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book (19)


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Book
Special bulletin 81 : the library of Ludwig Glaeser... Addendum: the Aspen papers (the Reyner Banham Archive)
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Year: 1993

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Book
Log : summer 2013 : stocktaking
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Year: 2013 Publisher: New York Anyone

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The ecological sensibility : between Ruskin and Banham: thesis
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Year: 2023 Publisher: Antwerp

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Reyner Banham : a bibliography
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ISBN: 1555905161 Year: 1987 Publisher: Monticello (Ill.): Vance bibliographies

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The Banham lectures : essays on designing the future
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ISBN: 9781847883025 1847883028 Year: 2009 Publisher: Oxford Berg

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Reyner Banham and the paradoxes of high tech
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ISBN: 9781606065303 1606065300 Year: 2017 Publisher: Los Angeles, Calif. The Getty Research Institute

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Reyner Banham and the Paradoxes of High Tech reassesses one of the most influential voices in twentieth-century architectural history through a detailed examination of Banham’s writing on High Tech architecture and its immediate antecedents.Taking as a guide Banham’s habit of structuring his writings around dialectical tensions, Todd Gannon sheds new light on Banham’s early engagement with the New Brutalism of Alison and Peter Smithson, his measured enthusiasm for the “clip-on” approach developed by Cedric Price and the Archigram group, his advocacy of “well-tempered environments” fostered by integrated mechanical and electrical systems, and his late-career assessments of High Tech practitioners such as Norman Foster, Richard Rogers, and Renzo Piano.Gannon devotes significant attention to Banham’s late work, including fresh archival materials related to Making Architecture: The Paradoxes of High Tech, the manuscript he left unfinished at his death in 1988. For the first time, readers will have access to Banham’s previously unpublished draft introduction to that book.


Book
The long front of culture : the Independent Group and exhibition design
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ISBN: 0262043890 9780262043892 Year: 2020 Publisher: Cambridge, Mass. London The MIT Press

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How a group of artists and theorists turned to exhibition design as the only medium capable of synthesizing high and low in postwar culture. In 1950s London, a cadre of young artists, theorists, and popular culture aficionados known as the Independent Group (IG) came together for a series of pressing meetings. Their humble goal: to reimagine the structure of postwar culture by situating art in the midst of military-industrial technologies and pop pleasures. In this book, Kevin Lotery argues that the IG turned to the cross-disciplinary form of exhibition design as the only medium capable of getting the measure of these forces, the only technique that could integrate high and low, aesthetic and scientific, and redesign them in turn. At the heart of this story are the IG's most unruly members, including artists Richard Hamilton, Nigel Henderson, and Eduardo Paolozzi; architects Alison and Peter Smithson; and critics Lawrence Alloway and Reyner Banham. To these upstarts, art was no more privileged an activity than the streamlining of a helicopter blade or the screening of the latest cinema spectacle. In place of the old cultural hierarchies, they saw a continuum that Alloway termed the long front of culture. Only exhibition making could redirect this long front toward something genuinely, startlingly new. Lotery shows that the IG's exhibitions sought out temporary interfaces with technological invention and scientific research in a search for the form of the new itself. The IG exhibitions he examines drew on biological morphogenesis, anthropology and photography, human-machine prosthetics, American pop, abstraction, and theories of play. The IG is often described as the precursor to the pop art of the 1960s. Lotery shows that it was much more, as entangled with the histories of science, technology, and design as with the dialectics of modern art and mass culture


Book
Art et science fiction : La Ballard Connection
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ISBN: 9782940159468 2940159467 Year: 2011 Publisher: Genève: Mamco,

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Dans les années 1950 et jusqu'à la fin des années 1960, la science-fiction a joué, pour nombre d'artistes et de théoriciens anglais et américains, tant au plan iconographique qu'au plan méthodologique, un rôle stratégique : celui d'un véritable objet régulateur utilisé pour déplacer l'activité artistique loin de ses coordonnées conventionnelles. Dans cette entreprise, Eduardo Paolozzi côtoie Reyner Banham, Robert Smithson ou James Graham Ballard, Peter Hutchinson voisine avec Lawrence Alloway pour explorer ce que ce dernier a appelé « le front élargi de la culture » qui devient ici un ensemble d'images et d'idées rétrocédant en deçà du pop art, là où la subculture se fait relais d'invention. Passer l'art novateur au filtre de la SF, c'est par conséquent, pour les créateurs et les penseurs de l'époque mettant en œuvre cette opération théorique et plastique, ébranler radicalement les cadres d'une esthétique dominante – le formalisme – dont ils auront été les critiques en acte. Il en résulte notamment une révision des notions de passé, de présent et de futur dont Ballard, cet « anticipateur qui ne croit pas en l'avenir » comme il est dit dans l'ouvrage, est le fer de lance. Ce livre propose les pièces de ce dossier crucial pour la compréhension de l'art actuel.

Reyner Banham : historian of the immediate future
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ISBN: 0262232162 Year: 2002 Publisher: Cambridge MIT press

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