Art The Design Book - Phaidon
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Art & PlaceLa UniversidadAutonomaArtistLocationDateSite-Specific Art of the AmericasConceived and edited by Phaidon Editors320 x 270 mm12 5/8 x 10 5/8 inches368 pp800 col illus.Hardback withtextured case978 0 7148 6551 5 49.95 UK79.95 US65.00 EUR79.95 CAN89.95 AUSPublishedOctober 2013Storm King Art Center is in the lowerHudson Valley, 55 miles north ofManhattan. It was founded in 1960 bybusinessmen Ralph E. Ogden (18951974) and H. Peter Stern. Since thattime it has grown into a world-classcollection of twentieth and twentyfirst century sculpture installed in500 acres of landscaped lawns, hills,fields and woodlands. Locatedbetween the Schunnemunk andStorm King mountains, the groundsare surrounded in the distance by theHudson Highlands, a range of lowlying mountains, which provide adramatic backdrop of sky and land forthe works.Storm King began to commissionsite-specific works in 1972. One suchwork is American Richard Serra’s (b.1939) Schunnemunk Fork (1990-91),four giant weathering steel platesinserted into the slopes of a ten-acrefield. It draws your attention to thenearby mountain and to thetopography of the site. Briton AndyGoldsworthy’s (b. 1956) Storm KingWall (1997-98) is another piece inwhich the artwork and the landscapeare literally woven together. The2,278-foot-long serpentine dry stonewall winds through a line of trees, dipsinto a pond and heads up a hill toreach the edge of the property. Inaddition to site-specific artworks,much of the land is ‘art-specific’,having been reconfigured to createthe best possible settings for thesculptures. Japanese AmericanIsamu Noguchi’s (1904–88) ninepiece, 40-ton granite sculpture,Momo Taro (1977–78), is one example.Its dramatic setting on a high moundon a hill was created specifically for it.The sculpture can be climbed on andincludes benches to sit on andappreciate the spectacular views.These are but a few examplesfrom the permanent collection, whichfeatures over 100 sculptures by aninternational cast of prominentartists, including MagdalenaAbakanowicz (b. 1930), AlexanderCalder (1898-1976), Roy Lichtenstein(1923–97). An extraordinary collection of outstanding art destinations in the Americas, visitedby millions of people every year These powerful and frequently spectacular artworks, have all been created by theartist specifically for their location – whether indoors, outdoors, urban, desert, orin the mountains or a city centre. This is art to experience – in an immersive way –presented together in a single unique collection for the first time From the first scratchings on desert rocks to the monumental sculptures of RichardSerra, and from the grand land art of Walter De Maria to the oversized public artinstallations of Claus Oldenberg, Art & Place is the only book to focus on the bestexamples of site specific art of North, Central and South America1.2.3. Art & Place features over 500 works by internationally recognized artists includingSpiral Jetty by Robert Smithson, Cloud Gate by Anish Kapoor in Chicago, murals byJohn Singer Sargent in Boston, and Diego Rivera’s History of Mexico in Mexico City4.5.Name SurnameTitle, date, medium/material, sizeName SurnameTitle, date, medium/material, sizeName SurnameTitle, date, medium/material, sizeName SurnameTitle, date, medium/material, sizeName SurnameTitle, date, medium/material, size34125028—028Rozel PointRobert Smithson Each site is explored in detail with large format images showing the work in itscontext and a clear, informative text by an acknowledged expertGreat Salt Lake, UT, USA1970ISBN: 978- 0 7148 65515 This is an unprecedented overview of major site-specific artworks of the AmericasDisenchanted with the gallery systemand museums, which he called‘mausoleums for art’, sculptor RobertSmithson moved his work outdoorsin the late 1960s, becoming oneof land art’s major figures. His 457 m(1,500 ft) long Spiral Jetty is not acommodity to be sold, like paintingin a gallery, but a site far away fromurban and commercial worlds –a place where the viewer canre-experience nature’s vast scale bywalking out on a coil of earth hecreated by bulldozing material fromthe shore into the lake. Smithson hadwide-ranging interests, includinggeology and other sciences. He wasfascinated by red-hued lakes inBolivia, about which he had read;the red algae of the Great Salt Lakeoffered him a chance to mimicthose colour effects. Smithson alsohad a lifelong interest in crystals;the inevitability of salt crystal growthmade the lake an ideal site.Its spiral form and horizontalorientation detach Spiral Jetty fromthe tradition of figurative sculpture.The scale, too, renders the humanspectator insignificantly small. Thework is sometimes partiallysubmerged, depending on varyingwater levels, and the salt crystalsthat grow on it represent a process ofinorganic growth. Smithson waslooking beyond human subjects forinspiration. Like his counterparts inthe Minimalist movement in sculpture,such as Donald Judd, he felt thatsculpture had been tied to the humanfigure for too long, often havinga latent anthropomorphic referenceeven when completely abstract.Walking from the shore to thecentre, following the spiral of theartwork, the viewer travels anticlockwise. This suggests a movementbackwards in time. Thus Smithsoninvites the viewer to ponder geologicaltime as they stand on the rocks andearth of the spiral and look out at thelake and the surrounding landscape.The viewer is also invited to thinkabout cosmological time as the shaperecalls the spirals of galaxies. In 1970,a year after the first moon landing,outer space and our place within itwas at the forefront of consciousness.The Dia Foundation, whomaintains the work and holds a leaseon the site, received Spiral Jetty asa gift from the artist’s estate in 1999.9 780714 8655151.Robert SmithsonSpiral Jetty, 1970, mud and earth, 460 4.6 m/ 1,500 ft 15 ft009—0091Cueva de lasManos del AltoArtistSanta Cruz, PatagoniaDateStorm King Art Center is in the lowerHudson Valley, 55 miles north ofManhattan. It was founded in 1960 bybusinessmen Ralph E. Ogden (18951974) and H. Peter Stern. Since thattime it has grown into a world-classcollection of twentieth and twentyfirst century sculpture installed in500 acres of landscaped lawns, hills,fields and woodlands. Locatedbetween the Schunnemunk andStorm King mountains, the groundsare surrounded in the distance by theHudson Highlands, a range of lowlying mountains, which provide adramatic backdrop of sky and land forthe works.Storm King began to commissionsite-specific works in 1972. One suchwork is American Richard Serra’s (b.1939) Schunnemunk Fork (1990-91),four giant weathering steel platesinserted into the slopes of a ten-acrefield. It draws your attention to thenearby mountain and to thetopography of the site. Briton AndyGoldsworthy’s (b. 1956) Storm KingWall (1997-98) is another piece inwhich the artwork and the landscapeare literally woven together. The2,278-foot-long serpentine dry stonewall winds through a line of trees, dipsinto a pond and heads up a hill toreach the edge of the property. Inaddition to site-specific artworks,much of the land is ‘art-specific’,having been reconfigured to createthe best possible settings for thesculptures. Japanese AmericanIsamu Noguchi’s (1904–88) ninepiece, 40-ton granite sculpture,Momo Taro (1977–78), is one example.Its dramatic setting on a high moundon a hill was created specifically for it.The sculpture can be climbed on andincludes benches to sit on andappreciate the spectacular views.These are but a few examplesfrom the permanent collection, whichfeatures over 100 sculptures by aninternational cast of prominentartists, including MagdalenaAbakanowicz (b. 1930), AlexanderCalder (1898-1976), Roy Lichtenstein(1923–97).1.Spreads fromArt & Place2Art32.3.4.5.Name SurnameTitle, date, medium/material, sizeName SurnameTitle, date, medium/material, sizeName SurnameTitle, date, medium/material, sizeName SurnameTitle, date, medium/material, sizeName SurnameTitle, date, medium/material, sizeFall 20131324002—002
XY2480 ChArtBLAD UK SP 004-005The Chinese Art Book290 x 250 mm11 3/8 x 9 7/8 inches356 pp300 col illus.Hardback with jacket978 0 7148 6575 1 39.95 UK59.95 US49.95 EUR59.95 CAN69.95 AUSPublishedSeptember 2013ISBN: 978- 0 7148 657519 780714 8657511/22/133:38 PMText BlackBlackYellowMagentaCyanXY2480 ChArtBLAD UK 0052/4/134:30 PM尚隋建国 A beautifully presented, authoritative overview of Chinese art The Chinese Art Book presents a definitive selection of 300 works, from the earliestdynasties to the new generation of contemporary artists enlivening the global artworld today From painting, calligraphy, ceramics and bronzes, to contemporary installations,photography and performance art; outstanding examples from all periods areshowcased side by side, to create fascinating combinations linked with detailedcross-references Also includes an informative introductory essay, comprehensive glossary and anillustrated time line placing the works in their political and cultural contextsShang dynastySanxingdui Head, c.1200–1100 bcBronze and gold leaf, H: 42.5 cm(16½ in), Sanxingdui Museum,Guanghan, Sichuan provinceColin Mackenzie (Introduction) is Senior Curator of Chinese Art at the Nelson-AtkinsMuseum of Art, Kansas City, Missouri. Keith Pratt (painting and calligraphy to 1949)is Emeritus Professor of East Asian Studies at the University of Durham. Jeffrey Moser(plastic arts to 1949) is the Gretta Chambers Assistant Professor of East Asian Art Historyat McGill University, Montreal. Katie Hill (contemporary art after 1949) is Director of theOffice of Contemporary Chinese Art, and Course Leader for Contemporary Chinese Artat Sotheby’s Institute of Art.The gilded features of this life-size head are sharply defi ned,geometrical and utterly enigmatic. The ears are pierced forearrings, and the top of the head is flattened, as if awaitinga headdress like that found on other sculptures from thesite. The head is one of fi fty excavated from two pits atSanxingdui, in southwest China. From these and two furtherpits came a life-size bronze figure, masks of gold and bronze,bronze trees, birds and strange animals made from metalsand jade. The contents of one pit were covered by elephanttusks, beneath which were spears, halberds, knives and axes,suggesting a sacrificial religious system quite unlike that ofthe contemporaneous Shang culture in the north. Some haveassociated these heads with legendary kings, others with agod-figure of superhuman form. Although its bronzeworkerswere clearly familiar with Shang casting techniques, theSanxingui culture remains mysterious, absent from traditionalhistories of early China and unknown before the site wasdiscovered in 1986.Sui JianguoGrey, bodiless, headless – these hollow metal sculpturesemanate monumentality but also a kind of pathos, suggestingan absence as much as a presence. The jackets are a casting ofMao Zedong's infamous suit in realistic detail, symbolizingmodern China itself. Sui Jianguo (b.1956) is known for hissocial realist style and his attention to the symbolic legacy ofMao, but the ‘mantle’ here is a response to the return of Macaoand Hong Kong to China by their former colonizers (as in‘passing the mantle’). The Mao suit is known as the ZhongshanLegacy Mantle, 1997Cast aluminium, H: 2.44 m (96 in),Pace Gallery, Beijing4XY2480 ChArtBLAD UK SP 006-0071/17/134:11 PMText BlackBlackYellowMagentaCyanXY2480 ChArtBLAD UK 0072/4/139:07 AMThe flattened Mount Qiao and its adjoining, sharp-peakedMount Hua were actual locations in Shandong province,although the moving and atmospheric portrayal of geographicallocations by Song dynasty landscape painters may at fi rstconvince the reader otherwise. Was Zhao (1254–1322) makingno attempt to emulate their detail and realism? Perhaps theanswer lies in that perennial dilemma about mixing art withpolitics. For Zhao opted to serve the Mongol ruler Kublai Khanwhen many of his colleagues would not; nevertheless, someof his works display elements of the fu gu (‘back to antiquity’)inclination encountered from time to time in Chinese culture,and perhaps this was his way of exalting Chinese traditions intimes of foreign pressure. Zhou was a collector and connoisseurof old paintings, and in this section of a much longer scrollsome experts have seen references to Li Sixun, Wang Wei,Dong Yuan and Li Cheng (see pp. 42, 359, 12 and 85). Othersrefer to innovative features in its stylistic allusions to ancientmasters. It remains a provocative work.Zhang DaqianPanorama of Mount Lu, 1981Ink and colour on silk, 1.79 x 9.95 m(5 ft 10 in x 32 ft 6 in), National PalaceMuseum, Taipei61/22/13With a glowing patch of blue bleeding into an otherwise quietlycomposed landscape, this painting illustrates Zhang Daqian’s(1899–1983) unification of traditional and modern techniques,from the broken ink and blue-green style of Tang and Songpainting (seventh to thirteenth century), to the AbstractExpressionism he learnt abroad. The vast painting of which thisis a detail is also touched by other traditions, such as freehandstrokes (xieyi) that build up those wrinkled mountains in thebackground, and the detailed brushwork (gongbi) of the pineRen XiongArt5Self-portrait, 1851–57Ink and colour on paper, 177.5 x 78.8cm (70 x 31 in), Palace Museum, Beijing12:58 PMText BlackBlackYellowMagentaCyanXY2480 ChArtBLAD UK 0092/4/139:06 AMText BlackBlackYellowMagentaCyan张洹By traditional standards of portraiture Ren Xiong’s (1823–57)Self-portrait was shocking. The bare, rumpled outlines ofclothing and casual treatment of the shoes might have beenseen before in Chinese painting, but clothing was really onlya frame for the character of the person occupying it. In Ren’spicture that persona is not venerable but young, angry, andpossibly sensual. According to his inscription, he was alsodisillusioned and depressed. He had been trained in portraitureand woodblock illustration, but the Taiping Rebellion8Fall 2013needles in the foreground. Garnering a reputation during hislifetime not only as an artist but also connoisseur, collector,and, quite famously, a forger, Zhang was an adventurer, livingfor periods in Hong Kong, Brazil, India, Argentina, Californiaand Taiwan. After an operation on his eye in the 1960s left himwith impaired vision, he experimented with impressionisticwashes and ‘splashed ink’ technique (pomo); these serve togive his paintings, and this one in particular, an imaginary,somnolent mood.7任熊Spreads fromThe Chinese Art BookText BlackBlackYellowMagentaCyan张大千Autumn Colours on the Qiao and HuaMountains, 1296Handscroll, ink and colour on paper,28.4 x 93.2 cm (11 x 36½ in), NationalPalace Museum, TaipeiXY2480 ChArtBLAD UK SP 008-009suit in China, having been designed for Sun Zhongshan (SunYatsen), who lead the revolution to overthrow the Qing dynastyin 1911 and helped to establish the Republic of China thenext year. As a new garment for modern China, it combinedelements of military and student uniforms (notice the amplesupply of pockets), as well as features from Western-style suits.Sui has reproduced this sculpture in numerous editions andsizes, including a series of glossy coloured works that gleamwith commercial irony.5趙孟傾Zhao Mengfu4Text BlackBlackYellowMagentaCyan(1850–64) had turned his life as a capable professional artistupside down and undermined his faith in traditional Chinesevalues. Like Xügu (p. 67) he had ended up in Shanghai and soldpaintings to survive, becoming part of the Shanghai School.That he was also tempted by Western art is suggested by thedepiction of his head and upper body, with its realistic useof shading in sharp contrast to the stylized lines of his robe.‘Look’, it seems to say, ‘this is the way things should be donefrom now onwards if we want China to survive.’Zhang Huan12 Square Meters, 31 May 1994Performance, 1 hour duration, BeijingFor one hour on the last day of May 1994, Zhang Huan(b.1965) sat naked in a dilapidated public toilet in a village onthe outskirts of Beijing, covered in fish oil and honey to attractfl ies. The performance ended with the artist disappearinginto a nearby polluted pond. This is one of three early piecesperformed by Zhang during 1994 in which the body issubjected to extreme experiences, highlighting the physicalityof human existence in a state of endurance, which in turnproduces a profound spiritual effect.9Zhang worked in the ‘East Village’ artist community inthe early 1990s, one of most avant-garde and experimentalof the Beijing artist colonies, and home for many artists whocame from outside the city. His work carries a central theme ofspiritual transformation grounded in Buddhism. More recentworks include a series of paintings made from ash collectedfrom incense burned at Buddhist temples, thus connecting thespiritual ritual of prayer and renewal with history, experienceand memory.
Art as Therapy—TheSevenFunctionsofArt—Alain de Botton and John Armstrong270 x 205 mm10 5/8 x 8 1/8 inches240 pp130 col, 20 b&w illus.Hardback with jacket978 0 7148 6591 1 24.95 UK39.95 US35.00 EUR39.95 CAN45.00 AUSPublishedOctober 2013ISBN: 978- 0 7148 659119 780714 865911 A new title from bestselling philosopher and essayist Alain de Botton, incollaboration with philosophical art historian John Armstrong, which asks thequestion ‘what is art for?’ Engaging and lively, and not a little controversial, Art as Therapy is packed with150 examples of outstanding art, architecture and design, while chapters onLove, Nature, Money and Politics show how art can help with many commondifficulties, from forging good relationships, finding happiness, to coming toterms with mortality—1RememberingWe begin with memory: we’re bad at remembering things. Our mindsare troublingly liable to lose important information, of both a factualand a sensory kind.Writing is the obvious response to the consequences of forgetting; art isthe second central response. A foundational story about painting picksup on just this motive. As told by the Roman historian Pliny the Elder,and frequently depicted in eighteenth- and nineteenth-century Europeanart, a young couple who were much in love had to part, and, in response,the woman decided to trace the outline of her lover’s shadow. Out ofa fear of loss, she made a line drawing on the side of a tomb using thetip of a charred stick. Regnault’s rendering of the scene is particularlypoignant (1). The soft sky of evening hints at the close of the couple’slast day together. His rustic pipe, a traditional emblem of the shepherd,is held absentmindedly in his hand, while on the right a dog looks upat the woman, reminding us of fidelity and devotion. She makes animage in order that, when he has gone, she will be able to keep himmore clearly and powerfully in her mind; the precise shape of his nose,the way his locks curl, the curve of his neck and rise of his shoulder willbe present to her, while, many miles away, he minds his animals in averdant valley.It doesn’t matter whether this picture is an accurate rendition of theorigins of pictorial art. The insight it offers concerns psychology ratherthan ancient history. Regnault is addressing the big ques
Design The Design Book 36 Fashion The Anatomy of Fashion 38 The Fashion Book (New Edition) 40 Travel . Conceived and edited by Phaidon Editors .
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On an exceptional basis, Member States may request UNESCO to provide thé candidates with access to thé platform so they can complète thé form by themselves. Thèse requests must be addressed to esd rize unesco. or by 15 A ril 2021 UNESCO will provide thé nomineewith accessto thé platform via their émail address.
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Peto J – Design: Process, Progress, Practice (Design Museum, 1999) Schmidt P – Patterns in Design, Art and Architecture (Birkhauser, 2006) Phaidon Editors - 30,000 Years of Art: The Story of Human Creativity Across Time and Space (Phaidon Press Ltd Oct 2007) Phaidon – The Art Book (
Phaidon New Titles Fall 2020 phaidon.com Photography Annie Leibovitz: Down the Rabbit Hole 6 Fashion Paul Smith 8 Coveted: Art and Innovation in High Jewelry 10 Design & Decorative Arts Dieter Rams: The Complete Works 12 nendo 2016–2020 14 The Motorcycle: Design, Art, Desire 16 The Design Book, new edition 18 Adrien Dalpayrat: The Peter Marino Collection 20 Life Meets Art: Inside the Homes .
