ways in which the new medium got in bed with various disciplines—in the fine arts as well as more utilitarian modes of graphic design—thought to be of higher mind.…

Valuable chapters survey developments in visionary set design and avant-garde programming (including "silent" broadcasts by comic Ernie Kovacs and provocatively awkward ones by Andy Warhol), but the book mainly focuses on the more general task laid out in its epilogue's title, "Framing TV, Unframing Art." "Although broadcast historians aren't wrong," Spigel writes, "the singular focus on programs blinds us to the variety of visual experiences that early TV actually offered." Part of that variety involved simply watching shows in a decidedly modern zoned-out state, to be sure. But part of it helped prod the masses to contemplate what it meant to look, at art and at everything else. Just think of the recent scene in Mad Men in which a young ad exec stares up at a Rothko and says, "Maybe you're just supposed to experience it."

The January 13th edition of the Village Voice also ran a short review praising Spigel's work for its revelatory account of television's symbiotic relationship with fine art. And rumor has it that another review will be appearing in Bookforum's sister publication, Artforum soon.

Read an excerpt from chapter two of Spigel's book: "An Eye for Design: Corporate Modernism at CBS."

January 08, 2009

The Chicagoan on Eight Forty-Eight

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Author Neil Harris, joined Eight Forty-Eight host Richard Steele on this morning's program to discuss how he stumbled upon several issues of the Chicagoan deep in the stacks at the University of Chicago's Regenstein Library and his resurrection of the forgotten 1920's publication in his new coffee table book, The Chicagoan: A Lost Magazine of the Jazz Age.

Listen in on the conversation on the website for Chicago Public Radio's Eight Forty-Eight.

Also read an interview with the author, see a gallery of covers and illustrations from the magazine and sample pages in PDF (7mb) from the book.

January 05, 2009

The Chicagoan and the University

jacket imageToday the University of Chicago homepage features an article and video on Neil Harris's new book, The Chicagoan: A Lost Magazine of the Jazz Age. In the video, Harris discusses how he discovered issues of the Chicagoan in the Regenstein Library and his first impressions of the long-lost magazine. The article by Greg Borzo gives more details and notes how the magazine reflects the University's own prominence "in the city's cultural, political, and social life during the 1920s and '30s." Borzo quotes Harris as he explains:

"Back then, the University of Chicago was a bigger player, relatively speaking, than it is today because there was no University of Illinois-Chicago, and the Catholic universities were not as prominent. Plus, [former Chicago President Robert Maynard] Hutchins was the golden boy, and we had a football team."

As illuminating as the Chicagoan is about socialites and politicians, its deepest value is a record of its creators. "The significance and importance of this glorious publication lies in it contributors," Harris says.

There were a lot of contributors—468 people during one seven-month period, according to a magazine promotion. Harris tracked down the identity of scores of these contributors, and the book includes a chapter with short biographies of more than 80 of them. Most were quite young (and inexpensive) when they worked for the Chicagoan.

A surprising number attended the University, including Richard "Riq" Atwater, co-author of the award-winning Mr. Popper's Penguins; Meyer Levin, the best-selling novelist of the 1956 mystery Compulsion; Robert Pollak, drama and music critic; and Susan Wilbur, author and translator of literary works.…

"The Chicagoan carried within it the imprint of many aspiring talents," Harris wrote in his book. "It is hoped that this anthology will offer them not just a brief reprieve from oblivion but quite possibly a vestibule to new celebrity."

The feature also has a collection of cartoons from the magazine as well as links to our own interview with Harris and gallery of covers and illustrations.

December 31, 2008

William Davies King on Talk of the Nation

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William Davies King, author of Collections of Nothing, was the featured guest for a call-in session this Monday on NPR's Talk of the Nation. In the show, Davies discusses his unusual passion for collecting, and what's even more unusual, his passion for collecting items that most would consider junk. Davies describes his habit as a way of coping with difficulties in his life and a profound meditation on how and why we value things the way we do—and listening to the callers describe their own peculiar collections, apparently he's not the only one. Listen to King's radio appearance, and read an excerpt from his book on the NPR website.

Also, read another excerpt and an essay by the author on the press's site.

December 16, 2008

Neil Harris discusses the Chicagoan

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Author Neil Harris appeared yesterday evening on WFMT's Critical Thinking with Andrew Patner for the first of two conversations about his new book, The Chicagoan: A Lost Magazine of the Jazz Age. You can catch the second part of the conversation on WFMT next Monday, December 22. But until then, listen to the archived audio from yesterday's show and after each broadcast from the Critical Thinking webpage.

The Windy City's lost counterpart to the New Yorker, the Chicagoan sought to transform the city's reputation for organized crime, political mayhem, and industrial squalor by demonstrating the presence of style and sophistication in the Midwest. But after nine years of publication that straddled the roaring 20s and the Great Depression, the magazine folded and was forgotten. Now, Harris's book, featuring a stunning collection of articles, illustrations, and covers, resurrects the magazine in all its brilliance offering a window into one of the most exciting chapters in the city's history.

Also, read an interview with the author, see a gallery of covers and illustrations from the magazine and sample pages in PDF (7mb) from the book.

Press Release: Sparagana, Sleeping Beauty

jacket imageWith the publication of Sleeping Beauty: A One-Artist Dictionary, the University of Chicago Press is proud to announce Project Tango, a new series of experimental collaborations between artists and writers. Exploding the traditional dynamic of the artist's relationship with the critic, Sleeping Beauty inaugurates a genuine dialogue, in which the interlocutors have equal agency. This conversation tests the limits of creative collaboration, bringing new ideas to the process of making books and expanding the possibilities of the medium.

Here, for example, Mieke Bal contributes twenty-six essays—one for each letter of the alphabet—which borrow their organizing principle from the dictionary but reach far beyond the utilitarian purpose of a reference work. Each one enters deeply into John Sparagana's art, illuminating concepts from Abstract to Zestful that inform, underlie, and lend meaning to the exquisitely ruined images he creates by crinkling glossy images from fashion magazines until their sheen disappears and they become soft and elastic. The images, for their part, speak back through Sparagana's unique process of subtraction, which physically rubs away not only ink and material, but also transience and commercial usefulness. The result is an extraordinary first step in Project Tango's unchoreographed dance. We can't wait to see where it leads us.

Read the press release.

December 01, 2008

We live in an age of obsession

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Cultural critic Julia Keller has written an interesting article about Lennard J. Davis's new book Obsession: A History for the lifestyle section of the Sunday Chicago Tribune. In her article, Keller notes how "obsessive" behavior has come to define our culture, though in a very polarized way. We admire those whose drive leads them to professional or athletic success. But we also might recommend someone who can't stop washing their hands every five minutes, or spends hours straightening the picture frames in their living room, to go find a good psychologist to help them with their OCD. In her article Keller quotes Davis:

"To be obsessive is to be American, to be modern."

Yet the term has never been a stable category. When does an eccentricity become an obsession? When does a quirk become a pathology? You can't understand obsession, the professor believes, without considering "the social, cultural, historical, anthropological and political" swirl in which it lives.

And in Obsession Davis does just that, tracing the evolution of obsessive behavior from a social and religious fact of life into a medical and psychiatric problem. From obsessive aspects of professional specialization to obsessive sex and nymphomania, no variety of obsession eludes Davis's graceful cultural analysis.

To find out more read Keller's article on the Tribune's website. Also read an interview with Davis or listen to his appearance on the Chicago Audio Works podcast.

November 24, 2008

A lost magazine of the jazz age

jacket imageLast Sunday's New York Times Book Review closes with a noteworthy piece by Matt Weiland on Neil Harris's, The Chicagoan: A Lost Magazine of the Jazz Age. Weiland praises the book for its handsome resurrection of one of Chicago's most stylish publications, offered here for a whole new age to enjoy:

[The Chicagoan] was founded in 1926 by a group of Chicagoans inflamed by the example and success of the New Yorker, which had begun the year before. It was published every two weeks, and before long Time magazine was heralding it for having the "finish and flair worthy of a national publication." But its readership began to decline as the Great Depression set in, its frequency was reduced to monthly, and in 1935 it died a quiet death. Somehow this vibrant magazine was completely forgotten until a few years ago, when the distinguished cultural historian Neil Harris came upon a set of the magazine's run in the library of the University of Chicago. It has now been brought back into print, if not to life, by the University of Chicago Press.

What a marvelous job they have done! This is a book you will want to own, a coffee-table book nicer and better than most coffee tables. The University of Chicago Press has swung for the fences, producing the book to the highest standards—a nearly 400-page oversize volume, designed with care and attentiveness, to period detail and featuring loads of full-color images. It's a pleasure to see the ball sail into the bleachers… Thanks to Neil Harris's serendipitous discovery and the University of Chicago Press's superb effort, The Chicagoan takes its rightful place on the top shelf.

Read the review on the NYT website. We have a gallery of covers and illustrations from the magazine and sample pages in PDF (7mb) from the book.

Press Release: Harris, The Chicagoan

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“In all the seven seas and the lands bordering thereon there is probably no name which more quickly calls up thoughts of crime, violence, and wickedness than does that of Chicago.” So wrote journalist R. L. Duffus at the height of the Jazz Age—and he was not alone in that opinion. During those heady days, writers and newspapers nationwide lamented Chicago's utter filth and brutality. For most, the Windy City conjured images of slums, squalor, and social pathology. An industrial Gomorrah that made heroes of corrupt politicians, mob bosses, and murderers, Chicago had a serious image problem.

Enter the Chicagoan. Urbane in aspiration and first published just sixteen months after the first appearance of the New Yorker in 1925, the magazine sought passionately to redeem Chicago's unhappy reputation. In its own words, the popular biweekly claimed to represent “a cultural, civilized, and vibrant” city “which needs make no obeisance to Park Avenue, Mayfair, or the Champs-Elysees.” The University of Chicago Press is proud to publish The Chicagoan: A Lost Magazine of the Jazz Age by noted historian Neil Harris. The book brings this forgotten magazine back to brilliant and vivid life for a new generation of readers to enjoy.

Read the press release.

November 20, 2008

Obsession—illness or ideal?

jacket imageWe were pleased to note this morning that Lennard J. Davis's new book, Obsession: A History is the frontpage story in this week's Chicago Reader. The article by the Reader's Deanna Isaacs focuses both on Davis himself and on the way his book complicates the common notion of obsession as a medical disorder, demonstrating that it's actually much more prevalent in modern society than one might guess:

We live in an age of obsession, some of us sick with it and some of us wildly successful because of it. If you ran the appointed number of miles for your workout this morning, took all your supplements, read the papers, perused all the necessary Web sites, and are planning to put in a focused, 10- or 12-hour day on the job, you're headed down the culturally approved obsessive path to reward.

If, on the other hand, you're mopping your kitchen floor ten times a day or heading to the sink for your 80th hand-washing, hoarding every plastic bag you ever got at Jewel, and lying awake at night counting the lights in neighboring buildings, someone close to you is probably suggesting that you see a doctor, get a diagnosis, and take a pill to fix your obvious case of obsessive-compulsive disorder.

Never mind that the guy writing the prescription is just as obsessed as you are. He's on the right side of our cultural fixation and you're not.

That's the argument in Obsession: A History, UIC professor Lennard J. Davis's study of the rise and bifurcated path of obsessive behavior as both an illness and an ideal in the modern world.… He says that in our culture it's not only common but highly desirable to be a little nuts, as long as the craziness takes the form of obsession—the "singular attention to a particular thing" that our highly specialized jobs, electronically connected environment, and extreme hobbies demand.

Pick up a copy of the Reader for the complete article or find it online here. Also read an interview with the author and listen to Davis on the Chicago Audio Works podcast.

October 28, 2008

A lost magazine from an elegant era

jacket imageIn the early part of the twentieth century H. G. Wells pronounced the city of Chicago "a great industrial desolation" and a "nineteenth century nightmare." Often noted by outsiders only for its slums, squalor, and stockyards, during the twenties and thirties Chicago fought hard to transform its image into one of a sophisticated urban center, struggling for cultural superiority with it's arch rival to the east, and the burgeoning megalopolis in the west. One of the city's weapons in this struggle was a new publication which, in its own words, claimed to represent "a cultural, civilized, and vibrant" city "which needs make no obeisance to Park Avenue, Mayfair, or the Champs Elysees." Urbane in aspiration and first published just sixteen months after the 1925 appearance of the New Yorker, the Chicagoan sought passionately to redeem the Windy City's unhappy reputation by demonstrating the presence of style and sophistication in the Midwest. Nevertheless, for all it's elegance and flair the magazine had a life span of less than a decade, forgotten as the boom years of the Jazz age lapsed into the Great Depression.

Now, as Julia Keller notes in a recent review for the Chicago Tribune, "thanks to the archival detective work of Neil Harris, emeritus professor at the University of Chicago, we can glide our way back to an era when elegance mattered—not only in dress and deportment, but also in sentence and image. In the The Chicagoan: A Lost Magazine of the Jazz Age… a hefty, gorgeous hunk of a book that reproduces one entire issue as well as 149 covers and many articles, a vanished era returns. It comes back in all of its fussy glory, its daffy humor, its gentle insistence that even a city best known for gangsters and stockyards could yearn for beauty and glamor."

Keller continues:

Harris dug out the issues, tracked down the identities of the artists, writers and editors who created them and put the whole enterprise into historical context in the spirited essays that precede each section. With its vivid covers, its book and theater and concert reviews, its whimsical cartoons, and its cheeky profiles, The Chicagoan sought to convey "the personality of its namesake city," Harris writes, billing itself as "the only oracle of smart Chicago.…" It tried to suggest that a city's cultural life was key, that the Midwest wasn't just a holding pen for cows and crooked politicians. The place had style. The place had charm. The place was here to stay—even if The Chicagoan, sadly, wasn't.

See our online gallery for The Chicagoan, including two dozen covers and interior images from the magazine. Read Keller's review on the Chicago Tribune website.

September 10, 2008

William Davies King on the Psychjourney Podcast

jacket imageWilliam Davies King, author of Collections of Nothing was interviewed yesterday by Deborah Harper for the Psychjourney website podcast. King's book is an illuminating mediation on the author's own habit of amassing the most unusual collections—everything from cereal boxes to nondescript loops of wire—things which many people might regard as junk, but which King finds that by collecting, he can imbue with meaning, even value.

In the podcast, Harper engages King in a discussion about his book, his collections, and his fascinating insights on the impulse to accumulate. Navigate to the Psychjourney website to listen.

September 09, 2008

A new look at Dorothea Lange's Depression-era photographs

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Both the Times Higher Education and the New Yorker's book blog, the Book Bench have recently published positive reviews of Anne Whiston Spirn's, Daring to Look: Dorothea Lange's Photographs and Reports from the Field. Book Bench contributor Eliza Honey writes:

Daring to Look is a collection of photographs, many of them previously unpublished, taken by Dorothea Lange, in 1939, for the Farm Security Administration. Though Lange's shots of Depression-era individuals and families are well known, many of her negatives of empty home interiors have spent the past decades in archives, until Anne Whiston Spirn, the editor of this volume, unearthed them. Like Lange's portraits, her interiors are gentle reflections of a quiet and stark way of life.

Though the book looks deceivingly like it's meant for a coffee table, Spirn's accompanying text reveals much more. It's so engrossing, in fact, that, had the book not been so heavy, I would have taken it to the park during my lunch break.

And from the THE:

This first presentation of Lange's 1939 photographs with their accompanying texts provides a very valuable scholarly resource. Spirn's personal contribution, for anyone interested in Lange, comes in the third and final section, which both brings us up to date and reflects upon history, as she photographs sites and descendants of Lange's 1939 subjects.

From her broad knowledge base and sympathetic understanding of the history of the locale, Spirn offers a rich study of past and present life and landscape.

Read the rest of the Book Bench review, or read the THE review.

Also see this illustrated excerpt from the book.

September 05, 2008

Kurdistan—understanding the Middle East

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Last Wednesday the New York Times' Papercuts blog posted a short article on the Kurds and their important role in the complicated culture and politics of the Middle East. In the post, Papercuts contributor Barry Gewen cites several useful books on the subject including Susan Meiselas' Kurdistan: In the Shadow of History, Second Edition. Gewen writes:

The hour of the Kurds has come round again. They are the great success story of the Iraq war, what the Bush administration always hoped for across the entire country. They have a functioning, popularly supported regional government. Their economy is booming. Religion has little retrograde or divisive influence on their public institutions. Women are respected (there have been many important female leaders in Kurdish history) and Israel is viewed approvingly. Terrorism is generally unknown in the Kurdish areas of Iraq. What's more, the Kurds are ready to defend themselves and what they have achieved. Anyone who wants to understand the future of Iraq and the Middle East in general has to take them into account.

Two new books help us to do just that. Actually, one of them isn't new. Kurdistan: In the Shadow of History by the photographer Susan Meiselas first appeared in 1998 and is now being reissued in an updated edition by the University of Chicago Press. It's an extraordinarily handsome volume. In a labor of love, Meiselas spent six years combing libraries, archives and family collections for old photographs, postcards, documents, newspaper clippings, whatever, to produce a visually stunning montage designed to prick the conscience of the world.

Read the posting on the NYT's Papercuts blog.

September 02, 2008

Illuminating the ordinary

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The Popmatters website recently posted an interesting review of William Davies King's new book Collections of Nothing. In the review David Banash praises King for using an introspective meditation on his own habit of collecting to produce a revelatory look at the everyday objects that fill our lives. Banash writes:

In his essay The Work of Art in the Age of Mechanical Reproduction… [Walter] Benjamin suggests that the power of the camera to bring our world into focus dramatically alters our perception of it, most often by slowing things down or getting us much closer to them, and King's fascinating habit of collecting does, I think, something much the same.…

King is one of the few people who have taken the time to really look at our world of disposable objects. His practice of collecting has slowed him down and shifted him into a new mode of consciousness, and he thus allows us something like a close-up, slow-motion pan across all the objects that we so quickly turn away from that they never really register with us as the things that they are. King's altered consciousness is not a gateway into some other world, but a blinding illumination of our everyday unconscious.

Read the review on the Popmatters website.

Also read an excerpt and an essay by the author.

August 21, 2008

Finding Our Place in the World

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Conventionally, people tend to thing of maps as useful tools with which to physically orient ourselves within a landscape, yet in their recent book, Maps: Finding Our Place in the World, editors James A. Ackerman and Robert W. Karrow demonstrate that throughout the ages maps have had a much greater range of utility. The August edition of the The Art Book features a review of Maps that praises the editors for their insightful exploration of maps' varying purposes—from maps that orient us geographically, to those that orient us historically and even culturally. From the Art Book:

[In Maps] essays by distinguished contributors break the boundaries of chronology and the limitations of conventional Western geography to consider instead a cluster of maps' varying purposes.…

The extensive first essay, 'Finding our way' by Akerman (organiser of a splendid Newberry exhibition on American road maps), addresses most observers' experiences of maps, i.e. as instructions for directed travel.… Allegorical pathways, clearly charted for religious or fantasy realms, are reserved for a fine later essay, 'Imaginary worlds', by Ricardo Padron. Another fascinating essay, on the conceptual or thematic use of maps (including geological or astronomical maps), often with statistical graphs to convey data, is provided by Michael Friendly and Gilles Palsky.… More particular maps of cities or regions, including property or military maps, are surveyed by Matthew Edney, who links their spatial uses to 'expansive' societies with expansive economic activity and social stratification. He notes that 'social needs, power relations, and cultural conventions underpin the production and use of all maps'.…

Ultimately, Maps:Finding Our Place in the World shows clearly how interdisciplinary and visual the study of maps can be.

Read the article or see a collection of unusual maps from the book.

August 18, 2008

Review: Fenske, The Skyscraper and the City

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The August 16 edition of the Wall Street Journal ran a short but positive review of Gail Fenske's new book, The Skyscraper and the City: The Woolworth Building and the Making of Modern New York. Fenske's book uses an in-depth architectural analysis of New York's Woolworth building as a lens through which to view the city's distinctive urban culture. As WSJ reviewer Nicholas Desai writes: "The building's style, inside and out, is hybrid, almost a pastiche, offering Tudor, Byzantine and Gothic elements—modern but not modernist," and Fenske's book insightfully connects this unique eclecticism to the cultural contradictions that defined New York City's modernity.

Desai's review continues praising Fenske's prose as "academic but clear, enlivened by her interest in the cultural moment" and calls her work "a definitive take on a 20th-century classic."

Read it online at the WSJ website.

August 12, 2008

William Davies King's Secret Dictionaries

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The arts and culture website Trickhouse.com is currently featuring an online exhibition of the collages of William Davies King, professor of theater at the University of California, Santa Barbara and author of the recently released Collections of Nothing. King's book is a profound meditation on his habit of gathering miscellany—what many would consider junk. But through the careful organization and presentation of his collections, King demonstrates how even the most humble objects are able to accrue new, individualized value. And King's collages, accompanied by an insightful curatorial essay by David Banash, are a particularly interesting example of this phenomenon. Navigate to www.trickhouse.org and click on door #3 to visit the online exhibition.

Also read an excerpt and an essay by the author.

July 29, 2008

Finding something in a whole lot of nothing

jacket imageHenry Alford reviewed William Davies King's book, Collections of Nothing, in Sunday's New York Times Book Review. King, writes Alford, inspires a certain wariness in the reader:

We're talking about a man who once collected worn strips of masking tape that he pulled off the floor of a gymnasium, a man who collects the business cards of business card printers, even though he himself carries no business card.…

Part memoir and part disquisition on the psychological impulses behind the urge to accumulate, Collections of Nothing is a wonderfully frank and engaging look at one man's detritus-fueled pathology. King's honesty and ambivalence about his pastime only increases his emotional connection to the reader. I wanted, by turns, to breast-feed and strangle him.

King believes that the impulse to collect comes "partly from a wound we feel deep inside this richest, most materialistic of all societies." But he also considers other possibilities—"It finds order in things, virtue in preservation, knowledge in obscurity, and above all it discovers and even creates value." His own fondness is for "the mute, meager, practically valueless object. … What I like is the potency of the impotent thing, the renewed and adorable life I find in the dead and despised object." For him, there's "something in nothing." A lot of nothing

Read the rest of the review and read an excerpt and an essay by the author.

July 28, 2008

Loved the ride

jacket imageA great review of Erin Hogan's Spiral Jetta: A Road Trip through the Land Art of the American West appeared in yesterday's New York Times Book Review. Reviewer Tom Vanderbilt has traveled some of the same Western highways as Hogan in his search for atomic bomb sites. He appreciates Hogan's candor about her quest to see the monuments of American land art—works like Robert Smithson's Spiral Jetty, Nancy Holt's Sun Tunnels, and Walter De Maria's Lightning Field:

A prototypical urbanite, surrounded by friends and noise, Hogan says she was beset by an “early midlife crisis,” wondering if there wasn't more to life than meetings and e-mail. “I wanted to learn to enjoy being alone,” she writes. And as a “recovering art historian,” she longed to experience works she had only known refracted through art criticism and seminar slide shows.

So Hogan packed up her Volkswagen Jetta and headed west.…

I can attest to the anomie of motels that still advertise color TV, the dread of cracked roads with “No Services” signs, and the difficulties in being the only stranger in a bar. As a woman alone—Thelma sans Louise—Hogan faces this even more intensely. She tells a tale, by turns humorous and almost harrowing…

Vanderbilt concludes:

I was never quite sure what Hogan was looking for when she set out—self-fulfillment or some new insights into what art is, or what it is for—or indeed whether she found it. But I loved the ride. In Spiral Jetta, an unashamedly honest, slyly uproarious, ever-probing book, art doesn't magically have the power to change lives, but it can, perhaps no less powerfully, change ways of seeing. As one guide tells Hogan while they look at art in Marfa, Tex., “You're supposed to draw your own conclusions.”

Read the rest of the review on the New York Times website. The Sunday edition of the Chicago Sun-Times also ran a review of Spiral Jetta.

We have an excerpt from the book and an interview with the author.

Press Release: King, Collections of Nothing

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William Davies King makes no bones about it: he's odd. And his collections are odder: loops of wire, skeleton keys, seafood tins, water bottle labels, envelope liners, strips of masking tape, canceled credit cards, boulders—and that's just for starters. You might call it junk, but to King, it's a very special sort of nothing. Suffice it to say, no one on earth has a garage quite like his.

King's unusual collections reflect his belief in the intrinsic value of the discarded, unwanted, and ephemeral—but as he makes clear in Collections of Nothing, the urge that drives his hoarding is not all that different from that which leads a more typical person to prize uncanceled stamps or pristine sets of baseball cards. Both an affecting memoir and an idiosyncratic examination of the desire to accumulate, Collections of Nothing takes us deep inside the soul of the solitary collector. King's life story is deftly interleaved with his insightful meditations on the nature of the acquisitive mind; the result is a book that defies categorization, a unique hybrid that will speak to anyone who has ever found himself bitten by the collecting bug.

Read the press release. Also, read an excerpt and an essay by the author.

July 23, 2008

The art of nothing

jacket imageColin Marshall of the Santa Barbara Independent talked to of William Davies King last week about his new book, Collections of Nothing. From broken folding chairs to soup labels, as Marshall writes, "King's are collections of nothing, that is, things of no outward value." Yet through the act of gathering, organizing, and displaying these objects, King finds them imbued with a deeply personal significance:

"It comes out of a 20th-century vocabulary of art, going back to Dadaism, which was an art that believed in nothing" King said. "My own education led me to the Dadaist artists and their strange, often outsider art that was alert to the idea that emptiness of meaning might be as expressive and 'true' as art that purports to be full of meaning. I searched for artwork that would express my own anxiety in the face of the modern world's questionable values. I think anxiety takes the form of nothingness: it's this strange void within you that never seems to get filled up."

Read the article on the Santa Barbara Independent website. We have an excerpt from the book and an essay by the author.

July 21, 2008

Dorothea Lange and Daring to Look on NPR

jacket imageThe Sunday edition of NPR's All Things Considered included a segment on Anne Whiston Spirn and her book, Daring to Look: Dorothea Lange's Photographs and Reports from the Field.

The NPR story begins where almost every mention of Lange begins, with the photograph titled "Migrant Mother." Spirn explains why Lange took that photograph and similar images that showed the destitute during the 1930s. Spirn also discusses her favorite Lange photograph, "Migratory Children Living in 'Rambler's Park,'" in which a roll of linoleum figures prominently.

We have an illustrated excerpt from the book.

July 07, 2008

Lost architecture reclaimed

jacket imageTwenty-nine houses could be added to the Frank Lloyd Wright catalog of built work. The houses in question are all in suburban Chicago and include two in Berwyn, one each in Wilmette and Glen Ellyn, and an incredible twenty-four houses in River Forest, all on the 700 block of William Street. A group of researchers led by William Allin Storrer has gone public with the claim that Wright designed these homes during a period of his life when attributing a design to him would have detracted from the salability of the house.

Chicago Tribune architectural critic Blair Kamin discussed the claims in a story in yesterday's edition. The houses have previously been attributed to other Prairie School architects, but examination of both interior and exterior details has led the research team to conclude that Wright designed them. The houses date from the 1910s; during this period Wright was a social outcast in the Chicago area because of the scandal of his affair with Mamah Cheney, wife of client Edwin Cheney.

Photos of all the houses and many more details are available on Storrer's website, the FLlW Update. We have published two books by Storrer, The Architecture of Frank Lloyd Wright: A Complete Catalog and The Frank Lloyd Wright Companion. The early twentieth-century period of Wright's professional life is examined in Anthony Alofsin's Frank Lloyd Wright—the Lost Years, 1910-1922. We have also published Meryle Secrest's biography, Frank Lloyd Wright and a volume of Blair Kamin's columns, Why Architecture Matters.

July 01, 2008

A posting about nothing

jacket imageThe July 7 edition of The New Yorker briefly but approvingly notes William Davies King's memoir of his lifelong obsession with ephemera, Collections of Nothing. The New Yorker praises the book for "the way King weaves his autobiography into the account of his collection, deftly demonstrating that the two stories are essentially one" and continues:

"I lost and found myself in remote topical aisles of scholarship-wreck," [King] says of his hours in Yale's library, reading the most obscure books he could find. His hard-won self-awareness gives his disclosures an intensity that will likely resonate with all readers, even those whose collections of nothing contain nothing at all.

Read the rest at The New Yorker website. Also read an excerpt from the book and an essay by King, “Nothing to Speak About.”

Collections of Nothing was also an object of much affection on Omnivoracious and the cover is “Most Coveted Cover #181” over at Readerville.

June 30, 2008

On the road to culture

jacket imageYet another positive review of Erin Hogan's Spiral Jetta: A Road Trip through the Land Art of the American West appeared in last Saturday's Chicago Tribune. Spiral Jetta is part travel essay and part art critique, but it's the former that Tribune reviewer Ann Fabian focuses on. With her own daughter getting ready to head to Marfa, Texas, "to seek her fortune as an intern at the late Donald Judd's minimalist art mecca," Fabian found the autobiographical side of Hogan's book most useful:

Marfa was one of the sites that lured Erin Hogan out of Chicago and off on her auto pilgrimage to the big art of the West. It seems to draw folks (like Hogan and my daughter) worn down by city life. I had to read the book.…

We learn about Hogan. She has been working in Chicago too long. She needs to get out of town. She needs to learn to be alone. She heads west in her trusty Volkswagen Jetta, crosses the plains and lands in Utah. She spends the next week looking for art there and in Nevada, Arizona, New Mexico and Texas.… She talks to men in a bar, loses her wallet under a chair in a hotel lobby, pitches a tent in a windstorm, visits a roadside attraction, drinks beer with some guys and drives her Jetta on rutty dirt roads.…

Hogan's trip is more like what would happen to most of us if we drove around the West to look at art. Motels would be ordinary. Bar food would be lousy. But nothing awful would happen. We might take some notes and write them up. Someone like me might read them and reassure a daughter heading to Marfa that Donald Judd's polished aluminum boxes do not disappoint.

Check out the full review online at the Chicago Tribune website. Also read an excerpt from the book and an interview with the author.

June 24, 2008

Talking Books talks about Spiral Jetta

jacket imageWe have posted about Erin Hogan's Spiral Jetta several times already, but we won't apologize for posting about it again. It's a delightful book and it's provoking some interesting reflections on land art. The latest is a thoughtful discussion on Ian Brown's CBC radio program Talking Books, with panelists Lawrence Weschler (director of the New York Institute for the Humanities), Monica Tap (a Toronto artist), and Tom Jokinen (a writer in Ottawa). It's an entertaining and insightful discussion: recommended.

A description of the episode is on Words at Large, a CBC Radio site for book-related programs. A link to the audio is on that page; we couldn't get that link to work, but went direct to the mp3 file.

We also have an excerpt and an interview with the author.

June 17, 2008

Press Release: Hogan, Spiral Jetta

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As we've been reminded by the recent outcry over the threat of destructive drilling near Robert Smithson's Spiral Jetty, the monumental works of land art in the American West have a powerful hold on fans of contemporary art. To Erin Hogan, their very remoteness and precariousness is a crucial part of their appeal—and she knew that to fully understand and appreciate the questions about scale, permanence, and the limits of human activity raised by such works, she would have to actually go see them in person. So in the autumn of 2004, Hogan threw some sunscreen and some sketchy directions into her Volkswagen Jetta and hit the road, leaving the comforts of the city behind and plunging headlong into the vast expanse of the great American desert. Spiral Jetta is the story of that 3,000-mile journey.

Read the press release.

Also read an excerpt and an interview with the author.

June 09, 2008

How to be alone, get lost, and find art

jacket image"Whither goest thou, America, in thy shiny car in the night?" asked Jack Kerouac. Erin Hogan was going on a solitary tour of the monumental land art of the American West. She says in an interview Saturday in the Salt Lake Tribune that she re-read Kerouac and "definitely felt like I was involving myself in the Great American Road saga."

Reporter Julie Checkoway wonders: why visit land art?

Land art is this arena you walk into, and it changes your sense of space and time. The people who made it were trying to set up a different experience, giving us something. I wanted to experience that, a surprising built environment. But really, the book is mostly a road book. Yeah, I meditate on Michael Fried and the theatricality of landscape, but I'd like to think that someone who didn't study art history like I did would encounter something very beautiful in Spiral Jetty.

Update June 11: Erin Hogan is also interviewed today on ArtInfo.

We have an excerpt from the Spiral Jetty section of the book as well as our own interview with Hogan.

June 02, 2008

Press Release: Gordon, Naked Airport

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New in paperback—Although airports are now best known for interminable waits at check-in counters, liquid restrictions for carry-on luggage, and humiliating shoe-removal rituals at security, they were once the backdrops for jet-setters who strutted, martinis in hand, through curvilinear terminals designed by Eero Saarinen. In the critically acclaimed Naked Airport, Alastair Gordon traces the cultural history of this defining institution from its origins in the muddy fields of flying machines to its frontline position in the struggle against international terrorism.

Read the press release.

May 28, 2008

Looking again at Dorothea Lange

jacket imageSunday's Los Angeles Times ran a review of Anne Whiston Spirn's Daring to Look: Dorothea Lange's Photographs and Reports from the Field. The Times online edition also includes a lovely portfolio of twenty Lange photographs from the book. Times reviewer Louis P. Masur explains what is different about Spirn's look at the Farm Security Administration work of Dorothea Lange:

Daring to Look is a hybrid work, part personal essay, part portfolio of photographs, part scholarly catalog of captions and negatives.… Spirn argues strenuously that Lange must be appreciated not solely for her portraits but for her landscapes as well, and that any consideration of Lange must take into account not only images but also words—the general notes and specific captions that the photographer wrote.

Spirn is right to refocus our attention on the landscape. Lange herself said she was trying in her work to tell the story "of a people in their relation to their institutions, to their fellowmen, and to the land." That landscape—of farms and signs, cut-overs and crossroads, buildings and shacks—traverses these photographs whether people are present or not. There are also the internal scenes of parlors and kitchens and stored goods. Many of Lange's photographs include doorways, the pathway between public and private, between physical and emotional landscapes.

Spirn will soon complete her own website for Daring to Look.

May 15, 2008

Press Release: King, Collections of Nothing

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William Davies King makes no bones about it: he's odd. And his collections are odder: loops of wire, skeleton keys, seafood tins, water bottle labels, envelope liners, strips of masking tape, canceled credit cards, boulders—and that's just for starters. You might call it junk, but to King, it's a very special sort of nothing. Suffice it to say, no one on earth has a garage quite like his.

King's unusual collections reflect his belief in the intrinsic value of the discarded, unwanted, and ephemeral—but as he makes clear in Collections of Nothing, the urge that drives his hoarding is not all that different from that which leads a more typical person to prize uncanceled stamps or pristine sets of baseball cards. Both an affecting memoir and an idiosyncratic examination of the desire to accumulate, Collections of Nothing takes us deep inside the soul of the solitary collector. King's life story is deftly interleaved with his insightful meditations on the nature of the acquisitive mind; the result is a book that defies categorization, a unique hybrid that will speak to anyone who has ever found himself bitten by the collecting bug.

Read the press release.

May 14, 2008

Press Release: Spirn, Daring to Look

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Despite the ubiquity of Dorothea Lange's photographs, a surprisingly large number of them have languished in archives, more or less unseen, for decades. With Daring to Look, Anne Whiston Spirn brings nearly 200 of those photos to light, revealing new facets of Lange's celebrated achievement.

Daring to Look is far more than just a book of photos, however. Spirn presents the images—taken in 1939 in California, North Carolina, and the Pacific Northwest—alongside Lange's own field notes and captions, which the photographer considered to be an essential component of her attempt to document the hardscrabble lives of her subjects. Spirn joins that work to an insightful account of Lange's life, as well as a fascinating look at the current state of many of the locations Lange shot. Spirn's own photographs of those towns and farms reflect the changes—and the surprising continuity—over decades, carrying Lange's documentary project into a new century.

Daring to Look brings to life a crucial moment in American history—and illuminates a missing period in the life of one of America's greatest artists.

Read the press release.

May 05, 2008

Uses and abuses of iconic images

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In the current edition of the American Interest, reviewer James Rosen delivers a positive assessment of Robert Hariman and John Louis Lucaites' recent book, No Caption Needed: Iconic Photographs, Public Culture, and Liberal Democracy. Praising the book for its thorough treatment of nine case studies involving some of the most influential images of the twentieth century, Rosen writes:

[No Caption Needed] is a penetrating and provocative analysis of the way certain popular photographs, whether produced by professionals or amateurs, acquire the power to change public policy and with it the course of history.… The author's analytical achievement is enabled by an extraordinary feat of research and reporting. They have unearthed hidden facts, from both the backstory and the aftermath, surrounding each of their nine chosen photographs.…

[But] almost as compelling… are the stories of their subsequent appropriation. No Caption Needed details the uses and abuses of these nine iconic photographs by propagandists and peddlers of all kinds, with results that prove alternately haunting, playful, predictable, mercenary, dishonest and sometimes just plain twisted.…

Pick up a copy of the American Interest to read the rest of the review.
Also see the authors' No Caption Needed blog and read an excerpt from the book.

April 22, 2008

American exceptionalism and the "war on global warming"

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John Louis Lucaites, author of No Caption Needed: Iconic Photographs, Public Culture, and Liberal Democracy has posted an apropos commentary about the Earth Day themed cover image on today's Time Magazine to his No Caption Needed blog. Detailing a photoshopped version of Joe Rosenthal's iconic photograph of WWII troops on Iwo Jima's Mt. Suribachi raising a giant conifer in place of the flag, Lucaites makes the image an occasion to deliver some interesting commentary on the history of the original photograph's appropriation and the particularly fetishistic way that the Time Magazine editors have chosen to use it today. Lucaites writes:

By most accounts Joe Rosenthal's photograph of the flag-raising on Iwo Jima's Mt. Suribachi is the most reproduced photograph of all time—ever!…

Such reproductions have occurred not just in traditional print media, but on stamps (twice), commemorative plates, woodcuts, silk screens, coins, key chains, cigarette lighters, matchbook covers, beer steins, lunchboxes, hats, t-shirts, ties, calendars, comic books, credit cards, trading cards, post cards, and human skin, and in advertisements for everything from car insurance to condoms and strip joints.…

All of this is to say that on the face of things there is nothing particularly noteworthy about Time's appropriation of the image this week to frame and promote its "green" agenda in a special issue on the "War on Global Warming," … but my interest here is in mapping out how the particular appropriation of the original photograph coaches an attitude that seems to rely on tired and clichéd conceptions of American exceptionalism. Put simply, it is not just an appeal to be "green" (although it is that), but it also functions to translate the meaning of being "green" into a symbolic register that both defines environmentalism in terms of U.S. nationalism—"green is the new red, white, and blue"—and, more, makes something of an imperialistic fetish out of it.

Read the rest of Lucaites piece on the No Caption Needed blog, or read an excerpt from Lucaite's book.

March 24, 2008

Looking back at Iraq

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According to the New York Times, yesterday evening marked a significant checkpoint in the War in Iraq when a roadside bomb exploded killing four more U.S. troops, bringing the total American death toll in Iraq to 4000. With no end in sight and casualties steadily rising, media outlets around the globe have used the 4,000th death as an opportunity to look back on the war and the many soldiers who have lost their lives there since 2003. But providing perhaps one of the most vivid and personal of these retrospectives, is NYT photojournalist and author Ashley Gilbertson's recent Whiskey Tango Foxtrot: A Photographer's Chronicle of the Iraq War. Documenting the conflict from the initial invasion, to Iraq's first national elections, Gilbertson's book tells candidly of his own experience photographing the war and of the lives of the soldiers fighting it.

To preview some of the images from the book navigate to the author's portfolio on the NYT website.

To hear more about the Gilbertson's experience in Iraq, you can navigate to the Press's special website for the book which features and exclusive half-hour interview with the author, or see this archived video from CSPAN's Book TV of Gilbertson's talk earlier this month at a Borders Books & Music in Vienna, Virginia.

March 20, 2008

Podcast: Martin Kemp on Podularity.com

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Podularity.com, a literary blog based in the UK, is running an interesting podcast of an interview with author Martin Kemp on the topic of his recent book The Human Animal in Western Art and Science. Interviewer George Miller engages Kemp in a discussion of the links between humans and animals embedded in Western culture to explore the question; where is the line between animal and human? And, does the line even exist at all? Navigate to Podularity.com to listen.

March 18, 2008

Off the Grid

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The April/May issue of Bookforum is running an early review of Erin Hogan's unconventional new travelogue, Spiral Jetta: A Road Trip through the Land Art of the American West. (The book will release in mid-April.) Noting the author's willingness to trek off the beaten path to experience first-hand the unique blending of landscape and sculpture in American land art reviewer Nico Israel writes:

Earth art, that consummately American movement that sprang up during the high-Vietnam War era, combined a steely-eyed commitment to the truth of materials and to the power of basic geometric forms with a desire to get off the grid or at the very least "expand the field" of sculpture. Sometimes called environmental or land art, or Earthworks, depending on its practitioner, it demanded of its actual, physical viewers—"fit, though few," as John Milton might have said—a pilgrim's willingness to go on the road to remote places in order to see the works and experience the landscapes that they reframed and illuminated.…

Enter self-described "recovering art historian" Erin Hogan, whose book Spiral Jetta records her retrospective responses to a highway journey in her Volkswagen, in which, over the course of about three weeks, she visited Spiral Jetty, Michael Heizer's Double Negative, Walter De Maria's Lightning Field, and Donald Judd's various Marfa projects.… Along the way, she offers compelling descriptions of the landscape of the American West, of the pilgrimage's contradictions—she is sharp when noting what expensive-eyeglass-wearing visitors to Sun Tunnels or Lightning Field must look like to the hardscrabble locals—and of getting lost (which seems an inevitable part of visiting Earth art).

Read the rest of the review on the Bookforum website.

February 26, 2008

Citrus is a serious matter

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In a review appearing in last Sunday's edition of the Toronto Star Christine Sisimondo begins:

In academia, generally, food writing is relegated to… 'the kind of thing you might find in a newspaper'—not in the hallowed halls of higher ed.… But of late, "that's been changing. Anthropology and environmental science departments are beginning to redefine the study of food, as not just about nutrition and shortages through the ages but as a serious cultural indicator.
Sisimondo uses Pierre Laszlo's new book Citrus: A History to demonstrate her point:
Laszlo is a chemistry professor who is probably best known for his previous book, Salt: Grain of Life, and has now moved on to one of the next great essential staples, citrus.

Laszlo has a truly charming way of telling the story, weaving his personal biography into the tale of the migration of various fruits around the world.

He is careful, though (and tells us he is worried about overstepping his bounds), to never let the personal overshadow the story of lemons, limes, grapefruits, oranges and, of course, such exotics as ugli fruit, kumquats and yuzu.…

[And] while there's … plenty of great history in Laszlo's account, it's [also] interdisciplinary, adding to his personal tale and all that lore discussions on chemistry and three great chapters on the symbolic meanings of citrus and the image of these fruits in poetry and art.

Laszlo proves that citrus is a serious matter, worthy of real academic study.

Read the rest of the article on the Toronto Star website. Also read six citrus recipies from the book.

February 19, 2008

Histories of citrus and time

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Writing for this month's edition of Natural History magazine Laurence A. Marschall reviews two recent books in the history of science: Pierre Laszlo's exploration of the cultural and culinary phenomenon of citrus fruit in Citrus: A History, and Pascal Richet's historical account of the various ways humans have attempted to record the age of the earth in A Natural History of Time.

Marschall writes of Citrus:

Can one describe a work of nonfiction as being happy? Well, this one is. Pierre Laszlo, a retired chemistry professor turned science writer, has approached the lore of citrus fruit with the élan of a master chef (the man is French, after all), mixing history, economics, biology, and chemistry to produce a book that will bring a smile to readers of every taste. Until reading Citrus, in fact, I had not realized just how many tastes the title implied: lemon, lime, orange, and grapefruit, of course, but also citron, tangerine, kumquat, calamondin, and the self-descriptive Ugli, not to mention such variants as bergamot, mandarin, Valencia, ortanique, and Honey Murcott. Laszlo's literary method is to present them as characters in an unfolding story. He begins with the domestication of the citron in Persia and the early history of citrus horticulture, then moves to the establishment and growth of the citrus industry in Florida, California, and Brazil, and finally, after many diversions and digressions, arrives at a final section that explores the place of citrus in literature, art, religion, and the culture of cuisine.

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And the praise continues for Richet's A Natural History of Time:

Looking at the sandy New England pond outside our summer house, I can readily imagine the glacial remnant that lay there some 12,000 years ago, melting in the warming rays of the Holocene sun. I know, too, that a few hundred million years ago, before continental drift split us apart, Europe and this bit of North American real estate were joined. And I'm well aware that 5 billion years ago, this sand and this water, indeed the Earth itself and everything on it, were part of an interstellar cloud that was condensing into our solar system. Deep time is just one of those things I take for granted.

But as geophysicist Pascal Richet demonstrates in this readable popular history of chronology, the geologic calendar implicit in today's view of nature was not shared by earlier generations. Written accounts from ancient civilizations depict prehistory as a foggy dreamtime. Most authors made little attempt to assign dates or durations other than “in the beginning.…”

Only the fine details of the Earth's timeline are matters of contention any more.… Yet precisely because the current well-grounded chronology seems so natural to most scientifically literate people, Richet's authoritative review of Earth's history is particularly welcome. Rather than fret about polls that show how many citizens still hold to the chronology of the Holy Book, he invites us to marvel at the efforts of science to read the book of nature itself.

Read both reviews on the Natural History magazine website. Also navigate to our special Citrus web page featuring six tasty citrus recipes.

February 18, 2008

Ashley Gilbertson in The Age

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Just in time for the opening of his exhibition at Melbourne's Obscura Gallery, the Australian paper The Age ran an article last Sunday on Ashley Gilbertson and his new book, Whiskey Tango Foxtrot: A Photographer's Chronicle of the Iraq War. As the article notes, Gilbertson is himself an Australian native and got his first taste of professional journalism "documenting the lives of Kosovar refugees seeking temporary protection in Australia." The article continues:

The project sparked an interest in the plight of displaced people that led him to West Papua, Afghanistan and eventually Iraq, where he has spent a total of 18 months since 2002.

His early trips to the country were a hand-to-mouth existence, selling stories as he went, often depending on the goodwill of colleagues and strangers.

Towards the end of a trip in 2003 he picked up work for the New York Times. Since he returned from that trip, his work has been exclusively for the US newspaper.

His work while embedded with US marines during the 2004 Fallujah offensive made his name, earning him the prestigious Robert Capa Award for courageous photography from the US Overseas Press Club.

But his experiences have left scars. He watched as Lance Corporal William Miller, a soldier who was escorting him up the stairwell of a minaret, was shot dead by an insurgent. Running out of the mosque under insurgent fire, he wished to die. "I ran out into the street with the marines, hoping I would take a slug," he said.

Read more about Gilbertson's harrowing experiences in Iraq at The Age. Also check out the Obscura Gallery's web page for more information on his exhibition. Finally, see the Whiskey Tango Foxtrot website featuring a full half hour video interview with the author.

February 01, 2008

The art and life of Lee Miller

jacket image"The Art of Lee Miller" is a major retrospective of works by and about the artist curated by the Victoria & Albert Museum in London. The exhibition has now come stateside; it opened a week ago at the Philadelphia Museum of Art and will travel to the San Francisco Museum of Modern Art in July.

A lengthy critical essay by Judith Thurman was in the January 21 New Yorker, while a nicely illustrated article was in the February 4 issue of Newsweek. Like Carolyn Burke's biography Lee Miller: A Life which we recently released in paperback, the articles deliver a fascinating look at the life and artistry of Miller. She dominated the world of high fashion in the late 1920s, modeling for magazines like Vogue and Vanity Fair, and then became a respected photographer herself, leaving an indelible mark on the worlds of fine art photography and photojournalism. Writing for the New Yorker, Thurman details the pivotal turn in Miller's career from art object to artist:

If one is to believe the story, Condé Nast noticed her crossing the street just in time to pull her from the path of an oncoming vehicle, and this fortuitous collision led to an interview with Edna Chase, Vogue's editor in chief.… She was soon posing for Steichen, Arnold Genthe, and Nickolas Muray, the leading photographers of the day.…

In 1929, with several lovers fighting for the honor of seeing her off, and café society sad to lose its star playgirl, Miller sailed for Europe with the ambition "to enter photography by the back end.…" She planned to do some modeling for George Hoyningen-Huene at Paris Vogue while she apprenticed with Man Ray, a leader of the avant-garde and master of many genres—painting, photography, sculpture, and graphic art.…

Under Man Ray's tutelage, Miller mastered the use of the Graflex camera, with glass plates, and then the Rolleiflex; studio lighting setups; cropping and retouching, improvisation with the viewfinder; and his techniques for developing.

The article goes on to detail Miller's extraordinary, but tumultuous life, and speaks in detail about her groundbreaking work as one of the first female war correspondents during WWII. A theme which the Newsweek article picks up as well:

After she moved [to] London in 1939, she began her most important photography. The cockeyed perspective she'd absorbed from the surrealists served her well in the arresting, absurdist images she captured during the Blitz: a crushed Remington typewriter; a male mannequin standing incongruously in a heap of curbside rubble.… She rode into Germany with the U.S. Army, starkly documenting the corpses and the ovens of Buchenwald and Dachau—and zooming in, almost poetically, on a dead SS guard floating in a canal. She also shot Hitler's apartment in Munich—then got in his tub for her first bath in weeks, a moment caught on film by [Life photographer Dave] Scherman. Her combat boots on the bathmat are still caked with the mud of Dachau from earlier in the day.

The most thorough exploration of Miller's life and career can be found in Burke's 400-plus page biography Lee Miller: A Life. We have an extended excerpt from the book, dealing with Miller's experiences covering the War in France—from the Allied invasion of Normandy to the German surrender.

A slide show is online at the New Yorker.

January 31, 2008

Photos from Whiskey Tango Foxtrot

The California Literary Review, an online magazine, is running a great selection of photographs from Ashley Gilbertson's recently published Whiskey Tango Foxtrot: A Photographer's Chronicle of the Iraq War. The photos are accompanied by a short essay by the author discussing how he wound up on assignment with the New York Times covering the battle of Falluja—one of the fiercest battles of the conflict:

In March 2004, four American contractors were ambushed in the center of Falluja, a city forty-three miles west of Baghdad. They were dragged from their cars, beaten, and their bodies burnt.… Back in Iraq, furious Marine generals who were supposedly in control of Falluja promised swift vengeance and on April 4 attacked the city with everything they had. Hundreds of Iraqis were killed in a week of intense urban combat.…

My rotation had finished and I was at the bureau packing to leave the country when a scramble ensued to get someone from the paper to cover the battle from the frontlines. Times higher-ups contacted generals and politicians, and eventually we were given two… slots, one of them mine. I repacked my bags, this time including body armor and equipment I needed to file my photos under battle conditions. A few hours Later I boarded an aircraft bound for the dusty Camp Falluja five miles east of the city.

You can find the rest of the article and the accompanying photos online at the California Literary Review website. Also see the website for the book featuring a fascinating video interview with the author discussing his experiences as a war photographer in Iraq.

January 29, 2008

Review: Akerman and Karrow, Maps

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James R. Akerman and Robert W. Karrow Jr.'s Maps: Finding Our Place in the World has been given quite a positive review in this month's issue of the British science and technology magazine, BBC Focus. Praising the book for its thoughtful exploration of maps and the many divergent purposes they have served throughout human history, reviewer Nick Smith writes:

If you though maps were merely aerial drawings of places that help us get from point A to B, you will be astonished by the depth and breadth of this book.

The editors have cleverly set out the book's structure in terms of what function maps perform, instead of ranging from continent to continent as with traditional atlases. There is macro-mapping throughout the ages and maps portraying land use, as well as those concerned with commerce, art, advertising, entertainment and national identity. There is plant distribution, cartographic analysis of the geology of the US and even the "distribution of the slave population of the Southern States.…" Fascinating stuff.

See a collection of unusual maps from the book.

January 28, 2008

"Brigitte Bardot conquers America"

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Last Thursday the Times Higher Education ran an enthusiastic review of Vanessa R. Schwartz's new book It's So French!: Hollywood, Paris, and the Making of Cosmopolitan Film Culture. In the review THE contributor and professor of film studies Ginette Vincendeau notes how the thesis of Schwartz's book makes a fascinating departure from conventional views about the relationship between the postwar French and American film industries. Vincendeau's review begins:

In this provocative and original book, the American cultural historian Vanessa Schwartz revisits the vexed question of Franco-American cinematic relations in the postwar period. Much has been written on the subject, but Schwartz has no time for clichés about French "protectionism" or American "imperialism". Instead, the central thesis of It's so French! Hollywood, Paris, and the Making of Cosmopolitan Film Culture is that the French and the Americans were much more receptive (even affectionate) towards each other than Cold War-inspired rhetoric has made out. Furthermore, France as represented in American and French films of the 1950s and 1960s was key to the development of "cosmopolitan film culture".

Contrary to the common view that pits French art cinema against commercial Hollywood films, Schwartz claims that from the mid-1950s to the mid-1960s American representations of Frenchness successfully merged high art and popular culture, and French cinema meant more than highbrow auteur films. This she demonstrates via a set of major French cultural icons, from belle époque Paris to Brigitte Bardot.

The review concludes:

It's so French!, based on impressive scholarship and superbly illustrated, builds a solid case for France's role in the growth of "cosmopolitan film culture".

The book is a stimulating corrective to entrenched views of Franco-American cinematic relations as necessarily conflictual.

Read the rest of the review on the THE website.

January 15, 2008

Not a "Zippohead"

jacket imageBradford Edwards, the artist whose astonishing collection of Vietnam-era Zippo lighters is featured in Vietnam Zippos: American Soldiers' Engravings and Stories (1965-1973), was interviewed yesterday on All Things Considered by NPR's senior Asian correspondent Michael Sullivan. In the interview, which took place on the streets of Ho Chi Minh City, Sullivan explored Edwards unique fascination with these relics of war:

Edwards insists he's not a "Vietnam Zippohead."

"I'm not a Zippo collector. I'm not somebody into the Zippo, per se," he says.…

"I'm not into it because, really, of the war or because of memorabilia or because of any real, I would say, direct historical aspect. I'm in it for the artistic sensibility and the direct emotional expression that you see via text or images," he says.

Edwards calls the Zippos left behind "pure art without ambition"—personal narratives that capture the mixed emotions of a confusing time and place.

Navigate to the NPR website to view photographs of Edwards and displays of Zippos, plus the archived audio and transcript of the interview.

December 11, 2007

Review: Riskin, Genesis Redux

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Jessica Riskin's Genesis Redux: Essays in the History and Philosophy of Artificial Life was recently given a great review by science fiction writer Greg Bear in Nature. Riskin's book collects seventeen essays from a conference of distinguished scholars in several fields who bring a historical perspective to this most contemporary of scientific topics. And as Bear notes in his review, the result is a particularly comprehensive treatment of the history of artificial life. Bear writes:

The strength of Genesis Redux lies in its scholarship and range of topics. Clockworks, mechanical toys and their influence on biological concepts are presented in fascinating detail. Joan Landes introduces us to the Hoffmanesque works of Jacques de Vaucanson's feminine flautist and (excreting) duck, and to the flayed, preserved and posed cadavers, the écorchés, of Jean-Honoré Fragonard: there is a dancing fetus and a very naked man staring in horror, jawbone in hand. Landes delivers a lively analysis of our reactions to the abject and uncanny, the frisson so beloved by fans of Dr Frankenstein.

The review continues:

Genesis Redux takes the time to shed light on areas I would not naturally consider, and thus enlightens and expands the topic. Its cautious perspective—the enthusiasms of the past considered in the sober light of history—provides a useful counterpoint to [other books on the subject].

See the rest of the article on the Nature website.

December 07, 2007

The locals are talking about Chicago under Glass

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Mark Jacob and Richard Cahan's new book Chicago under Glass: Early Photographs from the Chicago Daily News seems to have caught the attention of the local papers recently. Already this month the book has received three separate reviews in the Chicago Sun-Times, Time Out Chicago, and the Chicago Suburban News. As Tom Cruze notes in the Sun-Times, in Chicago under Glass Jacob and Cahan have amassed a collection of the best photographs from the archives from the now defunct Chicago Daily News to document one of the most tumultuous and fascinating periods in Chicago history:

Chicago history circa 1901-30, with its triumphs, disasters and celebrities, comes alive through the lenses of Daily News photographers in this expansive treatment by former Sun-Timesmen Mark Jacob and Richard Cahan. The images, some 250 culled from more than 57000 recently put online (the original glass negatives reside at the Chicago History Museum), are bundled into themes easily explored by browsing history buffs. Probably the most fascinating photos here show familiar areas of Chicago that have changed throughout the years. Construction shots of Buckingham fountain and the Field Museum make the familiar seem fascinatingly strange.

And from the Chicago Suburban News.

The 250 photographs they chose for their resulting volume depict a gritty burg evolving through cultural upheavals and technological advances. Some of the buildings and vistas look vaguely familiar today, but the fashions and hairstyles surely don't. "We haven't been exposed to that many pictures from this era," Cahan said. "This is kind of an unknown period—I know that sounds funny—but also really the beginning of the modern age because of the car.


You can check out the rest of the Chicago Suburban News article online but you'll have to pick up a copy of the Sun-Times or the latest Time-Out magazine for the others. Also be sure to check out the Chicago History Museum's online archive of images from the Chicago Daily News.

December 06, 2007

Vietnam Zippos in the NYTBR

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The New York Times Book Review ran a piece about Sherry Buchanan's new book Vietnam Zippos: American Soldiers' Engravings and Stories in last Sunday's holiday books wrap up. Placing Buchanan's book on his list of new art and design books for the season, reviewer Steven Heller writes:

For grunts fighting the Vietnam War, statements of patriotism and protest found an outlet… on metal Zippo lighters. Vietnam Zippos, illustrated with objects from the collection of the artist Bradford Edwards, documents what the author, Sherry Buchanan, calls "amulets and talismans bringing the keeper invulnerability, good luck and protection against evil." Sadly, these personalized mementos also served as last testaments for many who were killed in action.

An extensive published record exists for documents and relics from the Vietnam War, yet this book, well designed and photographed by Misha Anikst, offers a rare personal dimension. The mottoes on these lighters, like "When I die I will go to heaven because I spent my time in hell," provide candid insight into what these soldiers thought of the war.

Read the rest of the review on the NYTBR website.

December 05, 2007

Review: LePatner, Broken Buildings, Busted Budgets

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Barry B. LePatner's Broken Buildings, Busted Budgets: How to Fix America's Trillion-Dollar Construction Industry is featured in today's Wall Street Journal business section. Reviewer James R. Hagerty uses LePatner's book to cite one possible benefit of the otherwise gloomy housing market crisis—weeding out the weaklings in the contracting businesses. Hagerty writes:

Every now and then, a major construction project is completed on time and on budget. Everyone is amazed.

Barry LePatner, a New York lawyer specializing in construction cases, thinks this exception should become the rule. Broken Buildings, Busted Budgets outlines his proposals for making that possible.

Mr. LePatner's swift kick to the construction industry comes when it is already down. Commercial construction is slowing, and house building is in a severe slump, partly caused by a glut of new homes erected by overly optimistic builders even before the subprime crisis made it harder to find qualified buyers. The downturn will apply the wrecking ball to many of the weaker construction companies. But that won't be enough, according to Mr. LePatner. He argues that the industry will become efficient only when its customers become savvier and more demanding.

His solutions involve, among other things, hiring experts who can monitor builders and who have financial incentives to prevent needless overruns. Tougher contracts should enforce fixed costs or, at least, severely limit the scope for escalation. And thorough background checks—looking for lawsuits, public complaints and financial troubles—may lower the chance of hiring dodgy engineers and construction teams.

Such steps would force out of business weak firms that can't deliver on their promises. The survivors, Mr. LePatner thinks, would be larger firms that are less reliant on subcontractors and are better able to train employees and invest in technology.

To find out more see the WSJ article (available for seven days free to non-subscribers) or navigate to www.brokenbuildings.com.

November 30, 2007

Iconic Photographs, Public Culture, and Liberal Democracy

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Two articles on Robert Hariman and John Louis Lucaites's No Caption Needed: Iconic Photographs, Public Culture, and Liberal Democracy ran this month, both of which cite the book for its controversial look at some of the most influential images of the last century, and how such images have radically changed the political and social landscape of America. An article in the November 29 London Review of Books (only available to subscribers) begins with a critique of "one of the most reproduced photographs in American history"—Joe Rosenthal's image of U.S. troops struggling to raise an American flag on top of Mount Suribachi on the island of Iwo Jima. The LRB's David Simpson writes:

The Pulitzer-prize winning photo of the Suribachi Summit… was actually of a second flag-raising, staged with a larger flag after the fighting had died down. Literally speaking it was not so much a struggle against military odds as a struggle against gravity. This was known at the time, and was a sufficiently sensitive issue for both Time and Life to refrain from publishing it until it had become so ubiquitous as to be beyond complex questioning. That happened very fast. The photo became more or less instantly a leitmotif of American popular culture and a key item in the manufacture of consent by politicians and advertisers alike.…

Debates about the authenticity of photographs, especially war photographs, have been commonplace since at least the American Civil War. In No Caption Needed Robert Hariman and John Lucaites are less concerned with these debates than the ways in which iconic images have been used to propose and renegotiate various kinds of 'democratic citizenship' and 'civic identity.' Here original truths matter less than accumulated traditions or assumptions.… For these authors the Iwo Jima flag works because it is aesthetically compelling, … because it converts military into civic action, and because it effaces the personalities of the soldiers in the service of a common and anonymous effort. …

The review continues:

The authors think we have a 'need' for these iconic images, and often suggest that democracy is better for them. But it is a fine line (if there is a line) between the vigorous, deliberative debate conducted by empowered citizens… and the consumption of patriotic propaganda.

A feature in the Chronicle of Higher Education also focused on the author's take on the powerful yet complicated impact of iconic images on American culture. You can read the Chronicle piece online at their website, read an excerpt from the book, or navigate over to the authors' blog where they frequently post provocative critiques of notable images in contemporary photojournalism.

November 29, 2007

'Tis the season to drink your orange juice

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Pierre Laszlo's new book Citrus: A History has been featured in several articles this month, one in the November 22 issue of Nature and another in the November 25 issue of the UK's Sunday Times. Both articles praise Laszlo's book for its comprehensive historical account of the propagation of citrus fruits around the globe and both note that one of the most important reasons for its popularity is its medicinal value—an especially pertinent fact to keep in mind during these long winter months. From the Sunday Times:

[In Citrus] Laszlo, a retired French chemist, takes us on a journey from the orangeries of Versailles, via the limes of the Royal Navy to the citriculture of modern Florida. It was only in the 1920s, he tells us, that orange juice became "an integral part of the American breakfast", after the great flu epidemic of 1918-19. Laszlo shows that the citrus fruit "is a treasure trove of chemicals that are highly useful to humankind"—which also happens to taste wonderful.

And on a similar note from Nature magazine:

Citrus provides a colorful background of the literature, poetry and art associated with citrus fruits, as well as their pharmaceutical effects. Apparently, an ingredient of grapefruit juice deactivates an enzyme in the small intestine that destroys some medications before they can enter the bloodstream. Alternatively, the citrus component boosts the activity of certain drugs, such as sildenafil (better known as Viagra) and inhibitors of HIV-1 proteases.

You can read the rest of both articles online, or navigate to our special Citrus website where you can find out more about the book as well as download six tasty—not to mention healthy—citrus recipes.

November 28, 2007

Ashley Gilbertson on the toll of the Iraq war

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Ashley Gilbertson, author of Whiskey Tango Foxtrot: A Photographer's Chronicle of the Iraq War recently joined fellow photographer Nina Berman on WNYC's Leonard Lopate Show to discuss their recent projects documenting the lives of American soldiers in Iraq and how they manage to cope with their experiences after they come home. As Lopate reveals in his interview, both books offer a candid look into the horrors of modern warfare soldiers are forced to endure and the toll it takes on them both physically and emotionally. Navigate to the WNYC website to listen to archived audio from the show as well as view two photo galleries featuring a small sampling of each photographer's work.

Gilbertson was also recently interviewed by Sandip Roy for NPR's UpFront radio to discuss Gilbertson's personal experiences as a photographer in Iraq. You can find a transcription as well as archived audio of their conversation online at the UpFront website.

Finally, don't miss the UCP's own Whiskey Tango Foxtrot website where you can read more about Gilbertson's book, place an order, and view our own video interview with Gilbertson.

November 19, 2007

Whiskey Tango Foxtrot in the NYT

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When Ashley Gilbertson arrived in Iraq at the beginning of the U.S. invasion he was only twenty five years old and had no affiliation with any newspaper. Nevertheless, he was among the first photojournalists to cover the conflict for American audiences. Soon picked up as a freelance photographer for the New York Times, Gilbertson has since established himself as one of the most adept chroniclers of the conflict in the middle east.

Yesterday, the New York Times ran a special piece in the Arts and Leisure featuring a selection of Gilbertson's photographs of the war, all of which can be found in his new book, Whiskey Tango Foxtrot: A Photographer’s Chronicle of the Iraq War. Dexter Filkins prefaces Gilbertson's photos in the NYT saying:

Ashley Gilbertson, a freelance photographer for the New York Times, has followed the war in Iraq from its beginning through its most singular moments. In his new book… Gilbertson has compiled the best of those images, freezing the war's most intense and dramatic moments… The heart of the book, graphically and emotionally, is the battle of Falluja in November 2004, when 6,000 marines and soldiers went into what was then a contested jihadi stronghold. Those photos capture street-to-street fighting in all its manic ferocity.

But the most moving of these images are not of fighting and violence but of the moments in between: a group of soldiers sunning themselves during a pause in the battle, a child hurling himself down a slide at a Baghdad playground, an Iraqi man and son standing frozen before an American soldier. Moments like these remind us just how human the experience of war really is.

Check out the photographs from the New York Times piece on their website, then navigate to our web site for the book to view a fascinating interview with the photographer and hear him speak about his personal experiences photographing war.

November 14, 2007

Press Release: Akerman and Karrow, Maps

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Maps are universal forms of communication, easily understood and appreciated regardless of culture or language. This truly magisterial book introduces readers to the widest range of maps ever considered in one volume. A companion to the most ambitious exhibition on the history of maps ever mounted in North America, Maps will challenge readers to stretch conventional thought about what constitutes a map and how many different ways we can understand graphically the environment in which we live. Collectors, historians, mapmakers and users, and anyone who has ever "gotten lost" in the lines and symbols of a map will find much to love and learn from in this book.

Read the press release. Also see a special website for the book.

November 12, 2007

The Zippo as protest art

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Sherry Buchanan's new book Vietnam Zippos: American Soldiers' Engravings and Stories has been receiving attention from some very different sources recently. This month both Playboy magazine and a magazine called The Armchair General are running reviews of the book. Yet despite the two magazine's obvious disparities, both seem to agree that Vietnam Zippos offers a unique medium of expression for the often marginalized voices of the American GI's that served in Vietnam. From Playboy magazine:

For American soldiers in Vietnam, the Zippo lighter was an essential talisman; its chrome casing was also a convenient canvas on which fighters expressed their anger and frustration. In Vietnam Zippos, edited by Sherry Buchanan, these unique artifacts tell the story of a war gone sour. Lyndon Johnson's observation that "ultimate victory will depend upon the hearts and minds of the people" inspired the gleeful savagery of "Give me your hearts and minds or I will wreck your f—ing huts."… Later, as enthusiasm for the war ebbed, lighters feature such deep thoughts as "When the power of love is as strong as the love of power, then there will be peace."

Also be sure to check out the Armchair General article online here.

November 09, 2007

"Re-enfranchising voters through design"

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Marcia Lausen's new book Design for Democracy: Ballot + Election Design was recently featured in two articles this week. A review posted today on Newsweek's website and another yesterday on the Fast Company blog both focus on Lausen's book as an attempt to ensure that 2007 is not a repeat of the irregularities created by the poorly designed ballots used in Florida in 2000. Causing mass confusion and sparking the infamous recount, as Newsweek's Rolf Ebeling notes, there is no better example to demonstrate the importance of well designed election materials. Ebeling writes:

Graphic designers encounter a fair amount of eye-rolling—some of it deserved—when they champion the necessity of their work outside their professional choir. Passionately defending color palettes, rattling off obscure rules of proper typography—these things often come off as superficial and fussy to the unconverted.… But, but, but … intelligent application of type, line and color does provide a service beyond visual appeal. It can clarify complexity. And I can prove it.

Look no further than the new book Design for Democracy: Ballot + Election Design, by Marcia Lausen, an elegant examination of how to improve the utility of our nation's varied—and, in some cases, shockingly bad—voter materials. In reaction to the problems brought to national attention in the 2000 elections—when Americans learned all about the troubles with "butterfly ballots" and "hanging chads"—a group of designers led by Lausen (a professor of graphic design at the University of Illinois at Chicago) developed a comprehensive visual system for everything from voter registration pamphlets to instructions for setting up ballot-counting tables. The emphasis here is on a system: their work was not intended to set a national standard but to act as a guideline adaptable to the unique requirements of state and local elections. Working with election officials, they have, since 2000, already put some of their ideas to work in Illinois and Oregon elections.

Read the rest of the Newsweek article on their website. The Fast Company article is also online here.

The Whisky Tango Foxtrot tour

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With his book tour now in full swing Ashley Gilbertson, author of Whiskey Tango Foxtrot: A Photographer's Chronicle of the Iraq War has been making so many appearances lately we can barely keep track of him. From prime time TV interviews, to high school classrooms, here's our attempt to catch up with Gilbertson's most recent events:

Last Tuesday Gilbertson was interviewed on Philadelphia NPR affiliate WHYY's Radio Times with Marty Moss-Coane. Archived audio from the show is available on the WHYY website in real-audio format .

Wednesday saw Gilbertson appearing in Boston for a slightly surreal interview on local FOX TV morning news. They've also put the video online at their website.

Yesterday, however, Gilbertson took some time out to speak with a group of high school students from Millis, MA. The interview was recorded for the Millis Middle/High School's Studio 103, a student-run production facility for a local access TV channel, and should appear on their blog soon as well.

An interview and multimedia slide show with a sampling of the photo's from Gilbertson's book was also featured last Thursday on the online news magazine Alternet.

And tonight Gilbertson will be seen on CNN's Anderson Cooper 360 in a rebroadcast of Cooper's show on the battle for Falluja, called "The Anvil of God"—Gilbertson was recently awarded the Robert Capa Gold Medal from the Overseas Press Club for his coverage of the U.S. invasion of Falluja.

Finally, Gilbertson's talk and signing at the Washington DC area Borders was recently filmed by CSPAN-2's Book TV—who will broadcast it this Sunday night at 7:00 pm eastern time, 6:00 pm central.

But despite all these interviews with major media moguls, his recent interview with Press senior editor Alan Thomas of course offers by far the most interesting examination of Gilbertson's work. You can see footage from the interview online at the press's special website for the book.

November 08, 2007

Early Photographs from the Chicago Daily News

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This week's Chicago Reader is running a front page story on Mark Jacob and Richard Cahan's new book Chicago under Glass: Early Photographs from the Chicago Daily News. The book is the result of years spent digging through the Chicago History Museum's archives to collect over 250 images from the Chicago Daily News—one of the major newspapers circulating in the Chicago area in the first three decades of the twentieth century, and one of the first newspapers to feature black and white photography. As Michael Miner notes in his Chicago Reader review, their time and effort has resulted in a fascinating photo journey into the city's history:

The Daily News went under in 1978, long before it could have created its own online archive. So the writing in this famously literary paper is largely lost, but the photography survives, and now an anonymous photographer's strange, wonderful picture of a group of blind children stroking a circus elephant deservedly finds a spotlight as the cover of Chicago Under Glass. It's a fitting introduction to the book, expressing the idea of reaching out to touch something most alive in the imagination.

The Reader article also points to the Chicago History Museum's online archive of thousands more photographs from the early days of the Chicago Daily News. Click on the link to check them out.

November 06, 2007

Why do we drink orange juice?

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In an article appearing in the "Burning Questions" column in today's edition of Newsday Erica Marcus cites Pierre Laszlo's new book Citrus: A History to help her answer one reader's burning question about the origins of orange juice. From Newsday:

I can't drink cold orange juice first thing in the morning, but I am curious as to when and where this practice began. I don't think it's European. —Rhoda Greenberg, Islip

Drinking orange juice at breakfast is indeed a peculiarly American custom, one whose story recalls those quintessentially American values: marketing and technological innovation.

In his just-published book, Citrus: A History, retired chemistry professor Pierre Laszlo recounts the providential hook-up of the California Fruit Growers Exchange (an organization that was later to become Sunkist) with advertising copywriter Albert D. Lasker.

In the early years of the 20th century, oranges were consumed principally as fresh, whole fruit. In 1916, when California growers were stuck with an overabundance of oranges, Lasker came up with the slogan: "Drink an orange." This, according to Laszlo, was the moment at which juice consumption began to outstrip fruit consumption.

Read the rest of the article on the Newsday website. Also, see our special Citrus site that includes six tasty citrus recipes from Laszlo's book.

November 05, 2007

Press Release: Jacob and Cahan, Chicago under Glass

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So long, Chicago,“ read the headline when the Daily News ran its last edition on March 4, 1978. Winner of thirteen Pulitzers, the Chicago Daily News launched the careers of Carl Sandburg, Ben Hecht, and Mike Royko, just to name a few. It was also one of the first dailies to incorporate eye-catching illustrations, and soon thereafter, black-and-white photography.

Chicago under Glass: Early Photographs from the Chicago Daily News is the breathtaking collection of photographs from those early years, 1901 to 1930. During those three decades, Chicago and America witnessed the invention of the airplane, the repeal of prohibition, and the Great War. Photographers at the Daily News covered these scenes, and then went beyond, capturing news as it broke in front of them.

Read the press release.

November 02, 2007

Coming of age in Iraq

jacket imageAlex Chadwick interviewed Ashley Gilbertson a few days ago for the NPR radio program Day to Day. The interview is not only about Iraq and the photographs that Gilbertson took there, but also about the ways that events in Iraq changed him, aged him, matured him—especially when he "crossed the line" in Falluja.

The NPR site also has a brief gallery of Gilbertson's Iraq photos. More photos are available in a feature that recently ran in the New Statesman. Gilbertson's own website offers plenty of photos, too.

But what better way to experience these dramatic images than in person? An exhibit of his Iraq photographs opened two weeks ago in New York. For more Gilbertson events see our author events page.

Whiskey Tango Foxtrot: A Photographer's Chronicle of the Iraq War not only includes over two hundred photographs, but also is a searing memoir of a photographer's experiences documenting the military, political, and human dimensions of the conflict in Iraq.

For an extended conversation about all these issues, see our video interview with Gilbertson online at our Whiskey Tango Foxtrot website.

Update: Monday, Nov. 5: Julia Keller reviewed Whiskey Tango Foxtrot in the Chicago Tribune yesterday.

November 01, 2007

Festival of Maps exhibition opens tomorrow

jacket imageTomorrow, November 2, as part of the three month long Festival of Maps, the Field Museum will open the exhibit, Maps: Finding Our Place in the World. On display will be some of the most fascinating cartographic artifacts ever shown. And just in time for opening day, the Press has released a companion volume of the same name edited by exhibit curators James R. Akerman and Robert W. Karrow, Jr. Like the exhibit, the book surveys a huge range of cartographic sources to explore the many ways that maps have changed our lives and helped us understand the environment in which we live. From a review in Discover magazine:

From religious pilgrimages and vacation road trips to depictions of the ocean floor and the magical landscapes of J. R. R. Tolkien's Middle Earth, maps chart both physical and imaginary worlds. As geographer Denis Cosgrove explains, "world' is a social concept … a flexible term, stretching from physical environment to the world of ideas, microbes, of sin. Arguably, all these worlds can be mapped." And they are in this compelling and very readable companion volume to the current exhibition at the Field Museum in Chicago.

To find out more about the book, see this special website where you can view a sampling of images organized by theme from just of few of the many fascinating maps in the book.

And if you're planning a day out tomorrow to go see some of these maps in person, you can check out the Field Museum's exhibition highlights online at their website which includes ticket sales, a list of special events, and a primer on what you can expect too see if you go.

In addition to the exhibit at the Field Museum many other Chicago institutions including the Newberry Library and the Chicago History Museum are participating in the Festival of Maps over its three month time span, making it one of the most ambitious celebrations of maps ever. For those looking for a more comprehensive rundown of the entire Festival, navigate to the Chicago Tribune's festival website which includes a guide to the Festival's various venues, video presentations by the Tribune's Patrick Reardon, and even a special blog with reviews and commentary on the Festival's many exhibits. The Tribune also links to the Festival's official website where you can find an indispensable map (of course) of the Festival of Maps and other online features.

October 24, 2007

The strange tenderness of Whiskey Tango Foxtrot

jacket imageThe media bombards us with images from Iraq on a daily basis, but as the New Yorker's George Packer notes in his blog Interesting Times, "Iraq has not been a photographer's war." The iconic images of the war have come from amateurs (Abu Ghraib, videos of beheadings) that have "turned documentary photography into a leering form of humiliation and a potent weapon in the information campaign that is the core strategy of contemporary insurgencies, based on the terrifying principle of can-you-top-this."

In Ashley Gilbertson's Whiskey Tango Foxtrot: A Photographer's Chronicle of the Iraq War, Packer finds photographs that have not been drained of humanity.

An Australian freelancer in his twenties, [Ashley Gilbertson] went to northern Iraq before the war and has been going back ever since, mostly on contract for the Times. His new book, Whiskey Tango Foxtrot, just published by the University of Chicago, collects Gilbertson's four years of work from Iraq, with an introduction by his Times colleague Dexter Filkins, and a colloquial, self-revealing text beautifully written by the photographer himself. The pictures chart the descent of Iraq from the initial post-invasion euphoria into the extreme violence of the battles for Karbala, Samarra, and Falluja. They also show a young photojournalist, who "wasn't interested in covering combat," learning his craft, proving his mettle, forcing himself into situations that nearly destroy him morally as well as physically, and finally discovering, amid the inferno of Falluja in November, 2004, the strange tenderness that characterizes the very greatest war photography. Gilbertson's pictures from the battle of Falluja perform the opposite function of the war pornography that Abu Ghraib and Zarqawi gave the world: they give back to their subjects the humanity that the war is taking away.

See a special website for the book featuring a video interview with the author. Gilbertson has also recently been interviewed on CNN and on CBS News.

October 23, 2007

Press Release: Smith, The Plan of Chicago

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Now available in paperback— Arguably the most influential document in the history of American urban planning, Daniel Burnham's 1909 Plan of Chicago, coauthored by Edward Bennett and produced in collaboration with the Commercial Club of Chicago, proposed many of the city's most distinctive features. Carl Smith's fascinating history reveals the Plan's central role in shaping the ways people envision the cityscape and urban life itself and points out ways the Plan continues to influence debates, even a century after its publication, about how to create a vibrant and habitable urban environment.

Read the press release.

October 22, 2007

Vietnam Zippos on the CBS Evening News

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Sherry Buchanan's Vietnam Zippos: American Soldiers' Engravings and Stories received some prime time publicity Saturday on CBS's Evening News. Buchanan's book showcases a collection of Vietnam era Zippo lighters to tell the fascinating story of how the humble Zippo became a talisman and companion for American GIs during their tours of duty. CBS correspondent John Blackstone asks Vietnam vet Hap Desimone "if it seems strange to see the lighters depicted as art:"

"No," he says. "It doesn't seem strange at all."

In Vietnam, every soldier, it seemed, had a Zippo.

"I carried one," Desimone says. "I had it engraved."

With the engravings Zippos became the one place soldiers could express themselves.

"A lot of these sentiments I heard before, 'We're the unwilling led by the unqualified doing the unnecessary for the ungrateful'," he says. "It rings a bell.…"

The piece continues quoting artist Bradford Edwards whose collection is featured in Vietnam Zippos:

"You had people who were discontent people who wanted to express heartfelt emotions," he says. "And here was a small canvas."

"They look like a collection of tombstones," Edwards says. "And they may be the last thing some of these guys had to say."

While some of the soldiers may never have made it home, now their Zippos are here illuminating the past.

Video of Blackstone's piece is online at the CBS website.

October 18, 2007

Podcast: Barry B. LePatner on The Invisible Hand

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Last week we mentioned that Barry B. LePatner, author of Broken Buildings, Busted Budgets: How to Fix America's Trillion-Dollar Construction Industry was going to be featured on Chris Gondek's business management podcast, The Invisible Hand. Well, while the podcast officially airs on Mr. Gondek's site this Saturday, he was kind enough to give us a link to the full audio from his talk with LePatner a couple of days in advance.

Listen to The Invisible Hand Podcast Episode 61 (mp3) as LePatner and Gondek engage in a fascinating discussion about how America's fractured construction industry is costing the nation billions of dollars, and what LePatner suggests can be done to fix it.

Also check out LePatner's special website for the book with excerpts and other resources.

October 15, 2007

Review: Laszlo, Citrus

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Citrus: A History, the latest from chemist and author Pierre Laszlo, is a fascinating historical study of the culinary and cultural phenomenon of the citrus. Writing for the UK's Financial Times, Ian Irvine's recent review delivers a succinct and enthusiastic summary of Laszlo's new work:

Pierre Laszlo's short but brilliant book ranges over citrus's eventful history and describes its global importance in agriculture, industry, religion, painting, literature, nutrition and architecture. He also provides some excellent recipes.… Laszlo is a professor of chemistry and author of a fine history of salt. His scientific explanations—the fruit's importance as a source of vitamin C, for example—are excellent, but he is also equally lucid in other fields: the purpose of the orangery at the palace of Versailles; the role of the peeled lemon in Dutch still-lifes; and why the Jewish Feast of Tabernacles requires an etrog citron.

You can read the rest of Irvine's review online at the FT.com or check out six citrus recipes from Laszlo's book online at the UCP website.

October 12, 2007

The industry that time forgot

jacket imageThis essay by Barry B. LePatner, author of Broken Buildings, Busted Budgets: How to Fix America's Trillion-Dollar Construction Industry, is reprinted from the August 12 edition of the Boston Globe.

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In April, a gasoline tanker overturned beneath a key stretch of highway in Oakland, Calif., erupting into flames that melted the steel of an overpass and brought a section of road crashing to the ground.

Repairs were projected to cost $5.2 million and snarl Bay Area traffic for months. The state solicited bids for the work, offering a set of bonuses for finishing early, and got a surprising offer: One company said it would take the job for $867,000.

The firm, C.C. Myers, set to work around the clock, working closely with suppliers and fabricators across the country. The repairs took just 18 days, earning the company a $5 million bonus, giving commuters a smooth drive home far sooner than anyone expected—and sending waves of surprise through the industry.

"I haven't encountered anything like this," one union official told the San Francisco Chronicle as he watched the project unfold.

American construction is the industry that time forgot. Over the last century, the nation's other great industries—oil, automobiles, even computers—have undergone waves of profound modernization, breeding competitive, innovative companies where on-time, under-budget projects are nothing unusual. But the construction industry, which at $1.2 trillion in annual revenues constitutes 5 percent of the nation's economic output, remains a bastion of waste and inefficiency.

Protected by a tradition of contracts that insulate them from the costs of their own mistakes, the nation's thousands of construction companies have resisted innovation and now survive as the last large mom-and-pop industry, where each project brings together a new assortment of subcontractors, and nobody—not the lead contractor, not the architect, not the person who is paying for it all—can say in advance how much a particular project will really cost.

This has always been deeply frustrating for anyone wrestling with the industry's unpredictable costs and timelines, but it is now becoming an urgent problem on a national scale. The deadly and dramatic collapse of the I-35W bridge in Minneapolis—and the growing tally of troubled roads and bridges—has brought home just how much building must be done to make our infrastructure safe. In Massachusetts alone, the repair tab could be more than $17 billion, according to a recent Pioneer Institute study. Another national study found that by 2030, America faces some $25 trillion in new construction just to build houses, schools, and offices for our growing population. If the construction industry is not reformed, this will lead to waste on an almost unimaginable scale.

Construction touches every part of the economy. It creates the buildings where we live and work, our hospitals and schools, and the roads we use to reach them. Done right, it transforms our cities and towns for the better—but more often, its inefficiency inflates home prices and bogs down corporate growth, fattens our tax bills and delays civic improvements.

Making construction faster, less expensive, and more reliable will free up time and energy for society's higher priorities. Saving even 5 percent on a school project would translate into millions of dollars to spend on books and teacher salaries, or simply return to the taxpayer. It would make home ownership more accessible and make companies more nimble and competitive. And even more broadly, a genuine transformation would give birth to a new American export, a construction industry that can lead the world.

Continue reading "The industry that time forgot" »

October 08, 2007

Richard Halpern on NPR

jacket imageAuthor Richard Halpern was featured last Friday on NPR's On the Media to discuss the myth of American innocence, and the various cultural forces that contribute to its production. Halpern recently spoke at a New York University symposium on the subject—“Shocked! Shocked!! Just How Many Times Can a Country Lose Its Innocence?”—and is the author of a book on a man he claims is one of the most prolific manufacturers of American naïeveté, Norman Rockwell. In Norman Rockwell: The Underside of Innocence, Halpern argues that Rockwell's art, even as it actively works to create a sentimental American style of innocence, in fact, frequently teems with perverse acts of voyeurism and desire. Listen in as Halpern debunks Rockwell and the American innocence industry online at the NPR website.

Read an excerpt from Halpern's book.

October 03, 2007

Review: Chappell, Chicago's Urban Nature

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Over the last few decades Chicago has become progressively greener with parks, landscaping, and rooftop gardens becoming ubiquitous features of the cityscape. But as columnist Edward Keegan notes in a review for last Saturday's Chicago Tribune, these are features which have been ignored by those writing on Chicago's urban habitat, until now. Keegan cites Sally A. Kit Chappell's new book, Chicago's Urban Nature: A Guide to the City's Architecture + Landscape, as an "antidote to the overemphasis on bricks and mortar that have long dominated similar books on Chicago's built environment." Keegan's review continues, "This book should take its place with the ample assortment of guides most Chicago architecture aficionados have on their shelves. As the city becomes greener in the years to come, Chappell's guide will become ever more necessary to understand Chicago's development in its entirety."

To find out more, view this video portrait of the numerous new green spaces that have enlivened and rejuvenated our hometown, narrated by the Sally Chappell herself.

October 02, 2007

Rebuilding the Construction Industry

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Barry B. LePatner's new book, Broken Buildings, Busted Budgets: How to Fix America's Trillion-Dollar Construction Industry, was featured in an interesting article in Monday's edition of the Architectural Record. Writer James Murdock contrasts the opinions of Stephen Sandherr, chief executive of the Associated General Contractors of America, with LePatner's argument that the industry is in urgent need of reform. Murdock writes:

Barry LePatner, a Manhattan-based attorney who counts Frank Gehry and other big-name architects among his clients, sees a problem with the construction industry in the United States—clearly indicated by the title of his book Broken Buildings, Busted Budgets, published today by the University of Chicago Press. "This is the industry that time has forgotten," he says. "Mom-and-pop shops, composed of 20 people or less, make up 92 percent of the industry. They are hugely inefficient, and they have no money to spend on improving performance and technology."

The result, LePatner continues, is tremendous waste in a $1.2-trillion-a-year business—nearly half of labor expenses on a project, according to some studies, are squandered due to schedule conflicts and late deliveries.… LePatner also says that the construction industry suffers from "the winner's curse": Contractors bid so low that the profit margin erodes and the only way to reclaim it is by filing change orders.

But Sandherr disagrees:

Few contractors abuse change orders to drive profits, he contends, and "to say that the construction industry has not embraced innovation or collaboration is naïtve. Just look at the innovations in the past 20 years: design-build, construction management at-risk, and value engineering. Look at building information modeling (BIM), which embraces new technology and allows for enhanced collaboration between designers, contractors, and suppliers.…"

LePatner welcomes such developments, but believes more systemic changes are needed. He recommends consolidation within the commercial construction industry, creating vertically integrated firms like Toll Brothers, Pulte, and other large residential builders.…

LePatner hopes that the business will redefine itself. "If we save only 10 percent in the construction industry, we put back $120 billion a year into the economy."

Read the rest of the article or find out more on the author's website for the book which features several excerpts and other resources.

September 19, 2007

Festival of Maps

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The Chicago Tribune is running an article today about the forthcoming Festival of Maps—a three month display of "rare and important" maps from around the world to be held at more than twenty participating venues throughout Chicagoland beginning later this fall. In conjunction with the exhibition the Press is set to release a companion volume in early November, Maps: Finding Our Place in the World edited by James R. Akerman and Robert W. Karrow, Jr. Delivering a comprehensive account of the diverse ways maps have been used throughout the ages and across cultures, Maps covers much of the material featured in the exhibition, from maps "tracing the rise of the American West" to those used to track and predict the weather. Read today's article in the Tribune or check out the exhibition's official website at www.festivalofmaps.com to find out more about the Festival, or learn more about the companion volume, Maps, on our website.

September 18, 2007

Review: Kemp, The Human Animal in Western Art and Science

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Martin Kemp's new book The Human Animal in Western Art and Science was given an interesting advance review in the September 6 edition of Nature. Reviewer Alison Abbot begins her piece:

On waking, Henry Jekyll stared with horror at the metamorphosis of his hand, normally "professional in shape and size… large, firm, white and comely." Jekyll's experiment to separate the human and animal sides of himself had been all too successful. He noted further: "The hand which I now saw … lying half shut on the bedclothes was lean, corded, knuckly, of a dusky pallor and thickly shaded with a smart growth of hair. It was the hand of Edward Hyde."

Thus Martin Kemp ends his treatise The Human Animal in Western Art and Science with this apposite quote from Robert Louis Stevenson's 1886 novel. It epitomizes the dilemma that has fascinated us for millennia. How much of the animal is there within us? Conversely, how much is human in animals?

Kemp answers these questions. Science, from Darwin to the latest neuroscience and genomics, has shown that there is no sharp animal-human divide, only a sliding scale. And in guiding us to this conclusion, Kemp's six chapters deviate through an amusing and erudite visual history, drawing from art, philosophy, literature, film and other cultural media.

Continue reading the review on the Nature website.

Kemp's book is currently scheduled for release in early October.

September 14, 2007

Review: Chappell, Chicago's Urban Nature

jacket image“Unlike most guides to the city, Chicago's Urban Nature: A Guide to the City's Architecture + Landscape does not include the alley where John Dillinger was shot. Instead, this delightful little book breaks new ground by presenting what author Sally A. Kitt Chappell terms 'urban nature,' defined as 'the place where architecture and landscape [are] not only both present but where each [has] been conceived in response to the other … fusing into a dynamic relationship.' Her personal response to Chicago's built environment, and her enthusiasm for the city, informed by her years of highly regarded scholarly research, is infectious, making this a book you can't put down.

“Chappell writes for four different audiences: tourists, Chicagoans, armchair travelers, and architecture landscape and planning professionals. Amazingly this works.… Chicago's Urban Nature is a beautifully designed book, a tactile and visual pleasure that is small and flexible enough to carry in purse or backpack, or, as Chappell hopes, in the glove compartment for quick reference.”—Barbara Geiger, Landscape Architecture

View a video portrait of the numerous new green spaces that have enlivened and rejuvenated our hometown, narrated by the author.

September 05, 2007

Review: Kemp, The Human Animal in Western Art and Science

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Martin Kemp's soon-to-be-published The Human Animal in Western Art and Science was given a noteworthy review in today's New York Sun. Praising the book for its exploration of the many fascinating intersections between man and beast in western culture, reviewer Eric Ormsby writes for the Sun:

[The Human Animal in Western Art and Science] is based on the Louise Smith Bross Lectures that Mr. Kemp gave at the Art Institute of Chicago in April 2000 and that he has revised and expanded, supplementing his witty and erudite text with some 185 marvelous illustrations. His theme is "humanized animals and animalized humans" and he ranges widely to explore it. Beginning with a lucid (and rather gruesomely illustrated) discussion of the four humours, which humans and animals were thought to share, Mr. Kemp moves through the centuries. Dürer, Cranach, Da Vinci, and Rembrandt may occupy pride of place, and rightly so, but many fascinating, lesser known figures appear as well. These include the brilliant Charles Le Brun in 17th-century France, whose drawings of human facial expressions from despair to astonishment are one of the marvels of the volume, as well as the half-mad Viennese sculptor Franz Xaver Messerschmidt, whose contorted portraits of "manic grins" and the grimaces of "beak-like mouths" fairly leap from the page. In such depictions, humans are animalized and animals humanized, so disturbingly that all our artificial boundaries begin to dissolve.

Read the rest of the review online at the New York Sun website.

The Human Animal in Western Art and Science is currently set to be released this October.

September 04, 2007

Ashley Gilbertson in Mother Jones magazine

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Ashley Gilbertson's new book, Whiskey Tango Foxtrot: A Photographer's Chronicle of the Iraq War has received some pre-publication praise in an article published in this month's edition of Mother Jones. Ted Genoways begins his article by arguing that much of the recent war reportage from Iraq has been corrupted by bad reporting and bias, but offers Gilbertson's forthcoming book as a much needed corrective. Genoways writes:

Thankfully, we have writers and photographers like Gilbertson, now working primarily on contract for the New York Times, who have not given up on the idea of real reporting. The photographs in Whiskey Tango Foxtrot convey a clear eyed fidelity to the facts. They include pictures of corpses and bleeding soldiers, pictures of officers practicing golf swings and enjoying saunas, and pictures of incarcerated prisoners and brutal interrogations. The lurid and the ludicrous share equal space often to dizzying effect. The text is refreshingly direct and self deprecating—whether revealing Gilbertson's embarrassment at wetting his pants under fire or his agony and post-traumatic stress after being splattered by the brains of the man in front of him on patrol. This is the kind of reporting we so desperately need: free of false bravura, free of agenda, free of inflated urgency.…

The book belongs less on the shelf with other histories of the war than on the same shelf with Hemingway's A Farewell to Arms and Vonnegut's Slaughterhouse-Five. This is not trumped up news coming live from Iraq but the straight story with harrowing snapshots of the American soul. When future generations look back and wonder where we went wrong, where we failed ourselves and them, it will not be hours of television and radio broadcasts that they will pore over. It will be a select few texts, and Gilbertson's book deserves to be one of them.

Check the Mother Jones website where they should post the entire article soon. Our own special website for Whiskey Tango Foxtrot will also be online soon featuring images from the book and an interview with Gilbertson.

August 22, 2007

Review: Wharton, Selling Jerusalem

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Art Book magazine, a monthly publication from the Association of Art Historians, is carrying an interesting review of Annabel Jane Wharton's Selling Jerusalem: Relics, Replicas, Theme Parks. Reviewer Hadas Yaron delivers a concise summary of Wharton's work writing:

Selling Jerusalem is a fascinating analysis of place, objects, commodities and representations. In this account, Annabel Wharton explores Jerusalem from cultural-material and historical perspectives, concentrating on the connections between Christian Europe and North America and Jerusalem as they were, and as they are created through the possession and worship of relics (such as the cross), as well as paintings, buildings and models. Wharton wishes to draw our attention to the relationship between Jerusalem and the West, exploring not only how the city was and is represented in Europe and North America, but also how the city was and is materially possessed and lived in the West, and in this context how religious art, commerce and exchange are related to power and politics.

The August edition of the Art Book also contains several other reviews of our recent publications in art, art history, and architecture including Terry Smith's The Architecture of the Aftermath and Anthony Alofsin's When Buildings Speak: Architecture as Language in the Habsburg Empire and Its Aftermath, 1867-1933. You can find the online version here.

August 15, 2007

The high cost of America's aging infrastructure

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With the recent bridge collapse in Minneapolis many have turned their attention to the problems posed by America's aging infrastructure. A potential sinkhole for millions of taxpayer's dollars, the cost of fixing roads, bridges, and other public works sometimes acts to prevent essential repairs from being made, and may result in tragedy. But according to Barry B. LePatner, author of the forthcoming Broken Buildings, Busted Budgets: How to Fix America's Trillion-Dollar Construction Industry, providing a safe and well-maintained infrastructure does not have to mean wasting the taxpayer's money. In an article last Sunday for the Boston Globe LePatner argues that by consolidating a fragmented industry into larger "national construction powerhouses" the business of construction could become much more efficient:

The modern construction business hasn't changed significantly since the first steel-frame skyscrapers began to rise in the early 1900s. Early tall buildings such as the Tribune Tower in Chicago and the Woolworth Building in New York grew too complex to remain under the purview of a single 'master builder,' the architect who knew and supervised every detail of the project. Instead, each required an assembly of specialists—electricians, plumbers, heating contractors, excavators. Dozens, then hundreds of companies arose to handle those systems, each a local family-run shop that drove its truck to one project at a time. Today, in 2007, that's still basically how the business works.…

This fragmentation has enormous costs. It guarantees that any building site will be an assembly of strangers, with a high risk of miscommunication. It traps the industry in conservative practices, ensuring that any new learning will spread slowly, if at all. Splintered into so many firms, the construction industry has never developed the economies of scale, financial cushions, or comfort with risk that would allow it to enter a new phase and truly modernize.

But, LePatner argues, "under a regime of incentives and real accountability, construction companies would begin to transform. The industry would spawn a few winners that, as they prospered, would acquire the capacity to research new techniques, retain skilled employees through down periods, and buy up dozens or even hundreds of small specialized players."

To read the rest of LePatner's article navigate to the Boston Globe website. To find out more about the book, (due out this October), navigate to http://www.brokenbuildings.com/.

July 16, 2007

The Human Animal

jacket imageCritic Edward Rothstein begins his "Connections" column in today's New York Times by mentioning Robert Wilson's recent staging of Fables de La Fontaine at the Lincoln Center Festival. Featuring a cast of masked half-human, half-animal characters, Rothstein describes the stage adaptation of La Fontaine's work as an unusual reversal of Aesop's fables: "Aesop's animals are nearly human," writes Rothstein, "La Fontaine's humans are nearly animals."

But though they might contrast in this respect, both Aesop and Fontaine's fables seem to agree on the undeniable similarities between human and animal. And in his forthcoming book The Human Animal in Western Art and Science Martin Kemp demonstrates how this blending of the animal with the human is, and has been, a recurring theme throughout western culture. Citing Kemp's book, Rothstein's article goes on highlight just how pervasive such depictions of the human-animal really are:

We name sports teams after rams or bulls and automobiles after cougars or jaguars. Our language speaks of crocodile tears and fish eyes.…Babies' rooms, filled with stuffed bears, lions and lambs, are like plush pastoral Edens before the Fall… For adults fables bring the animals and the humans even closer together, with discomforting or startling results, ranging from the grimness of Art Spiegelman's comic-book Maus to the romance of the film March of the Penguins.

But what is the point of these preoccupations? In a book to be published in September by the University of Chicago Press, The Human Animal in Western Art and Science, Martin Kemp, who teaches art history at Oxford University, shows just how powerful the theme is, and how essential it is to Western traditions of art and science.The animal is used to reveal the human, the human to reveal the animal.

The animal world, he points out, may have provided the first model for understanding the complexities of the human one.

Read Rothstein's article on the Times website or find out more about Kemp's fascinating new book set to for release this October.

July 09, 2007

Paul D'Amato at the Stephen Daiter Gallery

jacket imagePhotographs by Paul D'Amato are currently on exhibit at the Stephen Daiter Gallery. The show includes some of the work that we published in Barrio: Photographs from Chicago's Pilsen and Little Village, as well as photographs from a more recent project on Lake Street.

In Barrio, D'Amato made the narratives of daily life in Pilsen and Little Village manifest in photographs of children at play, teenagers out in the night, graffiti, families in their homes, gangs in the alleys, weddings, and more. His photos are beautifully composed and startling—visual narratives that are surreal and dreamlike, haunting and mythic.

The Stephen Daiter Gallery is at 311 West Superior Street in Chicago. The showing continues through July 28. Also, visit Paul D'Amato's website.

June 28, 2007

No Caption Needed - the blog

jacket imageRobert Hariman and Louis Lucaites, authors of No Caption Needed: Iconic Photographs, Public Culture, and Liberal Democracy have recently started their own blog at www.nocaptionneeded.com. As a companion resource to their new book, the blog is "dedicated to discussion of the role that photojournalism and other visual practices play in a vital democratic society." Bringing the author's ideas to bear on current issues and new media, almost in real-time, we definitely recommend you check it out.

In No Caption Needed, Robert Hariman and John Louis Lucaites provide the definitive study of the iconic photograph as a dynamic form of public art. Their critical analyses of nine individual icons explore the photographs themselves and their subsequent circulation through an astonishing array of media, including stamps, posters, billboards, editorial cartoons, TV shows, Web pages, tattoos, and more. As these iconic images are reproduced and refashioned by governments, commercial advertisers, journalists, grassroots advocates, bloggers, and artists, their alterations throw key features of political experience into sharp relief. Iconic images are revealed as models of visual eloquence, signposts for collective memory, means of persuasion across the political spectrum, and a crucial resource for critical reflection.

Read an excerpt from the book.

June 22, 2007

Press Release: Stafford, Echo Objects

jacket imageBarbara Stafford is at the forefront of a growing movement that calls for the humanities to confront the brain's material realities. In Echo Objects: The Cognitive Work of Images she argues that humanists should seize upon the exciting neuroscientific discoveries that are illuminating the underpinnings of cultural objects. In turn, she contends, brain scientists could enrich their investigations of mental activity by incorporating phenomenological considerations—particularly the intricate ways that images focus intentional behavior and allow us to feel thought.

As precise in her discussions of firing neurons as she is about the coordinating dynamics of image making, Stafford locates these major transdisciplinary issues at the intersection of art, science, philosophy, and technology. Ultimately, she makes an impassioned plea for a common purpose—for the acknowledgment that, at the most basic level, these separate projects belong to a single investigation.

Read the press release.

June 21, 2007

Press Release: Hariman and Lucaites, No Caption Needed

jacket imageEvery day, the media present us with thousands of photographs of world events, accompanying and illuminating the stories of the day. Most of those images are forgotten as soon as the day's paper is discarded—but a very small number take on a larger life, resonating with the public and influencing opinions, emotions, and actions. These iconic images—a cluster of marines struggling to plant the American flag on Iwo Jima, a naked Vietnamese girl running in terror from a napalm attack, an unarmed man stopping a tank in Tiananmen Square—are seared into our brains, instantly calling up emotional memories of the past century's major events. But why are these images so transcendent? Out of innumerable photos, why did these particular ones become icons? And what role should such images, and photojournalism itself, play in public life? In No Caption Needed: Iconic Photographs, Public Culture, and Liberal Democracy, Robert Hariman and John Louis Lucaites explore the creation, dissemination, and the effects of iconic photographs taking us back to the circumstances in which these photos were taken and setting them in their full historical and cultural contexts.

Read the press release. Read an excerpt from the book.

June 20, 2007

Robert Bruegmann and the brawl over sprawl

jacket imageAll this week the LA Times will print a running debate between Robert Bruegmann and Gloria Ohland on the topic of urban sprawl and the future of America's urban landscapes. Drawing from his groundbreaking book, Sprawl: A Compact History, Bruegmann overturns many of the common assumptions about America's rapidly expanding suburbs, arguing for the sometimes overlooked benefits of this popular form of urban development. On the other side of the fence, Gloria Ohland, vice president for communications for Reconnecting America—a non-profit organization that promotes best practices in transit-oriented development—responds with an interesting counter argument for higher-density development centered around public transportation. Check out the LA Times website for the first installment of this fascinating debate.

Read an excerpt from Sprawl: a Compact History.

June 13, 2007

Ashley Gilbertson on Fresh Air

jacket imageAshley Gilbertson, whose words and photographs we will publish later this year in Whiskey Tango Foxtrot: A Photographer's Chronicle of the Iraq War, was interviewed today on WHYY's Fresh Air.

Gilbertson arrived in Iraq on the eve of the American invasion, hoping to pick up some picture assignments. He landed a contract with the New York Times, and his extraordinary images of life and death in Iraq chronicled the invasion, the occupation of Baghdad, the battle for Falluja, the Iraqi elections, and much more over the past four years. In the Fresh Air interview, he discusses his experiences, his photography, and new restrictions the U.S. government has placed on photographs of soldiers.

We will have much more to say about Whiskey Tango Foxtrot as the fall season progresses. Stay tuned.

Updated: We have a special website for Whiskey Tango Foxtrot.

June 12, 2007

American icons

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Images have become an indelible part of our daily lives with the power to radically transform the way we view the world around us. The summer 2007 edition of Bookforum is running an interesting discussion of two new books that explore the tremendous social power of the image and the various ways they have shaped our modern culture.

Reviewer David Levi Strauss notes the essays in Beautiful Suffering: Photography and the Traffic in Pain for offering an insightful critique of the public impact of depictions of suffering. With a special focus on the popular media during 9/11 and its aftermath, these essays explore the inherently problematic issue confronted by many artists and photojournalists who seek to produce aesthetic beauty in their art, even as they document the most painful of human suffering.

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Strauss's article places this insightful critique of our visual culture side by side with that of another book, Robert Hariman and John Louis Lucaites's recently published No Caption Needed: Iconic Photographs, Public Culture, and Liberal Democracy. According to Strauss, Hariman and Lucaites's No Caption Needed "'[challenges] the presumption that visual media categorically degrade public rationality.'" The review continues:

[The authors] approach photojournalism as "an important technology of liberal democratic citizenship.…" Their close readings of… iconic images employ multiple strategies and tools to investigate how they create a "public culture that lies somewhere between hegemony and resistance.…" They look hard at the images themselves and the way that they are used, appropriated, parodied, and celebrated.

Pick up a copy of Bookforum to read the rest of this stimulating review. In the meantime, check out an excerpt from No Caption Needed.

May 21, 2007

What do objects want?

jacket imageLast Friday's New York Times had a review of an exhibition at the SculptureCenter. The exhibition drew inspiration from a book that the Press recently honored, What Do Pictures Want?: The Lives and Loves of Images by W. J. T. Mitchell. Martha Schwendener writes for the NYT:

What do objects want? The question, immediately recalling Freud's about women, also paraphrases the title of W. J. T. Mitchell's book What Do Pictures Want? The Lives and Loves of Images, the inspiration for an exhibition at the SculptureCenter in Long Island City, Queens.

Mr. Mitchell, a professor at the University of Chicago and editor of the journal Critical Inquiry, observes that "modern, rational, secular" people don't generally treat pictures like persons, yet "we always seem to be willing to make exceptions for special cases." (Most of us, for instance, would be reluctant to poke out the eyes on a photograph of our mother.) But pictures have desires, too, he argues, and a primary one is the desire to capture our attention—to "transfix the beholder" and gain some measure of mastery or power over us.

The Happiness of Objects, organized by Sarina Basta, the SculptureCenter curator, takes Mr. Mitchell's ideas and tweaks them to fit an exhibition of work by nearly two dozen artists and artist collectives. Visitors receive a handout titled "The Object's Bill of Rights," which lays out a series of demands like "The Object has the right to be claimed or forgotten, lost or found," and "The Object has the right to many lovers."

You can learn more about the show at the SculptureCenter website, or check out Mitchell's fascinating book, either way, your understanding of our increasingly visual culture is guaranteed to be transformed.

May 11, 2007

Ebert and Gilfoyle honored by the Society of Midland Authors

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Two University of Chicago Press authors were honored last Tuesday at the Society of Midland Author's annual awards ceremony. Roger Ebert's Awake in the Dark: The Best of Roger Ebert received the top prize for adult non-fiction books, while Timothy J. Gilfoyle's Millennium Park: Creating a Chicago Landmark also weighed in as a finalist in the same category.

jacket image The awards contest is described on the Society's website as a "competition … open to authors and poets who reside in, were born in, or have strong ties to the twelve-state Midwestern Heartland." Ebert is an Illinois native while Gilfoyle is a professor of history at Loyola University Chicago. The winners will receive cash prizes, plaques, and of course, recognition from one of the Midwest's most distinguished literary societies.

Back in November we reprinted Ebert's interview with Robert Altman on this blog. Our website also features “A Millennium Park Trivia Quiz” based on Gilfoyle's book.

May 10, 2007

The 2006 Gordon J. Laing Prize

W. J. T. MitchellAt its award ceremony on Monday, April 30, the University of Chicago Press awarded the 2006 Gordon J. Laing Prize to W. J. T. Mitchell, the Gaylord Donnelley Distinguished Service Professor of English and Art History, for his book What Do Pictures Want?: The Lives and Loves of Images.

Awarded annually since 1963 by the Press, the Laing Prize is given to the Chicago faculty author, editor, or translator whose book has brought the greatest distinction to the Press's list.

In What Do Pictures Want? Mitchell explores the idea that images are not just inert objects that convey meaning but animated beings with desires, needs, appetites, demands, and drives of their own. The book highlights Mitchell's innovative and profoundly influential thinking on picture theory and the lives and loves of images. Ranging across the visual arts, literature, and mass media, Mitchell applies characteristically brilliant and wry analyses to Byzantine icons and cyberpunk films, racial stereotypes and public monuments, ancient idols and modern clones, offensive images and found objects, American photography and aboriginal painting.

Mitchell becomes only the third faculty member to win the Laing Prize twice; he also won the 1996 prize for Picture Theory: Essays on Verbal and Visual Representation.

What Do Pictures Want? was also the co-winner of the 2006 James Russell Lowell Prize awarded by the Modern Language Association.

April 20, 2007

Press Release: Burke, Lee Miller

jacket imageLee Miller's life embodied all the contradictions and complications of the twentieth century: a model and photographer, muse and reporter, sexual adventurer and domestic goddess, she was also America's first female war correspondent. Carolyn Burke, a biographer and art critic, here reveals how the muse who inspired Man Ray, Cocteau, and Picasso could be the same person who unflinchingly photographed the horrors of Buchenwald and Dachau. Burke captures all the verve and energy of Miller's life: from her early childhood trauma to her stint as a Vogue model and art-world ingénue, from her harrowing years as a war correspondent to her unconventional marriages and passion for gourmet cooking. A lavishly illustrated story of art and beauty, sex and power, Modernism and Surrealism, Lee Miller illuminates an astonishing woman's journey from art object to artist.

Read the press release.

March 22, 2007

Susan Bielstein on WVKR's Library Cafe

jacket imageSusan Bielstein, author of Permissions, A Survival Guide: Blunt Talk about Art as Intellectual Property will appear on Library Café, a program on WVKR Independent Radio FM 91.3 in Poughkeepsie, NY, on March 27th at 11 am CST. Bielstein will join host Thomas Hill to discuss her book. You can tune in to a live broadcast online at the Library Café where they should also post archived audio after the show.

Organized as a series of "takes" that range from short sidebars to extended discussions, Permissions, A Survival Guide explores intellectual property law as it pertains to visual imagery. How can you determine whether an artwork is copyrighted? How do you procure a high-quality reproduction of an image? What does "fair use" really mean? Is it ever legitimate to use the work of an artist without permission? Bielstein discusses the many uncertainties that plague writers who work with images in this highly visual age, and she does so based on her years navigating precisely these issues. As an editor who has hired a photographer to shoot an incredibly obscure work in the Italian mountains (a plan that backfired hilariously), who has tried to reason with artists' estates in languages she doesn't speak, and who has spent her time in the archival trenches, she offers a snappy and humane guide to this difficult terrain.

Read an excerpt from the book.

February 20, 2007

Views of the suburbs

jacket imageSunday's San Jose Mercury News carried an interesting review of an exhibit at the San Jose Museum of Art. The exhibit gathers photographs, paintings, and sculpture on the theme of suburbia—so appropriate for the heart of Silicon Valley.

The Mercury News reviewer, Alan Hess, takes the exhibit to task however, and juxtaposes what he sees as typical condescending attitude towards suburban development with the insights of one of our authors, Robert Bruegmann, whose book Sprawl: A Compact History works to overturn the conventional wisdom on suburbia. Hess writes:

Vacant neighborhoods, sterile landscapes, and scary people dominate the exhibit "Suburban Escape: The Art of California Sprawl," at the San Jose Museum of Art … . But until we stop repeating these myths—and stop basing architectural and planning policies on them—suburban cities such as San Jose will never achieve their full potential.

Fortunately, some serious academics are taking a fresher look at the facts. A 2005 book with the catchy title Sprawl: A Compact History, by University of Illinois Professor Robert Bruegmann is one excellent antidote to decades of flawed opinions.

As it happens though, we have dogs on both sides in this fight. The catalog for the exhibition, Suburban Escape: The Art of California Sprawl, is published by the Center for American Places, whose publications we are pleased to distribute. So, while Mr. Hess seems to have made up his mind, we invite you to look at both of these intriguing new works on the future of American city planning and the diverse viewpoints they provide.

We have an excerpt from Sprawl.

Press Release: Taylor, Mystic Bones

jacket image In a December 2006 New York Times editorial (which we reprinted online), Mark C. Taylor wrote that his current manner of thinking and teaching "cultivate[s] a faith in doubt that calls into question every certainty." This philosophy is on elegant display in Taylor's newest book, Mystic Bones. By combining images of weathered bones with philosophical aphorisms, Taylor refigures death in a way that allows life to be seen anew. These haunting photographs speak to themes of ruin, mortality, and ritual, and to a theology based on immanence rather than transcendence. At once a fine art book of great originality and a profound spiritual meditation, Mystic Bones is Taylor's most personal statement yet of after-God theology.

See the press release.

January 25, 2007

Review: Hyman, The Objective Eye

jacket image John Hyman's newest work, The Objective Eye: Color, Form, and Reality in the Theory of Art, addresses one of the perennial issues in art theory—the fascinatingly complex nature of pictorial representation. Here, Hyman makes a radical departure from recent trends in the philosophy of art to formulate what a review in the January 25 London Review of Books has called a "devastating critique of subjectivism"—all the while using "a complex array of texts and arguments from the full historical sweep of Western cultural reflection on the nature of pictorial art" to build his own "carefully nuanced" objectivist stance.

But though the work of reformulating hundreds of years of theoretical writings in the arts might sound complicated, the London Review continues, "the rigorous clarity and elegant concision of Hyman's writing—literary virtues to which the best analytical philosophy has always aspired—carry his reader through even the most difficult sections. No one will come away from this book without having learned a great deal about one of the most familiar mysteries of human culture."

And indeed, readers will find this an engaging critique of contemporary art theory a fascinating challenge to some of our most fundamental assumptions about the nature of pictorial representation.

January 22, 2007

Robert Bruegmann on KQED

jacket image Robert Bruegmann will be making a guest appearance this morning on California public radio's Forum with Michael Krasny. If you're in Northern California you can catch Bruegmann discussing "California sprawl and its historical, economic and aesthetic roots and consequences" with other guests Ann Wolfe and Gabriel Metcalf on KQED 88.5 San Francisco today at 10:00. If you're not, listen online; the program airs at 12:00pm central time. An audio archive of the program should be available on KQED's website soon.

Bruegmann is the author of the book Sprawl: A Compact History. In his incisive history of the expanded city, Bruegmann overturns every assumption we have about suburban sprawl. Taking a long view of urban development, he demonstrates that sprawl is neither recent nor particularly American but as old as cities themselves, just as characteristic of ancient Rome and eighteenth-century Paris as it is of Atlanta or Los Angeles. Nor is sprawl the disaster claimed by many contemporary observers. Although sprawl, like any settlement pattern, has undoubtedly produced problems that must be addressed, it has also provided millions of people with the kinds of mobility, privacy, and choice that were once the exclusive prerogatives of the rich and powerful.

The first major book to strip urban sprawl of its pejorative connotations, Sprawl offers readers a completely new vision of the city and its growth.

January 18, 2007

When Buildings Speak

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Yet another title in our art and architecture catalog has received some favorable press, this time in the Nota Bene section of the January 12 Chronicle of Higher Education. In Richard Byrnes' piece on Anthony Alofsin's recent book, When Buildings Speak: Architecture as Language in the Hapsburg Empire and Its Aftermath, he notes that the Hapsburg Empire "spoke… in many diverse languages in a highly politicized context…" but that—as Alofsin's book demonstrates—this struggle for cultural authority was also "fought in bricks and blueprints."

Byrnes article quotes Alofsin as he explains: "A rich architectural polyglotism in Austria-Hungary paralleled the varied languages of its people… not only were many architectural languages expressed simultaneously, but they reflected various and even opposing issues of ethnic and national identity, as well as conservative or liberal ideologies."

Thus, in When Buildings Speak readers can see how the multiplicity of cultures living under Hapsburg rule sought to express their autonomy by tapping into the limitless possibilities of art and architectural styles. Lavishly illustrated with newly commissioned color photographs, When Buildings Speak is essential reading not only for students of architecture but for anyone wanting to better understand the complex history and politics of the Austro-Hungarian region under the Hapsburg's reign.

January 16, 2007

Review: Moser, Wondrous Curiosities

jacket imageIn a review written for the January 9th edition of The Independent Nicola Smyth praises Stephanie Moser's new book, Wondrous Curiosities: Ancient Egypt at the British Museum, for its revealing look at the powerful role of museums in shaping our understanding of science, culture, and history. According to Smyth, Moser's book is a fascinating study of the ways the British Museum has extended the domain of western culture by appropriating not only the physical objects in its collection—but their cultural significance as well. Citing artifacts gained through looting or as trophies of war, to the considerations of pattern and juxtaposition meant to manipulate viewer's perspectives of the objects on display, Smyth writes:

Moser makes a compelling case that, throughout its early history, the British Museum's attitude to its ancient Egyptian artifacts reinforced one basic message: that the story of the ancient world was one of a rise from primitive beginnings to the classical perfection of ancient Greece. The story, in other words, of the triumph of western art.&hellip Moser presents a picture of an institution in which—in the early years at least—the Egyptian antiquities were badly presented in ill-lit and overcrowded chambers, uncontextualized, and contrasted unfavorably with the classical Greek and Roman exhibits.

And with a wealth of illustrations to augment this eye-opening critical account of how the British Museum acquired and displayed its Egyptian collections, Wondrous Curiosities will fascinate curators and scholars of British history, Egyptology, art history, archeology, and the history of science.

January 10, 2007

W.J.T. Mitchell: Chicagoan of the Year

070102.mitchell-300.jpgCultural critic Julia Keller named U of C professor W.J.T. Mitchell one of 2006's Chicagoans of the Year. In a piece published December 31, 2006 for the Chicago Tribune, Keller gives a brief synopsis of why she thinks Mitchell stands out, calling him "Chicago's renaissance man," and a "restless and vivid thinker who goes where his passionate interests lead him." Topping her list of his accomplishments is his book What Do Pictures Want?: The Lives and Loves of Images. Keller writes:

This year brought fresh distinction to Mitchell's scholarly expeditions. His latest book, What Do Pictures Want?… recently received the James Russell Lowell Prize from the Modern Language Association, the group's annual award for best book.

The citation lauded his "provocative and remarkably accessible collection of essays," essays that consider aspects of the visual world such as monuments and paintings, advertising images and Dolly, the cloned sheep. Mitchell also reflects on the iconography of the World Trade Center and the meanings of 9/11.

Mitchell's new book is a wonderful addition to the large corpus of work he has already brought to the Press. Follow the links to find out more about some of our recent releases and web features from this esteemed Chicago author.

Books:
What Do Pictures Want?: The Lives and Loves of Images
The Last Dinosaur Book: The Life and Times of a Cultural Icon

Features:
"Seven Theses on the Dinosaur" by WJT Mitchell

December 21, 2006

Review: Scafi, Mapping Paradise

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A recent review penned by the distinguished historian and scholar Anthony Grafton has much to say about Alessandro Scafi's new book Mapping Paradise: A History of Heaven on Earth. Writing for The New Republic Grafton praises the book's detailed historical account of the various attempts—made throughout the Middle Ages to the Renaissance—to chart the geographical location of paradise. Grafton writes:

[In Mapping Paradise, Scafi] becomes a sort of erudite Virgil, leading the reader on an extraordinary journey through thousands of texts and maps—a journey that ends up teaching many lessons not only about the visions of the world but about tradition and how it operates.… Scafi's patient and scrupulous exegeses tease out the meanings of icons and symbols, and record the immensely varied visual and verbal conventions that the mapmakers devised, and make clear the extraordinary conceptual richness and density of the maps of paradise. Mapping Paradise is itself a masterly map of concepts and images whose logic has been lost with time.… Mapping Paradise does honor to its author and his teachers, as well as to the generations of scribes and miniaturists, exegetes and theologians, whose colorful world it charts with lucidity and insight.

December 05, 2006

Book of the Year: Zamora, The Inordinate Eye

jacket imageTowards the end of each year the Times Literary Supplement solicits the opinions of some of their favorite authors and critics to recommend their personal picks for the Books of the Year. This year we are pleased to note that Marina Warner—a prolific novelist, historian, and critic—has chosen Lois Parkinson Zamora's The Inordinate Eye: New World Baroque and Latin American Fiction as one of her picks. Warner says:

It has been a lift to read Lois Parkinson Zamora's The Inordinate Eye: New World Baroque and Latin American Fiction, beautifully produced by the University of Chicago Press. She argues exhilaratingly that an aesthetic of fusion, adornment and exuberance rose phoenix-like in the aftermath of the conquest, shaping an influential mode of fantasy, as in the art and architecture of Mexico and the marvelous fictions of Borges.

The first study of its kind in scope and ambition, The Inordinate Eye is an extraordinary critique of the arts in Latin America.

November 28, 2006

Review: Smith, The Plan of Chicago

In 1909 Daniel Burnham authored The Plan of Chicago—a work that would prove to be one of the most important and influential documents in the history of urban planning. A lavish tome that re-imagined not only Chicago but urban space generally, it included proposals for many of Chicago's lakefront parks and roadways, the Magnificent Mile, Navy Pier, and other distinctive features of the city. But what lead up to its creation, and what were the factors influencing Burnham's revolutionary ideas? Enter Carl Smith's new book The Plan of Chicago: Daniel Burnham and the Remaking of the American City. As noted by a recent review in the November 24 New York Sun Carl Smith's new book is "a concise, splendidly accessible, and beautifully constructed introduction to [this] seminal work of American urban planning and its enduring influence on Chicago and other American cities."

Praising Smith's incisive take on Burnham's work the review continues: "[Smith] writes particularly well, without padding or academic jargon, and admirable self-restraint: He tells us just enough about the men and the times that created The Plan of Chicago to make us want to learn more on our own. One can offer no higher praise for a writer."

Illuminating the complex issues influencing the masterpiece of urban planning that was Burnham's Plan, Carl Smith's The Plan of Chicago is an indispensable contribution to our understanding of Chicago, Daniel Burnham, and the emergence of the modern city.

November 27, 2006

Press Release: Bogart, The Politics of Urban Beauty

jacket imageWhat do public sculptures and murals have in common with sidewalks and trash cans? In New York, none of them can occupy city property without the approval of a single municipal agency. This colorful history of that agency, the Art Commission of the City of New York, tells the century-long story—involving artists, architects, business leaders, activists, and politicians—of how it shaped the way the entire city looks today. A former vice president of the ACNY, Michele Bogart narrates its history from an insider's perspective, tracing the commission's activities from its 1898 founding as an outgrowth of progressive reform to its role in New York's reconstruction after 9/11.

Drawing readers into the center of an art world that paralleled—and sometimes unpredictably intersected with—the more familiar realm of prominent architects, painters, galleries, and museums, The Politics of Urban Beauty tells a quintessentially New York tale that's of utmost relevance to cities everywhere.

Read the press release.

November 24, 2006

Rembrandt, Judaism, and the Dutch Golden Age

epraimbueno(rijsmuseum).jpg As part of their 400th anniversary celebration of the birth of Rembrandt, the Jewish Historical Museum in Amsterdam will host "The Jewish Rembrandt"—a collection of the Dutch artist's works that deal with Jewish themes. Rembrandt is popularly thought of as having a special affinity for Judaism, but this exhibition promises a more critical and in depth look at the impact of Jewish religion and culture on his work than ever before. The exhibit runs until February 4, 2007.

But even if you can't make it to Amsterdam, Steven Nadler's new book Rembrandt's Jews is a revealing exploration of Rembrandt's work along similar lines. In his elegantly written and engrossing tour of Jewish Amsterdam, Steven Nadler tells us the stories of the artist's portraits of Jewish sitters, of his mundane and often contentious dealings with his neighbors in the Jewish quarter of Amsterdam, and of the tolerant setting that city provided for Sephardic and Ashkenazic Jews fleeing persecution in other parts of Europe. Through his detailed analysis of the Rembrant's work, as well as that of several other prominant Dutch painters, Nadler is able to build a deep and complex account of the remarkable relationship between Dutch and Jewish cultures in the period.

Read an excerpt from the book.

Press Release: Schapiro, Romanesque Architectural Sculpture

jacket imageA towering figure in twentieth-century intellectual life art historian Meyer Schapiro (1904-96) profoundly influenced the study of everything from twelfth-century sculpture to modern painting. He made his name as a young scholar, though, by helping to define and elevate the singular style of art known as Romanesque, and it was to the Romanesque that he returned when he was invited to deliver the prestigious Charles Eliot Norton Lectures at Harvard in 1967.

In a labor of love, Linda Seidel—who attended Schapiro's Norton lectures and came to know him through her own work—spent years transcribing and editing the originals to produce this long-awaited, handsomely illustrated volume. Combined with Seidel's illuminating introduction placing these works in context and telling the story of their long journey to publication, Meyer Schapiro's Norton lectures provide exciting new paths toward comprehending the depth and breadth of the master scholar's original vision.

Read the press release.

Press Release: Alofsin, When Buildings Speak

jacket imageHow can a building speak? Look, through Anthony Alofsin's eyes at Budapest's Royal Postal Savings Bank: its technologically advanced construction says modern no less clearly than the spoken word, while its references to Hungarian folk culture proclaim its historical roots. Revealing how such visual languages can express the conflicted identities of entire nations, in When Buildings Speak Alofsin leads readers on a lavishly illustrated tour of overlooked architectural brilliance.

Featuring more than 150 color photographs specially commissioned to highlight the neglected yet rich architecture of Central Europe—from national theaters and crematoria to apartment buildings and warehouses—this study offers a new understanding of how people in the Austro-Hungarian Empire and its successor states expressed their cultural and political autonomy by tapping into the limitless possibilities of art and architectural styles.

Read the press release.

November 20, 2006

Review: D'Amato, Barrio

jacket image A recent review in the Chicago Sun-Times calls Paul D'Amato's Barrio: Photographs from Chicago's Pilsen and Little Village "a beautiful and troubling warts-and-all portrait of the city's largest Mexican-American neighborhoods." Chronicling the 14 years he has spent photographing Chicago's "Latino strongholds," Mr. D'Amato's work is a profoundly empathetic vision of the human struggles of a community that might otherwise remain hidden behind cultural and economic barriers. Kevin Nance, reviewing D'Amato's book for the Sun-Times seems to agree when he writes:

Certainly few of the images here are likely to make their way into tourist brochures; Pilsen, the book's ground zero, is shown as a gritty landscape of littered streets, dilapidated buildings, gang violence and spray-paint artists. At its best, however, the book transcends politics, offering images of the human condition—especially those having to do with relationships between the sexes—that penetrate the surfaces of ethnicity, class and geography.

With a foreword by author Stuart Dybek that places D'Amato's work in the context of the Pilsen and Little Village neighborhoods that Dybek has elsewhere captured so memorably, Barrio offers a penetrating, evocative, and overall streetwise portrait of two iconic and enduring Hispanic neighborhoods.

November 17, 2006

Meryle Secrest honored by the White House

Meryle Secrest On November 9, President Bush awarded Meryle Secrest the National Humanities Medal in a ceremony at the White House, one of ten writers and scholars so honored for 2006. Secrest is noted for her biographies of some of the seminal figures of modern art and music including architect Frank Lloyd Wright, and Joseph Duveen—the premier art dealer of the twentieth century. Secrest's biographies combine her comprehensive and detailed historical research with engaging narrative that reviews in publications like the Economist and New Republic have praised for expertly drawing out the connections between the lives and the art of her subjects. Bringing her readers into intimate contact with the rich history of the arts, Secrest's work is an invaluable contribution to the scholarly study of modern art.

November 14, 2006

Review: Smith, The Plan of Chicago

jacket imageLast Sunday's Chicago Tribune featured a prominent review of Carl Smith's new book The Plan of Chicago: Daniel Burnham and the Remaking of the American City. Writing for the Tribune, Lois Wille—a journalist and historian of Chicago—praises Smith's account of Daniel Burnham's sweeping plans to remake the city of Chicago. Wille writes:

The story of Burnham's plan has been told many times before but never in a more appealing or succinct style than in Carl Smith's modest little book.… What sets this book apart from other Burnham histories is Smith's attention to the filthy, miserable, 19th century city that repelled and motivated Burnham, and the extraordinary promotional effort led by the Commercial Club of Chicago, that sold his plan to the public.

Delivering a comprehensive examination of the most influential document in the history of urban planning, Smith's insightful book is an indispensable addition to our understanding of Chicago, Daniel Burnham, and the emergence of the modern city.

Lois Wille is the author of Forever Open, Clear, and Free: The Struggle for Chicago's Lakefront.

November 13, 2006

Press Release: Halpern, Norman Rockwell

jacket imageOne of the most popular artists of the last century, Norman Rockwell specialized in warm and humorous scenes of routine small-town life. His countless illustrations of ordinary middleclass Americans for the Saturday Evening Post are still among the most indelible images in all of postwar art. Today, opinions of Rockwell vary from uncritical admiration to sneering contempt, but those who love him and those who dismiss him do seem to agree on one thing: his art embodies a distinctively American style of innocence.

Norman Rockwell: The Underside of Innocence reimagines Rockwell as an American Freud, or a canny and remorseless diagnostician of the purity in which we bathe ourselves. Richard Halpern here argues that Rockwell's works might look like innocent portraits of everyday life, but if you look a little bit closer and probe beneath their banal veneer, you'll find a lot of them teeming with perverse acts of voyeurism and sexual desire. For Halpern, Rockwell is an artist who we have not yet dared to see for the complex creature that he is: a wholesome pervert, a knowing innocent, a kitschy genius, and an unexpected influence on more contemporary visual artists such as John Currin, Frank Moore, and Eric Fischl.

Read the press release. We also have an excerpt from the book.

November 02, 2006

Meyer Schapiro: The Norton Lectures

The October 30 issue of the New Republic features an article about several recent additions to the prodigious body of published works by the influential art historian Meyer Schapiro (1904-96), including his Romanesque Architectural Sculpture: The Charles Eliot Norton Lecture Series, edited by Linda Seidel. Though renowned for his critical essays on nineteenth- and twentieth-century painting, Schapiro also played a decisive role in defining the style of architecture known as the Romanesque. Schapiro has remained a highly esteemed yet mysterious figure of academia, widely known, but little read. However, as Jed Perl's New Republic article notes, this new book promises to change that.

The book collects Shapiro's lectures on Romanesque Architecture given in 1967 for the Norton Lecture Series at Harvard; lectures which have been acclaimed throughout academia for their verve and freshness. Perl writes that much like the works of art they take as their subject, "the pleasure of Schapiro's lectures, though they were given in the late-modern 1960's, are what might be called early modern pleasures: the pleasures of close looking, and of the search for unexpected ways to express the most self-evidently human experiences.… Linda Siedel, in editing the Norton Lectures, has preserved the movement of Schapiro's speech, and it is a pleasure to listen in as he seizes an idea and expands on it."

With this masterpiece of art history now available to a modern audience, Romanesque Architectural Sculpture promises to revitalize interest in the work of this important scholar and is sure to delight students and scholars of art history, as well as anyone interested in seeing a new side of Schapiro's profoundly influential mind.

October 26, 2006

Clement Greenberg: A Critical History

jacket imageThe October 16 issue of the Nation features a five-page article by Barry Schwabsky on the work of former Nation contributor Clement Greenberg—art critic, historian, and the central subject of Caroline Jones' recent book Eyesight Alone: Clement Greenberg's Modernism and the Bureaucratization of the Senses. The Nation article includes an interesting retrospective of the impact of Greenberg's work on the world of contemporary art while hailing Jones' book as the best critical history of Greenberg's writing available, trumping several recent biographies. Schwabsky recommends:

Readers who want a better understanding of what Greenberg wrote and why, and above all why what he wrote was so significant, would in any case be better off if they ignored [the] biographies and did the harder but more rewarding work of reading Jones' dense, indeed sometimes maddeningly verbose, "critical history." Like [the biographers] Jones leans on biographical material … along with Greenberg's own writings as well as reactions to and (and against) Greenberg by the art critics and historians that followed in his footsteps; but she brings to all this an analytical intensity, an almost ferocious determination to dig into the text, that makes the biographers' declarative flatness seem dull by comparison. The hundred pages she spends analyzing Greenberg's writings on Pollock—minutely sifting the critic's words through her own searching re-examination of the paintings he had in view—are alone