This is the first history of twentieth-century America's architecture that puts architecture and its institutions into a dialogue with the "underground" - featuring the experiments, practices, and polemics of the 1960s and 1970s.In "Architecture or Techno-Utopia", Felicity Scott traces an alternative genealogy of the postmodern turn in American architecture, focusing on a set o...(展开全部)

This is the first history of twentieth-century America's architecture that puts architecture and its institutions into a dialogue with the "underground" - featuring the experiments, practices, and polemics of the 1960s and 1970s.In "Architecture or Techno-Utopia", Felicity Scott traces an alternative genealogy of the postmodern turn in American architecture, focusing on a set o...(展开全部)

Awards and Recognition Honorable Mention for the 2017 APLA Book Prize, Association for Political and Legal Anthropology In the past decade, South Africa’s “miracle transition” has been interrupted by waves of protests in relation to basic services such as water and electricity. Less visibly, the post-apartheid period has witnessed widespread illicit acts involving infrastructur...(展开全部)

Awards and Recognition Honorable Mention for the 2017 APLA Book Prize, Association for Political and Legal Anthropology In the past decade, South Africa’s “miracle transition” has been interrupted by waves of protests in relation to basic services such as water and electricity. Less visibly, the post-apartheid period has witnessed widespread illicit acts involving infrastructur...(展开全部)

After World War II, a second modernism emerged in architecture—an attempt, in architectural scholar Joan Ockman’s words, “to transform architecture from a ‘soft’ aesthetic discipline into a ‘hard,’ objectively verifiable field of design expertise.” Architectural thought was influenced by linguistic, behavioral, computational, mediatic, cybernetic, and other urban and behavioral...(展开全部)

"Art history after modernism" does not only mean that art looks different today; it also means that our discourse on art has taken a different direction, if it is safe to say it has taken a direction at all. So begins Hans Belting's iconoclastic reconsideration of art and art history at the end of the millennium, which builds upon his earlier volume "The End of the History of A...(展开全部)

"Art history after modernism" does not only mean that art looks different today; it also means that our discourse on art has taken a different direction, if it is safe to say it has taken a direction at all. So begins Hans Belting's brilliant, iconoclastic reconsideration of art and art history at the end of the millennium, which builds upon his earlier and highly successful vo...(展开全部)

"Art history after modernism" does not only mean that art looks different today; it also means that our discourse on art has taken a different direction, if it is safe to say it has taken a direction at all. So begins Hans Belting's iconoclastic reconsideration of art and art history at the end of the millennium, which builds upon his earlier volume "The End of the History of A...(展开全部)

"Art history after modernism" does not only mean that art looks different today; it also means that our discourse on art has taken a different direction, if it is safe to say it has taken a direction at all. So begins Hans Belting's brilliant, iconoclastic reconsideration of art and art history at the end of the millennium, which builds upon his earlier and highly successful vo...(展开全部)

编者简介 布莱恩•沃利斯，纽约国际摄影中心（ICP）总策划、展览部主任。曾任纽约当代艺术新美术馆策展人、《美国艺术》资深编辑。他为《艺术论坛》、《美国艺术》、《华盛顿邮报》、《纽约时报》等多家报刊撰稿，也在耶鲁大学威廉姆斯学院、纽约大学和纽约城市大学授课。 译者简介 宋晓霞，中央美术学院教授，艺术史博士。主持教育部“当代艺术实践与增强国家文化竞争力战略研究”、文化部“中国形象的海外生成：近20年中国当代艺术展海外调查”等项研究，完成中国美术家协会海外研修项目“从海外看中国形象的塑造”。曾在中央美术学院人文学院开设“西方视角与中国当代艺术研究”博硕专题课。