"Published in conjunction with the exhibition of the same name, on view at the Smithsonian American Art Museum, Washington, DC, March 15, 2019 to August 18, 2019."

In the decades following World War Two, and in part in response to the Cold War, governments across Western Europe set out ambitious programmes for social welfare and the redistribution of wealth that aimed to improve the everyday lives of their citizens. Many of these welfare state programmes - housing, schools, new towns, cultural and leisure centres – involved not just construction but a new approach to architectural design, in which the welfare objectives of these state-funded programmes were delineated and debated. The impact on architects and architectural design was profound and far-reaching, with welfare state projects moving centre-stage in architectural discourse not just in Europe but worldwide. This is the first book to explore the architecture of the welfare state in Western Europe from an international perspective. With chapters covering Austria, Belgium, France, Germany, Italy, The Netherlands, Sweden and the UK, the book explores the complex role played by architecture in the formation and development of the welfare state in both theory and practice. Themes include: the role of the built environment in the welfare state as a political project the colonial dimension of European welfare state architecture and its ‘export’ to Africa and Asia the role of welfare state projects in promoting consumer culture and economic growth the picture of the collective produced by welfare state architecture the role of architectural innovation in the welfare state the role of the architect, as opposed to construction companies and others, in determining what was built the relationship between architectural and social theory the role of internal institutional critique and the counterculture. Contributors include: Tom Avermaete, Eve Blau, Nicholas Bullock, Miles Glendinning, Janina Gosseye, Hilde Heynen, Caroline Maniaque-Benton, Helena Mattsson, Luca Molinari, Simon Pepper, Michelle Provoost, Lukasz Stanek, Mark Swenarton, Florian Urban and Dirk van den Heuvel.

First Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

Exploring visual culture, design and politics in 1960s Beirut, this compelling interdisciplinary study examines a critical period in Lebanon's history.

This is a new release of the original 1940 edition.

The original edition of this ambitious reference was published in hardcover in 1998, in two oversize volumes (10x13"). This edition combines the two volumes into one; it's paperbound ("flexi-cover"--the paper has a plastic coating), smaller (8x10", and affordable for art book buyers with shallower pockets--none of whom should pass it by. The scope is encyclopedic: half the work (originally the first volume) is devoted to painting; the other half to sculpture, new media, and photography. Chapters are arranged thematically, and each page displays several examples (in color) of work under discussion. The final section, a lexicon of artists, includes a small bandw photo of each artist, as well as biographical information and details of work, writings, and exhibitions. Ruhrberg and the three other authors are veteran art historians, curators, and writers, as is editor Walther. c. Book News Inc.

From the winner of the Nobel Prize in Literature and author of the Booker Prize–winning novel The Remains of the Day In the face of the misery in his homeland, the artist Masuji Ono was unwilling to devote his art solely to the celebration of physical beauty. Instead, he put his work in the service of the imperialist movement that led Japan into World War II. Now, as the mature Ono struggles through the aftermath of that war, his memories of his youth and of the "floating world"—the nocturnal world of pleasure, entertainment, and drink—offer him both escape and redemption, even as they punish him for betraying his early promise. Indicted by society for its defeat and reviled for his past aesthetics, he relives the passage through his personal history that makes him both a hero and a coward but, above all, a human being.

Long before the foundations of the concept of sustainability were laid down and green chemistry became a hot topic, chemists had already been looking for alternative feedstocks hoping to liberate the industry from its dependency on fossil fuels. This book examines one such story. Near the largest French forest in the southwest of the country, in Aquitaine, a network of entrepreneurs of chemists established in the early 20th century the Pine Institute. This curious institution, working at the interface of academia and industry explored new uses for pine resin. It is used to produce not only solvents, glues, and paper, but also rocket fuels. The pine resin has been one of the most versatile raw materials known to humanity.This book not only explains the success of the material itself but also of the scientific-industrial network that made it possible to exploit it sustainably over many decades. Did the Pine Institute find a recipe for making the future more sustainable in the post-oil world? It carefully examines its organisational features, relations with the local economy, as well as the core elements of resin chemistry as an independent discipline prefigurating sustainable chemistry of today.This unique book constitutes an original and pioneering work on the origins of some of the ideas that are being labeled today as green or sustainable chemistry. It establishes a bridge between two worlds, explaining in detail the history of a sustainable scientific discipline in its institutional and economic setting accounting for the complexity of the relations between stakeholders and of the knowledge circulation patterns. In other words, the book fills a gap in the emerging field of social studies of scientific sustainability.

Why was New York abstract expressionism so successful after World War II? To answer that question, Serge Guilbaut takes a controversial look at the complicated, intertwining relationship among art, politics, and ideology. He explores the changing New York and Paris art scenes of the Cold War period, the rejection by artists of political ideology, and the coopting by left-wing writers and politicians of the artistic revolt.