John Beardsley - Böcker

A fascinating new look at an extraordinary artist whose deafness led to an acute visual awareness and near photographic memorySelf-taught artist James Castle (1899–1977) is primarily known for soot and saliva drawings of meticulously rendered domestic interiors and farm scenes, along with fantastical figures, animals, and architectural constructions made of cardboard and stitched paper. Castle was born into a family of homesteaders in Idaho, and his visual world comprised variations of seemingly ordinary subjects: rural landscapes, houses, barns, and outbuildings; interiors with closed and open doors, beds, bureaus, tile floors, and minutely patterned wallpaper; and color copies of illustrated advertisements for food, fuel, and matches.Castle was a deaf artist who by most accounts never learned to read, write, or speak. In this remarkable book, author John Beardsley discusses how these limitations led to the development of an extraordinary memory, an ability that enabled him to create a large number of distinctly intelligent artworks. Beardsley follows Castle’s work as if through a series of rooms (a “Memory Palace”)—interiors, exteriors, objects, books, and words—reproducing many previously unknown works and referencing other documents made available for the first time from the James Castle Collection and Archive.Published in association with the James Castle Collection and Archive

Modernity was critically important to the formation and evolution of landscape architecture, yet its histories in the discipline are still being written. This book looks closely at the work and influences of some of the least studied figures of the era: established and less well-known female landscape architects who pursued modernist ideals in their designs.The women discussed in this volume belong to the pioneering first two generations of professional landscape architects and were outstanding in the field. They not only developed notable practices but some also became leaders in landscape architectural education as the first professors in the discipline, or prolific lecturers and authors. As early professionals who navigated the world of a male-dominated intellectual and menial work force they were exponents of modernity. In addition, many personalities discussed in this volume were either figures of transition between tradition and modernism (like Silvia Crowe, Maria Teresa Parpagliolo), or they fully embraced and furthered the modernist agenda (like Rosa Kliass, Cornelia Oberlander).The chapters offer new perspectives and contribute to the development of a more balanced and integrated landscape architectural historiography of the twentieth century. Contributions come from practitioners and academics who discuss women based in USA, Canada, Brazil, New Zealand, South Africa, the former USSR, Sweden, Britain, Germany, Austria, France and Italy. Ideal reading for those studying landscape history, women’s studies and cultural geography.

Modernity was critically important to the formation and evolution of landscape architecture, yet its histories in the discipline are still being written. This book looks closely at the work and influences of some of the least studied figures of the era: established and less well-known female landscape architects who pursued modernist ideals in their designs.The women discussed in this volume belong to the pioneering first two generations of professional landscape architects and were outstanding in the field. They not only developed notable practices but some also became leaders in landscape architectural education as the first professors in the discipline, or prolific lecturers and authors. As early professionals who navigated the world of a male-dominated intellectual and menial work force they were exponents of modernity. In addition, many personalities discussed in this volume were either figures of transition between tradition and modernism (like Silvia Crowe, Maria Teresa Parpagliolo), or they fully embraced and furthered the modernist agenda (like Rosa Kliass, Cornelia Oberlander).The chapters offer new perspectives and contribute to the development of a more balanced and integrated landscape architectural historiography of the twentieth century. Contributions come from practitioners and academics who discuss women based in USA, Canada, Brazil, New Zealand, South Africa, the former USSR, Sweden, Britain, Germany, Austria, France and Italy. Ideal reading for those studying landscape history, women’s studies and cultural geography.

This book begins with an enlightening introduction tracing the historical roots of art in the landscape: Stonehenge, Indian mounds, cliff dwellings, park design from 18th-century England to modern-day golf courses. The opening chapter deals with such innovative artists as Robert Smithson, Nancy Holt, Walter De Maria, and Christo, who in the 1960s began to free their art from the confines of tradition by constructing monumental sculptures in the environment. The following chapters discuss their predecessors, peers, and successors, including Constantin Brancusi, Herbert Bayer, Richard Long, James Turrell, and many others. The final four chapters (chapter 7 is entirely new) explore at length the increasing involvement of artists in land reclamation and urban design, featuring projects by Michael Heizer, Nancy Holt, Mel Chin, Maya Lin, and many others.

The first major monograph on a multifaceted self-taught artist whose work ranges from painting and sculpture to performance and sound. Lonnie Holley s work has captivated audiences. 'Lonnie Holley has held a cult status among the art cognoscenti for a long time as a visual artist and performer.' New York Times. Lonnie Holley s widely admired practice spans painting, drawing, assemblage sculpture, and performance that combines experimental music and poetry. After decades of making art, he is now getting the recognition he richly deserves. The artist s first sculptures were carved tombstones for his nieces who perished in a house fire in 1979. Over the following years, he devoted himself to making sculptures that populated his property near Birmingham, a large all-encompassing outdoor installation that was eventually destroyed in 1997. The artist s work continued unabated as he began to gain recognition and exhibit his work in the South and throughout the US. In his first major monograph, every facet of his practice is explored. Holiday considers Holley s art and music as interconnected components of the artist s overall creative vision. Beardsley focuses on the artist s Birmingham roots connecting the cultural firmament of that city with other major creative communities in Alabama, most notably Boykin, more popularly known as Gee s Bend, home of the famous quilters.