In this lavishly produced volume, authors Virginia and Lee McAlester explore outstanding landmark houses that exemplify America’s major architectural and interior design styles from Colonial times to the mid-20th century. These 25 houses are illustrated with more than 350 specially commissioned full-colour photographs of interior and exterior views, 125 black-and-white line drawings and floor plans, historical paintings, and vintage photographs.

The text not only discusses the houses architectural innovations and design elements but also profiles the architects and their clients. The featured houses were built by many of the country’s leading architects – from Alexander Jackson Davis, Richard Morris Hunt, Henry Hobson Richardson, and McKim, Mead and White to Frank Lloyd Wright, the Greene brothers, and Walter Gropius – and owned by some of its most celebrated citizens, including Thomas Jefferson, Mark Twain, Thomas Edison, Jay Gould, the Guggenheim’s, the Phippses’, and the Vanderbilt’s. As a result, the book is as much a cultural history as it is an architectural study. The authors also include an informative discussion of each style as it can be seen in vernacular versions around the country.

Located all over the United States, most of the featured houses are open to the public, and the book provides their addresses and other helpful information for visitors. Great American Houses and Their Architectural Styles will be irresistible to all house lovers, architects, and designers, and will give readers a deeper understanding and appreciation of our rich architectural heritage

With a focus on the women designers of early avant-garde jewellery, this publication paints a fascinating picture of Austrian jewellery production from the 1970s to the present day. The show brings together some 80 jewellery objects, many of which exemplify sculptural and conceptual approaches to jewellery design. Selected works from more recent generations not only highlights references to works of the pioneers but also attests to the developments of a contemporary, vibrant jewelry scene, whose diversity is yet to be discovered. The book’s title refers to the landmark exhibition Kunst mit Eigen-Sinn: Aktuelle Kunst von Frauen (Willful Art: Contemporary Art by Women), which took place at the Museum des 20. Jahrhunderts in Vienna in 1985 and is regarded as a milestone in the artistic and social history of women.

Text in English and German.

Dramatic biographies of 50 famous generals and admirals of the Union and Confederacy, with full-colour portraits. Exciting illustrations of nearly seventy important battles, including the complete series of Kurz and Allison prints. Informative chronology of significant events illustrated with authentic documents. Accurate full-page maps show the location of every momentous battle of the Civil War. Official uniforms with rank and grade insignia and buttons. Authentic drawings of all the major weaponry, including muskets, rifles, revolvers, swords, and artillery.

And more!

Over the centuries, until quite recently, the work of great women artists had been ignored, forgotten, or denied; they had been largely left out of museums and histories of art. Along came Wilhelmina Cole Holliday, who boldly decided it was time to rectify this oversight by founding a museum in 1987 in a landmark building near the White House. A critic for the Washington Postwrote, “Wilhelmina Cole Holladay, the museum’s founding president, has accomplished something radical. No player in the art scene here has a deeper understanding of power and money and of how our system works. Despite her white-glove graciousness, hard-working Billie Holladay is a warrior and a winner…”

This thrilling story of the birth and early years of the NMWA is a lively, anecdotal, behind-the-scenes, eyewitness glimpse of the efforts of dedicated individuals who shared Mrs. Holladay’s vision and, under her leadership, helped her expand the permanent collection, organise outstanding exhibitions, renovate the Museum, and fund a robust endowment. Moreover, NMWA now boasts a growing membership—among the top ten museums in the world—with active, vocal committees all across the nation and in many countries. Illustrating the text are 130 colour pictures, which include works from the collection and from exhibitions, as well as 40 archival photographs of landmark events that led to the Museum’s impressive growth.

The photographic series Banoo by Samaneh Khosravi (b. 1984) addresses the position of women in Iran today. Despite decades of oppression by a male-dominated society, women are steadily gaining ground in science and the world of work. In order to obtain insight into the situation of women in Iran and how they see themselves, the Iranian-German photographer accompanied protagonists from various different social strata and locations in Iran through their everyday lives. The resulting images show women who, contrary to the official government dogma, are an integral part of social life and are already paving the way for a new generation that will continue to stand up for dignity and the right to personal self-determination in the future. The term Banoo is a word used to refer to women that indicates respect and means “lady.”

“A new sort of literary gumption arrived on the scene with Andrew Jefford; a powerful blend of science and poetry. Here is a writer who does his interviews, delves deep into motives and methods, and then lets fly with whatever imagery he finds winging by.” Hugh Johnson (2019)

Poet, philosopher, author, radio presenter and journalist, Andrew Jefford lives in France; but buried deep in one wine country what does he miss most about the rest? The answer: “Drinking young port. It’s the wine drinker’s equivalent of zorbing, wing-walking, base-jumping … you won’t fully understand it unless you have tasted it young, in its ‘Ride of the Valkyries’ stage, when it comes hurtling out of the glass and puts the screamers on you…”

Andrew is the ideal companion for anyone wine-curious. In this collection of his essays, opinions and articles he shares his fascinating observations from half a century of discovery. For Andrew, wine should be listened to and admired, wherever it comes from; old-school pretensions turned on their head; style-points disdained; stellar prices dismissed; questions asked…

“An entrancing companion for wine lovers. Celebratory, discerning writing with all the variety and unexpectedness of the wines explored.”  — Michèle Roberts, author and Emeritus Professor of Creative Writing at the University of East Anglia
“This book is about feeling, tasting and describing the beauty of wine, as well as understanding the intensity of emotion that wine can engender.” — Decanter Magazine

“So precise and dancing, so chiselled and so free, as complex and delicious as your favourite bottle of wine, you will enjoy the world of wine differently after reading through Jefford’s words.” — Pascaline Lepeltier on Instagram
“A new sort of literary gumption arrived on the scene with Andrew Jefford; a powerful blend of science and poetry. Here is a writer who does his interviews, delves deep into motives and methods, and then lets fly with whatever imagery he finds winging by.” Hugh Johnson (2019)

Poet, philosopher, author, radio presenter and journalist, Andrew Jefford lives in France; but buried deep in one wine country what does he miss most about the rest? The answer: “Drinking young port. It’s the wine drinker’s equivalent of zorbing, wing-walking, base-jumping … you won’t fully understand it unless you have tasted it young, in its ‘Ride of the Valkyries’ stage, when it comes hurtling out of the glass and puts the screamers on you…”

Andrew is the ideal companion for anyone wine-curious. In this collection of his essays, opinions and articles he shares his fascinating observations from half a century of discovery. For Andrew, wine should be listened to and admired, wherever it comes from; old-school pretentions turned on their head; style-points disdained; stellar prices dismissed; questions asked…

“Daniel Root’s photos of New York bars at dawn are a perfect blend of beauty and melancholia. Everything about them is just right.” — Roz Chast, New Yorker cartoonist

“… The beautiful intersection of saturated colorful lights becomes a tapestry that fills and is faceted by the architectural details of each bar, making a magical space to be activated and a stage for our daily human dramas to play out.”  — Kiki Smith, artist

“I’ve always said the very best bars are inviting, whether packed or empty. Daniel Root’s amazing set of images takes you to a bar netherworld that few get to see. These photos were taken before dawn, after closing, after the porters have been there to clean up and restock the bar before the managers come back to check last night’s register ring. It’s a part of every single bar, but one that mostly goes unseen.” — Eric “Roscoe” Ambel, guitarist, producer, and former owner of the Lakeside Lounge in NYC

This one-of-a-kind photo book offers evocative portraits of New York bars after closing time.

Nearly every day, Daniel Root sets out before sunrise to wander the streets of Manhattan with his camera. In those comparatively quiet hours, the entire city wears a different face, but Root is particularly fascinated by the scenes to be glimpsed through the windows of its bars. Empty of patrons and illuminated by an odd mix of artificial lights — neon beer ads, red EXIT signs, a single bulb above the cash register — they present a more hushed and mysterious aspect than in the busy evening hours. Nonetheless, each one — whether a dive bar, a sports bar, or a restaurant bar — still conveys an individual character, a distinct personality. New York Bars at Dawn presents some 200 of Root’s most compelling bar portraits, ranging from well-known establishments like Balthazar, McSorley’s, and the Stonewall Inn to nameless dives and an American Legion post. A foreword by Rosie Schaap, author of Drinking with Men, shows us just how much Root’s photographs reveal about bar culture, and an afterword by art historian Suzaan Boettger examines their aesthetic qualities. This will be an essential volume for anyone with an interest in nightlife, interiors, or urban photography.

This book challenges the conventional idea of what constitutes the physical form of the contemporary city. Observing the absence of extended urban fabrics – the missing urbanism – in the new global cities developed today, it argues that these cities are merely statistical accumulations of density that lack the positive attributes of a genuine urban condition. Cities as urban places cannot be made by individual buildings alone but rather depend on the intertwined combination of an architecture that is bound to the creation of public spaces and streets, and engaged in the structure of urban blocks to form a complex field pattern of interactive solids and voids. Broad in scope, the book explores the nature of the fundamental relationship between architecture and urbanism as one of spatial formation. As an independently designed entity, the city forms the ordering framework in which architecture is partially subordinated to the mutual sustainability of the overall urban fabric. If a new urban architecture is to be an integral constituent of public place making, it must be composed using a radically different paradigm of positive, figurally constructed ‘space’ rather than the indefinite background of ‘anti-space’ as exemplified in the chapter on Mies van der Rohe’s architectural quest for the ineffable modern void. These two different spatial models are explored in depth in the eponymous article, ‘Space and Anti Space,’ first published in the Harvard Architectural Review in 1980, which forms the core of the book and postulates that the underlying attitudes toward spatial formation, at both domestic and urban scales, determine our ability to shape place and human experience. In a series of essays, articles and urban projects extensively illustrated by plans, analytic diagrams, and dramatic images, this book makes a visual and verbal argument for the steps that need to be taken to re-urbanise the city in order to achieve an urbanity consisting of multiple discrete places that depend on the essential concept of contained geometrical space. These spatial ideas are illustrated in this book in three proposals: for Rome, in ‘Roma Interrotta,’ 1979; Paris, the ‘Consultation Internationale pour L’Aménagement du Quartier des Halles,’ 1980; and New York in the ‘World Trade Center Site Innovative Design Study,’ 2002.

Every month, the art association HMKV presents the latest videos by international artists in its series “HMKV Video of the Month” which has been ongoing since March 2014. The idea for the series came from the desire to show the newest artistic productions in rapid succession, changing works at a faster pace than in the exhibitions of the HMKV.

For the first time, this publication unites all 78 works that have been exhibited since 2014. The videos address a variety of different topics and stories, ranging from labour conditions, structural changes, speculative technologies, or posthuman machines to technology (and its history) as well as artificial intelligence. A wide array of works is devoted to the old ‘new’ right-wingers and the alt-right. The book not only shows stills of all videos, but each work is also accompanied by an introductory text to provide a comprehensive overview.

Text in English and German.

Get ready to go on a series of exciting maze adventures with fire-breathing dragons, beautiful princesses, and knights in shining armour. Can you find your way to the end of each puzzle – and count all the characters on the page, too? Are you ready for a challenge? Do you have a keen eye? Find out! Every richly designed maze on these colourful pages features dozens of princesses, dragons, and knights, all trying to distract you from reaching the end. Sharp solvers must find the right path, but they’ll also have to count the characters and the objects they see along the way – royal crowns, skulls, owls, ghosts, cauldrons, a wizard’s books – and add them up. Keep your concentration, and then check the solutions at the back of the book to see if you’ve got it right. Ages: 6 plus

A collection of essays published from the 1970s to the present on architectural theory and architectural history. Either consciously or unconsciously, architecture comes to embody the most stable and persistent values of a culture, and through this institutions become symbolised by their buildings; their values become associated with architectural forms. These forms represent the architect’s judgements of the natural world and the built environment.

This volume is dedicated to Ico and Luisa Parisi, leading figures in Italian design of the late 20th century. The essays collected in these pages trace a path that intertwines biography and design research, highlighting the complemen­tary nature of their work. At the heart of their work lies the experience of La Ruota, a space opened in Como in 1948 and active until 1995: serving as a shop, studio, and exhibition space all in one, it was a unique and irreplaceable meeting place for artists, friends, and gallery owners.

The catalogue, preceded by an extensive photographic section, traces the production of glassware, ceramics, and other objects designed by Ico—sometimes with Luisa’s contribution—as documented in the archives. From Murano glass of the 1950s to ceramics of the 1960s, through to his later works, a trajectory emerges that progressively shifts from design toward the art object, while maintaining a constant reference to function and the domestic context.

The volume is completed by a bibliography.

Text in English and Italian.

Around 1900, a small group of influential patrons, critics, writers, and artists turned Weimar into a utopian centre of modern art and thought. Several artists and writers sought to create a ‘New Weimar’ and position Friedrich Nietzsche at its head, as the radical prophet of modernity.

In 1902, two years after the philosopher’s death, Max Klinger was commissioned to carve Nietzsche’s portrait where his cult was organised. Starting from a heavily reworked death mask, Klinger executed the famous marble herm that still today adorns the reception room of the Nietzsche Archive. Only three monumental bronze versions were cast, one of which is now in the collection of the National Gallery of Canada. With this sculpture in focus, accompanied by a series of paintings, drawings, plaster casts, and small bronzes, Radical Modernism will show how Klinger and his patrons invented the ‘official’ Nietzsche, transforming a highly expressionist portrait into an idealised classical cult image. The exhibition and this catalogue will also include a comprehensive series of early editions of Nietzsche’s most influential books and will bring together work by the other protagonists of the ‘New Weimar’, in order to shed light on this extraordinary artistic and cultural constellation of modernism for the first time in North America.

Published to accompany an exhibition at the National Gallery of Canada, Ottawa – 18 April – 25 August 2019.

Darwishi Ur-atum Msamaki Minkabh Ishaq Eboni, the son of an Egyptian pharaoh, is only nine years old when he dies. He is mummified and laid to rest in a tomb, with the powerful Golden Scarab of Mukatagara hanging around his neck. Thousands of years later, during a transport of three precious sarcophaguses, there is a terrible storm. Lightning strikes, the lorry plunges from a flyover and the sarcophaguses are hurled through the air. During all this, a little white shape escapes the wreckage unnoticed…

Angus Gust is ten and has a perfectly normal life. Then one night a little mummy appears in his room! Life changes completely. Angus and Dummie (short for his real name) become best friends. One dreadful day, Dummie’s scarab goes missing. Without the scarab Dummie falls terribly ill. Angus must now do everything he can to find the scarab, so Dummie doesn’t have to face death again. Can Dummie be saved in time?

In this second book in the Dummie the Mummy series, Dummie, Angus and Nick travel to Egypt. It’s Dummie’s great wish to return to his country to visit the grave of his father, Pharaoh Akhnetut. Unfortunately, Egypt has completely changed in four thousand years and Akhnetut’s grave seems untraceable. To make matters even worse, Nick falls ill and Angus and Dummie set off without him. Then something terrible happens – Dummie has to give everything he’s got to save his best friend. Yet he is also determined to find his father’s grave. Fortunately, he remembers more and more about his life long ago and this proves to be very handy!

The Darnley jewel, a masterpiece of the goldsmith’s art on display at Edinburgh’s Holyrood Palace, has been deemed a love token, but has also been labelled an emblem of political ambition. Taking the shape of a heart, the jewel was produced at a moment (1565-75) when such objects worn by courtiers were a primary means of asserting status and proclaiming allegiances. With a deep medieval history – originally the fleshly power centre of the human body, the seat of the soul, and place of memory and emotion – the heart has many aspects to offer. This book shows how the understanding of the heart changed during the Middle Ages, from spiritual locus of the body, to source of devotion to country, and finally, to the font of love and sentimentality.

“Seldom does a collection of art history essays leave readers yearning for a second volume…”—Barbara Wisch, Renaissance Quarterly
Roman church interiors throughout the Early Modern age were endowed with rich historical and visual significance. During the sixteenth and seventeenth centuries, in anticipation of and following the Council of Trent, and in response to the expansion of the Roman Curia, the chapel became a singular arena in which wealthy and powerful Roman families, as well as middle-class citizens, had the opportunity to demonstrate their status and role in Roman society. In most cases the chapels were conceived not as isolated spaces, but as part of a more complex system, which involved the nave and the other chapels within the church, in a dialogue among the arts and the patrons of those other spaces. This volume explores this historical and artistic phenomenon through a number of examples involving the patronage of prominent Roman families such as the Chigis, Spadas, Caetanis, Cybos and important artists and architects such as Federico Zuccari, Giacomo della Porta, Carlo Maderno, Alessandro Algardi, Pietro da Cortona, Carlo Maratta.

For his entire professional life, British architect Cedric Price (1934-2003) reflected on the mechanisation of society and its effect on people’s lives. In the 1960s and 1970s Price searched for a new language in modern architecture. His multifaceted, interdisciplinary approach and his sense of humour and self-irony, also with regard to his own profession, lead him into the fields of art and of social and natural sciences.

Tanja Herdt’s new book on the work and life of Cedric Price for the first time offers a comprehensive demonstration of his architectural concepts and social visions. Herdt focuses on his view of the city as a socio-technical system, the influence of product and everyday culture on architecture, and the role of science and technology in architectural design. Based on extensive research and drawing from rich and largely unpublished material, she features some of Price’s well-known projects, such as Fun Palace (1961) or Potteries Thinkbelt (1964), in context with her new findings. Herdt’s thorough analysis of his lesser-known works from the 1970s, including McAppy (1973-1975) and The Generator (1976), also questions the common perception of Cedric Price as an “anti-architect”.

How do our minds work when we design? How do we organise and assimilate information, create and evaluate options, and make decisions? These questions have fascinated and absorbed architect and sculptor Richard Bertman (FAIA) since his graduate school days. Now, after a 40-year career, Bertman has used the design of a vacation house as an experiment to explore these questions. The result, documented in The Design Process and the Art of the Single Family Home, is a fascinating and revealing insight into the creative process. With detailed notes and sketches, Bertman charts each stage of the design process, questioning and examining why certain decisions are made, how problems are solved, and generally exploring the processes involved in creative thinking.

In this beautifully illustrated story with a timeless message, a feared and cruel king learns of a wise magician in his kingdom who is rumored to be even more powerful than himself. The magician can predict the future, and even worse, he is more popular than the fearsome king. Jealous and insecure, the enraged king plots to destroy this enemy. But, being a magician, he has a trick up his sleeve that saves his own life and the king’s. With help from an unexpected friend, the king transforms from a feared and brutal monarch to a beloved leader. Enduring messages about the power of wisdom and compassion are conveyed in a classic storytelling style and outstanding, original artwork.

Using the formalist conventions of an ironic heritage, William Ludwig Lutgens attains the expression of something sincere. Like the philosophical idiot who did his utmost best to unlearn all the fallacies he was acquitted with since birth and now only knows he knows nothing, the artist made the world into his own theatre wherein he can stomp around like a bull in a china shop with the grace of a prima ballerina. Forcing a pathway to possible exits by presenting us with the alloy of his observations, imagination and scattershot references. Not merely asking questions, which seems to be the hype in contemporary art nowadays, he is unraveling the framework wherein these questions originate. The image deconstructed by the story of its creation, alternating between the power and impotence of the theatrical madness at the end of the world as we know it. William Ludwig Lutgens presents with his Comedy of Humours the dysfunctional family of man.

Text in English and Dutch.