In this trenchant illustrated essay, David Joselit describes how art and architecture are being transformed in the age of Google. Under the dual pressures of digital technology, which allows images to be reformatted and disseminated effortlessly, and the exponential acceleration of cultural exchange enabled by globalization, artists and architects are emphasizing networks as never before. Some of the most interesting contemporary work in both fields is now based on visualizing patterns of dissemination after objects and structures are produced, and after they enter into, and even establish, diverse networks. Behaving like human search engines, artists and architects sort, capture, and reformat existing content. Works of art crystallize out of populations of images, and buildings emerge out of the dynamics of the circulation patterns they will house.Examining the work of architectural firms such as OMA, Reiser + Umemoto, and Foreign Office, as well as the art of Matthew Barney, Ai Weiwei, Sherrie Levine, and many others, After Art provides a compelling and original theory of art and architecture in the age of global networks.

    This foundation scripture teaches the supreme doctrine of nirvana and the way to the highest possible happiness for mankind. Oxford professor Dr. Max Muller, a great scholar and Orientalist, did the translation.

    From that exhilarating portrait, he takes us back more than two thousand years to the city's foundation, one mired in mythologies and superstitions that would inform Rome's development for centuries.From the beginning, Rome was a hotbed of power, overweening ambition, desire, political genius, and corruption. Hughes details the turbulent years that saw the formation of empire and the establishment of the sociopolitical system, along the way providing colorful portraits of all the major figures, both political (Julius Caesar, Marcus Aurelius, Nero, Caligula) and cultural (Cicero, Martial, Virgil), to name just a few. For almost a thousand years, Rome would remain the most politically important, richest, and largest city in the Western world.From the formation of empire, Hughes moves on to the rise of early Christianity, his own antipathy toward religion providing rich and lively context for the brutality of the early Church, and eventually the Crusades. The brutality had the desired effect—the Church consolidated and outlasted the power of empire, and Rome would be the capital of the Papal States until its annexation into the newly united kingdom of Italy in 1870.As one would expect, Hughes lavishes plenty of critical attention on the Renaissance, providing a full survey of the architecture, painting, and sculpture that blossomed in Rome over the course of the fourteenth through the sixteenth centuries, and shedding new light on old masters in the process. Having established itself as the artistic and spiritual center of the world, Rome in the seventeenth, eighteenth, and nineteenth centuries saw artists (and, eventually, wealthy tourists) from all over Europe converging on the bustling city, even while it was caught up in the nationalistic turmoils of the Italian independence struggle and war against France.Hughes keeps the momentum going right into the twentieth century, when Rome witnessed the rise and fall of Italian Fascism and Mussolini, and took on yet another identity in the postwar years as the fashionable city of "La Dolce Vita." This is the Rome Hughes himself first encountered, and it's one he contends, perhaps controversially, has been lost in the half century since, as the cult of mass tourism has slowly ruined the dazzling city he loved so much. Equal parts idolizing, blasphemous, outraged, and awestruck, Rome is a portrait of the Eternal City as only Robert Hughes could paint it.

    The history of art has been, successively, a history of artists and their works, of styles and stylistic change, of images--and now, of context and cultures. Art history at its best makes use of all these. 530 color illustrations. 782 b&w.

    3000 to ca. 30 BC) -- and by medium. Throughout, it blends factual information with stimulating interpretation and juxtaposes long-standing notions with the latest archaeological discoveries and hypotheses.

    It paints a vivid picture of his childhood in Crete, still occupied by the Turks, and then steadily grows into a spiritual quest that takes him to Italy, Jerusalem, Paris, Vienna, Berlin, Russia and the Caucasus, and finally back to Crete again. At different times Nietzsche, Bergson, Buddha, Homer and Christ dominate as his spiritual masters.

    Now classics scholar James Davidson offers a brilliant, unblushing exploration of the passion that permeated Greek civilization. Using homosexuality as a lens, Davidson sheds new light on every aspect of Greek culture, from politics and religion to art and war. With stunning erudition and irresistible wit–and without moral judgment–Davidson has written the first major examination of homosexuality in ancient Greece since the dawn of the modern gay rights movement. What exactly did same-sex love mean in a culture that had no word or concept comparable to our term “homosexuality”? How sexual were these attachments? When Greeks spoke of love between men and boys, how young were the boys, how old were the men? Drawing on examples from philosophy, poetry, drama, history, and vase painting, Davidson provides fascinating answers to questions that have vexed scholars for generations. To begin, he defines the essential Greek words for romantic love–eros, pothos, philia–and explores the shades of emotion and passion embodied in each. Then, exploding the myth of Greek “boy love,” Davidson shows that Greek same-sex pairs were in fact often of the same generation, with boys under eighteen zealously separated from older boys and men.Davidson argues that the essence of Greek homosexuality was “besottedness”–falling head over heels and “making a great big song and dance about it,” though sex was certainly not excluded. With refreshing candor, humor, and an astonishing command of Greek culture, Davidson examines how this passion played out in the myths of Ganymede and Cephalus, in the lives of archetypal Greek heroes such as Achilles, Heracles, and Alexander, in the politics of Athens and the army of lovers that defended Thebes. He considers the sexual peculiarities of Sparta and Crete, the legend and truth surrounding Sappho, and the relationship between Greek athletics and sexuality.Writing with the energy, vitality, and irony that the subject deserves, Davidson has elucidated the ruling passion of classical antiquity. Ultimately The Greeks and Greek Love is about how desire–homosexual and heterosexual–is embodied in human civilization. At once scholarly and entertaining, this is a book that sheds as much light on our own world as on the world of Homer, Plato, and Alexander.

    Focusing on the youth-driven phenomenon of otaku (roughly translated as “geek culture” or “pop cult fanaticism”), Takashi Murakami and a notable group of contributors explore the complex historical influences that shape Japanese contemporary art and its distinct graphic languages. The book’s title, Little Boy, is a reference to the atomic bomb dropped on Hiroshima in 1945, thus clearly locating the birth of these new cultural forms in the trauma and generational aftershock of the atomic bomb.This generously illustrated book showcases the work of key otaku artists and designers, many of whom are cult celebrities in Japan, and discusses their feature film and video animations, video games and internet sites, music, toys, fashion, and more. In the process, the following questions are posed: What is otaku, and what does it tell us about contemporary social, economic, and cultural life in Japan and throughout the world? How is it related to the pervasive and curious fixation on “cuteness” evident in Japanese popular culture? What impact did the atomic devastation of World War II have on the development of Japanese art and culture?This brilliantly designed, bilingual (English and Japanese) publication examines these themes to explore how contemporary Japanese art has become inseparable from the subcultural realms of manga and animé (Japanese animation)—a world where meticulous technique, apocalyptic imagery, and high and low cultures meet.Little Boy concludes Murakami’s “Superflat” trilogy, a project conceived in 2000 to introduce a new wave of Japanese artists and to place their work in the historical context of traditional styles and concepts.

    The professor swears it's a Vermeer -- but why exactly has he kept it hidden so long? The reasons unfold in a gripping sequence of stories that trace ownership of the work back to Amsterdam during World War II and still further to the moment of the painting's inception.

    Small in scale, low in price, but large in impact, these books present and disseminate new and innovative theories. The modest format of the books in the Pamphlet Architecture Series belies the importance and magnitude of the ideas within.

    Sir Mortimer Wheeler describes the architecture and town planning, thesculpture and painting, the silverware, glass, pottery and the otherrich artistic achievements of the era.

    Using the architecture, sculpture, and stained glass of the two locales as a starting point, Adams breathes life into what others might see merely as monuments of a past civilization. With daring and inventive conceits, Adams looks at the ordinary people, places, and events in the context of the social conventions and systems of thought and belief of the thirteenth century turning the study of history into a kind of theater.As Raymond Carney discusses in his introduction, Adams' freeedom from the European traditions of study lends an exuberance—and puckish wit—to his writings.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    This volume shows Aarons influential photographs of the international elite in their exclusive playgrounds during the jet-set decades of the 1950s, 60s and 70s.

    Grieving his loss, Pliny the Younger inherited the Elder’s notebooks―filled with pearls of wisdom―and his legacy. At its heart, The Shadow of Vesuvius is a literary biography of the younger man, who would grow up to become a lawyer, senator, poet, collector of villas, and chronicler of the Roman Empire from the dire days of terror under Emperor Domitian to the gentler times of Emperor Trajan. A biography that will appeal to lovers of Mary Beard books, it is also a moving narrative about the profound influence of a father figure on his adopted son. Interweaving the younger Pliny’s Letters with extracts from the Elder’s Natural History, Daisy Dunn paints a vivid, compellingly readable portrait of two of antiquity’s greatest minds.

    The three long poems in Eye Against Eye convey the wrought particulars of intimate human relations, perceptions of the landscape, and the historical moment, tense with political exigencies. Mayan ruins invoke the collapsing Twin Towers, love between parents and child blister with tension, and a bicycle thief shatters the narcotic illusion of a private accord. Also contained is Late Summer Entry, a series of poetic commentaries on Sally Mann's landscape photographs. Eye Against Eye, Forrest Gander's third book with New Directions, cries out an ethical concern for the ways we see each other and the world, the potential to share a vision that acknowledges our commonality. As always with Gander's poetry, suspensions and repetitions drive toward a complex emotional experience, evoking the multifaceted, multi-vocal surge of our present.