Architecture's growing intimacy with new types of art Kissing Architecture explores the mutual attraction between architecture and other forms of contemporary art. In this fresh, insightful, and beautifully illustrated book, renowned architectural critic and scholar Sylvia Lavin develops the concept of "kissing" to describe the growing intimacy between architecture and new types of art—particularly multimedia installations that take place in and on the surfaces of buildings—and to capture the sensual charge that is being designed and built into architectural surfaces and interior spaces today. Initiating readers into the guilty pleasures of architecture that abandons the narrow focus on function, Lavin looks at recent work by Pipilotti Rist, Doug Aitken, the firm Diller Scofidio + Renfro, and others who choose instead to embrace the viewer in powerful affects and visual and sensory atmospheres. Kissing Architecture is the first book in a cutting-edge new series of short, focused arguments written by leading critics, historians, theorists, and practitioners from the world of urban development and contemporary architecture and design. These books are intended to spark vigorous debate. They stake out the positions that will help shape the architecture and urbanism of tomorrow. Addressing one of the most spectacular and significant developments in the current cultural scene, Kissing Architecture is an entertainingly irreverent and disarmingly incisive book that offers an entirely new way of seeing--and experiencing--architecture in the age after representation.

How digital networks are transforming art and architecture Art as we know it is dramatically changing, but popular and critical responses lag behind. 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.

In this remarkable debut, which marks the beginning of Multiverse—a literary series written and curated by the neurodivergent¬—Hannah Emerson’s poems keep, dream, bring, please, grownd, sing, kiss, and listen. They move with and within the beautiful nothing (“of buzzing light”) from which, as she elaborates, everything jumps. In language that is both bracingly new and embracingly intimate, Emerson invites us to “dive down to the beautiful muck that helps you get that the world was made from the garbage at the bottom of the universe that was boiling over with joy that wanted to become you you you yes yes yes.” These poems are encounters—animal, vegetal, elemental—that form the markings of an irresistible future. And The Kissing of Kissing makes joyously clear how this future, which can sometimes seem light-years away, is actually as close, as near, as each immersive now. It finds breath in the woods and the words and the worlds we share, together “becoming burst becoming / the waking dream.” With this book, Emerson, a nonspeaking autistic poet, generously invites you, the reader, to meet yourself anew, again, “to bring your beautiful nothing” into the light.

The Architecture of Neoliberalism pursues an uncompromising critique of the neoliberal turn in contemporary architecture. This book reveals how a self-styled parametric and post-critical architecture serves mechanisms of control and compliance while promoting itself, at the same time, as progressive. Spencer's incisive analysis of the architecture and writings of figures such as Zaha Hadid, Patrik Schumacher, Rem Koolhaas, and Greg Lynn shows them to be in thrall to the same notions of liberty as are propounded in neoliberal thought. Analysing architectural projects in the fields of education, consumption and labour, The Architecture of Neoliberalism examines the part played by contemporary architecture in refashioning human subjects into the compliant figures - student-entrepreneurs, citizen-consumers and team-workers - requisite to the universal implementation of a form of existence devoted to market imperatives.

Anna had everything figured out – she was about to start senior year with her best friend, she had a great weekend job and her huge work crush looked as if it might finally be going somewhere... Until her dad decides to send her 4383 miles away to Paris. On her own. But despite not speaking a word of French, Anna finds herself making new friends, including Étienne St. Clair, the smart, beautiful boy from the floor above. But he's taken – and Anna might be too. Will a year of romantic near-misses end with the French kiss she's been waiting for?

Previously uncollected nonfiction pieces by Hollywood's ultimate It Girl about everything from fashion to tango to Jim Morrison and Nicholas Cage. With Eve’s Hollywood Eve Babitz lit up the scene in 1974. The books that followed, among them Slow Days, Fast Company and Sex and Rage, have seduced generations of readers with their unfailing wit and impossible glamour. What is less well known is that Babitz was a working journalist for the better part of three decades, writing for the likes of Rolling Stone, Vogue, and Esquire, as well as for off-the-beaten-path periodicals like Wet: The Magazine of Gourmet Bathing and Francis Ford Coppola’s short-lived City. Whether profiling Hollywood darlings, getting to the bottom of health crazes like yoga and acupuncture, remembering friends and lovers from her days hobnobbing with rock stars at the Troubadour and art stars at the Ferus Gallery, or writing about her beloved, misunderstood hometown, Los Angeles, Babitz approaches every assignment with an energy and verve that is all her own. I Used to Be Charming gathers nearly fifty pieces written between 1975 and 1997, including the full text of Babitz’s wry book-length investigation into the pioneering lifestyle brand Fiorucci. The title essay, published here for the first time, recounts the accident that came close to killing her in 1996; it reveals an uncharacteristically vulnerable yet never less than utterly charming Babitz.

One hundred years ago, architects found in the medium of photography—so good at representing a building’s lines and planes—a necessary way to promote their practices. It soon became apparent, however, that photography did more than reproduce what it depicted. It altered both subject and reception, as architecture in the twentieth century was enlisted as a form of mass communication. Claire Zimmerman reveals how photography profoundly influenced architectural design in the past century, playing an instrumental role in the evolution of modern architecture. Her “picture anthropology” demonstrates how buildings changed irrevocably and substantially through their interaction with photography, beginning with the emergence of mass-printed photographically illustrated texts in Germany before World War II and concluding with the postwar age of commercial advertising. In taking up “photographic architecture,” Zimmerman considers two interconnected topics: first, architectural photography and its circulation; and second, the impact of photography on architectural design. She describes how architectural photographic protocols developed in Germany in the early twentieth century, expanded significantly in the wartime and postwar diaspora, and accelerated dramatically with the advent of postmodernism. In modern architecture, she argues, how buildings looked and how photographs made them look overlapped in consequential ways. In architecture and photography, the modernist concepts that were visible to the largest number over the widest terrain with the greatest clarity carried the day. This richly illustrated work shows, for the first time, how new ideas and new buildings arose from the interplay of photography and architecture—transforming how we see the world and how we act on it.

On August 14, 1945, Alfred Eisenstaedt took a picture of a sailor kissing a nurse in Times Square, minutes after they heard of Japan's surrender to the United States. Two weeks later LIFE magazine published that image. It became one of the most famous WWII photographs in history (and the most celebrated photograph ever published in the world's dominant photo-journal), a cherished reminder of what it felt like for the war to finally be over. Everyone who saw the picture wanted to know more about the nurse and sailor, but Eisenstaedt had no information and a search for the mysterious couple's identity took on a dimension of its own. In 1979 Eisenstaedt thought he had found the long lost nurse. And as far as almost everyone could determine, he had. For the next thirty years Edith Shain was known as the woman in the photo of V-J DAY, 1945, TIMES SQUARE. In 1980 LIFE attempted to determine the sailor's identity. Many aging warriors stepped forward with claims, and experts weighed in to support one candidate over another. Chaos ensued. For almost two decades Lawrence Verria and George Galdorisi were intrigued by the controversy surrounding the identity of the two principals in Eisenstaedt's most famous photograph and collected evidence that began to shed light on this mystery. Unraveling years of misinformation and controversy, their findings propelled one claimant s case far ahead of the others and, at the same time, dethroned the supposed kissed nurse when another candidate's claim proved more credible. With this book, the authors solve the 67-year-old mystery by providing irrefutable proof to identify the couple in Eisenstaedt's photo. It is the first time the whole truth behind the celebrated picture has been revealed. The authors also bring to light the couple's and the photographer's brushes with death that nearly prevented their famous spontaneous Times Square meeting in the first place. The sailor, part of Bull Halsey's famous task force, survived the deadly typhoon that took the lives of hundreds of other sailors. The nurse, an Austrian Jew who lost her mother and father in the Holocaust, barely managed to escape to the United States. Eisenstaedt, a World War I German soldier, was nearly killed at Flanders.

NOW A NETFLIX MOVIE STARRING JOEY KING AND JACOB ELORDI! Read the first book in the Kissing Booth series for some fun, fresh romance from Beth Reekles. Meet Rochelle “Elle” Evans: pretty, popular—and never been kissed. Meet Noah Flynn: badass, volatile—and a total player. When Elle decides to run a kissing booth at her school's Spring Carnival, she locks lips with Noah and her life is turned upside down. Her head says to keep away, but her heart wants to draw closer. This romance seems far from a fairy tale. Is Elle headed for heartbreak or will she get her happily ever after? Don’t miss the next two books in the series: -The Kissing Booth #2: Going the Distance -The Kissing Booth #3: One Last Time (on sale August 2021)

A magnificent wartime love story about the forces that brought the author’s parents together and those that nearly drove them apart Marianne Szegedy-Maszák’s parents, Hanna and Aladár, met and fell in love in Budapest in 1940. He was a rising star in the foreign ministry—a vocal anti-Fascist who was in talks with the Allies when he was arrested and sent to Dachau. She was the granddaughter of Manfred Weiss, the industrialist patriarch of an aristocratic Jewish family that owned factories, were patrons of intellectuals and artists, and entertained dignitaries at their baronial estates. Though many in the family had converted to Catholicism decades earlier, when the Germans invaded Hungary in March 1944, they were forced into hiding. In a secret and controversial deal brokered with Heinrich Himmler, the family turned over their vast holdings in exchange for their safe passage to Portugal. Aladár survived Dachau, a fragile and anxious version of himself. After nearly two years without contact, he located Hanna and wrote her a letter that warned that he was not the man she’d last seen, but he was still in love with her. After months of waiting for visas and transit, she finally arrived in a devastated Budapest in December 1945, where at last they were wed. Framed by a cache of letters written between 1940 and 1947, Szegedy-Maszák’s family memoir tells the story, at once intimate and epic, of the complicated relationship Hungary had with its Jewish population—the moments of glorious humanism that stood apart from its history of anti-Semitism—and with the rest of the world. She resurrects in riveting detail a lost world of splendor and carefully limns the moral struggles that history exacted—from a country and its individuals. Praise for I Kiss Your Hands Many Times “I Kiss Your Hand Many Times is the sweeping story of Marianne Szegedy-Maszák’s family in pre– and post–World War II Europe, capturing the many ways the struggles of that period shaped her family for years to come. But most of all it is a beautiful love story, charting her parents’ devotion in one of history’s darkest hours.”—Arianna Huffington, president and editor-in-chief, the Huffington Post Media Group “In this panoramic and gripping narrative of a vanished world of great wealth and power, Marianne Szegedy-Maszák restores an important missing chapter of European, Hungarian, and Holocaust history.”—Kati Marton, author of Paris: A Love Story and Enemies of the People: My Family’s Journey to America “How many times can a heart be broken? Hungarians know, Marianne Szegedy-Maszák’s family more than most. History has broken theirs again and again. This is the story of that violence, told by the daughter of an extraordinary man and extraordinary woman who refused to surrender to it. Every perfectly chosen word is as it happened. So brace yourself. Truth can break hearts, too.”—Robert Sam Anson, author of War News: A Young Reporter in Indochina “This family memoir is everything you could wish for in the genre: the story of a fascinating family that illuminates the historical time it lived through. . . . Informative and fascinating in every way, [I Kiss Your Hands Many Times] is a great introduction to World War II Hungary and a moving tale of personal relationships in a time of great duress.”—Booklist (starred review)