Modernist Books

If you love modern architecture and design, this book is a must-have for your library. The photos are gorgeous (of course), the text is informative, the quality is top notch.

I've got several modern architecture books, and most of the buildings in them are in CA or along the east coast. This is the first book I've seen that includes many buildings from more overlooked parts of the country, such as Texas, Oklahoma, Colorado, etc. [In fact, my grandfather was an architect in OK in the 50's, and it was a great surprise to see two of his firm's (Conner and Pojezny) buildings in the book.]

Finally, whenever I'm in the mood to take one of my architecture books off the shelf to look at, it is usually this book I pick up. It's such a fantastic addition to my library that all I'm asking for Xmas is the three-volume follow-up!

This is a great book, do not hesitate to buy it! No better houses photgraphed in one book. This book will blow your mind, you will be bummed that you can't buy houses like these today! Must have for every modernist!

The pictures alone justify the price; the commentary is standard stuff. Top quality coated paper and soft binding, too. Makes you appreciate this famous photographer.

Modernism Rediscovered is not just another book of gorgeous Julius Shulman photographs, but a serious and scholarly attempt to right a wrong done to each of the worthy edifices featured in this book.

To secure an enduring place in the public consciousness a new building must be photographed, and those photographs printed in a variety of publications, both professional and popular. Why do photographs of some buildings get wide exposure and others not? A history-altering book, Modernism Rediscovered explores that conundrum and, at the same time, attempts to redress the omission of these buildings from the public forum.

A fascinating convergence of elements determines which buildings are deemed editorially appealing and which fall through the cracks. Prevailing trends, editorial policy, financial considerations, the photographer's interpretation, and even personal editorial taste all contribute to the selection process and resulting exposure of a building project. Ideally, all these elements coalesce to lend the building and the architect validation and prestige, establishing recognition of the work within the profession and to the general public. As Modernism Rediscovered shows, this has often not been the case.

Now nearly ninety years of age, Julius Shulman granted access to his archives for the first and only time ever to architect Pierluigi Serraino. From this treasure trove of architectural history Serraino selected such underexposed projects as the breathtaking Spencer Residence, a steel cage cantilevered out over the Malibu coastline; the Upton Residence, an Arizona winter retreat combining the lightness of an open glass box anchored by desert stone and concrete; and the C.Y. Stephens Auditorium at Iowa State University featuring steeply cascading balconies jutting out of folded concrete side walls.

This book is made of the essence of modernism. All photos are taken during the original time period. It is a great lesson of architecture. To be read after a Frank Lloyd Wright book's and an Art & Craft anthology to discover how tasteless is the architecture of the end of the millenium.

Anyone who was in the Peace Corps in or near Asmara or stationed at Kagnew Station would appreciate this lovely book.

Edward Denison, Guang Yu Ren and Naigzy Gebremedhin's ASMARA: AFRICA'S SECRET MODERNIST CITY examines the nature and architectural innovations of a city which holds one of the highest concentrations of Modernist architecture in the world. Experts with detailed knowledge of the city survey many of the structures, add notes from previously unpublished archival material, and include original photography not to be seen elsewhere. A 'must' for any college-level collection strong in architecture and modern urban landscapes.

A very important work that includes both the Eritrean history and the architectural mystique and prominence of this otherwise unknown city.

I applaud the authors for helping to preserve Eritrea's architectural treasures, which stand as a true gem compared with the rest of the African continent. Outlined in the book are those that were spared from the marauding British and greedy Ethiopian invaders and withstood decades of war.

I spent several years living with my family in Asmara as a young boy. Now as an adult I've been searching for a book that would allow my to do some arm chair traveling back to my former home. Mr. Denison's book allowed me to do that in both word and picture. The book is broken up into a general history section followed by detailed photos on the major architecture of Asmara in each of the significant eras, and offers both vintage and current photographs and design plans of the buildings in the city.

Terrific "lost history" book! Thank you, Mr. Denison, et al,
for rediscovering and sharing this fascinating story with the rest of us!

While this book offers an excellent collection of images related to the Bauhaus, it traces the history and the development of the Bauhaus comprehensively as well.
This book, alongwith Eva Forgacs' Bauhaus Idea and Bauhaus Politics can give you a general idea about what the institution was all about.

Its an amazing read.

You can know lots of new details. It helps you to study not only design but art itself.

Bauhaus was one of the most important movements in design-history.
Magdalena Drosta describes the ideas, the people, the work and the spirit of the Bauhaus. The best thing: It is never boring. The book does not only concentrate on the art taught at the Bauahaus but also describes its political problems.
A lot of excellent pictures in a good priniting quality (especially in relation to the price) make this a book, you always like to look at.

If you want a comprehensive historical information as well as tons of full color photos of all sorts of Bauhaus inspired works -from architecture to practical objects - this is the book you should have. Open it and read a single article, think about it and close the book. Or browse through the photos and marvel at the teapots, the furniture, the architectural style.

You can savor this one slowly (and I think you should) rather than trying to read it through all at once. If you do that, you'll start to get a sense of the Bauhaus style and how it fits into the particular period when it came into being - and how it grew and evolved from there.

This book has great studies. Lots of new details for me are in it. It helps you to study design and art histry.

Natalia doesn't delve deep into intellectual arguments here, but she does open many doors leading to rooms of questsions about the state of design education in America and it's seemingly unwavering championing of Modernism. She ties this in with her personal life and how she came to question her modernist education - this might be a turn off for academics seeking pure thought and data.
I'm looking forward to her expanding on the ideas she brings up in this book!

In ordinary hands, modernist design theory might be a dry and dusty topic, but Natalia Ilyin brings it to life and makes it fascinating. She draws you in with beautiful writing, humor, and razor-sharp perceptions; and along the way, she delves deeply into art -- and into life itself. It took courage to stand up to the current mode of design education. As a writer, Ilyin chased the perfect, and she caught it. And she did it with insight and grace.

I LOVED this book. Ilyin weaves together BIG, thought provoking ideas and deeply personal insights (that resonate as much for me as they do for her), and does it in amazingly elegant prose. This book is profound, thoughtful, and beautifully written. AND fun to read! I recommend it highly!

I recommend this book wholeheartedly. I am a theoretical physicist and a writer, so what do I know about design theory and ironic distance? Nothing. But this book is not for designers alone. Rather, it is nothing short of a brilliantly witty and deeply personal guide to life, a heartfelt beacon on the darkling plain "where ignorant armies clash by night" showing us the way to a more joyous and messier life. I came to this book because I'm a fan of Natalia Ilyin's earlier book "Blonde Like Me," which just like this book, is also chock full of fabulous writing and heart-warming insights.

I'm finishing up with "Chasing The Perfect" by Natalia Ilyin and when I'm done, I'm going to read it over again.

In my periodic browsing of the Graphic Arts section at B&N I became a statistic and fell for the cover. Bauhaus period minimalism...always gets me. Hmmmm, words on Modernist design from a nutty professor at RSD? Cool.

Went home, logged on, pressed a button and waited...

She's talking about the influence of the "Modernist" aesthetic on our design sense, on our basic human qualities and the effect on society. The unspoken idiom: the crafty subliminal itching that keeps us moving, to desire the next best thing...the perfect. Here's a hint: "Moo".

Scholarly, eloquent, silly and self deprecating. Heady subjects made tangible, this is my kind of read! So many levels of satisfaction, all feeding the creative spirit. This book is an epiphany for delinquent designers who are questioning conformity...that would be me.

Besides the stated subject of examining why we strive towards ever elusive perfection and the resulting mess...Ilyn uses personal example and anecdote, much of which serendipitously occurs in locales I currently inhabit (NY), as well as the landscapes of mind I travel. Anxiety, doubt, depression, hunger, bewilderment, excitement, joy, anger, nincompoopery. Ilyn wrote about herself, but she wrote for ME! The insights are piled high, personal and potent. Plus there are pictures!

I have been improved for having read: "Chasing The Perfect". I would recommend for anyone with a brain.

This book undertakes an interesting era in jewelry and brings information together in an interesting and easily understandable style. Lots of pictures which always makes a book more interesting for me. I recommend it for people who want to learn more about contemporary jewelry from the 1940's on.

I am a collector of American mid-century jewelry and this is the most informative book to date! Marbeth Schon is an authority on topic and has generously shared her knowledge with us. View of signatures of artist in back of book is also a great reference!

Finally, we have a compendium of history, facts, photos, and values. Marbeth Schon has done the research for us, and now we can put this wonderful information to work. For collectors and dealers, this is a must have work of beauty and scholarship. The organization makes it a valuable reference source, while the photographs make it an invaluable reflection on the 'Art Movement' of 'American Modernism'.

From the well known to the obscure 'Modernist Artists', their works and their place in history has now been beautifully documented by this wonderful research author.

My wife makes me read most of her dozens and dozens of jewelry books so I can help her out occasionally, but this one didn't need more than a quick browse to get me started.

Modernist Jewelry, it seems as though there has never been enough information. Christie Romero's Warman Jewelry and Messengers of Modernism were great aids. The Author's online Modern Silver Magazine has provided insightful information on dozens of Modernist artists, as as her webpage.

Now we have the most complete source of information available anywhere. Studying the art, the histories, the influences, and especially the artists has finally become possible from this scholarly work. The photography is top-notch, the values are reasonable, timely, and well researched, and the writing is clear and concise. All-in-all it is simply a Masterpiece!

Marbeth has the unique combination of an artistic eye, personal research knowledge and market experience that makes this book such a treasure. If you love Modernist Jewelry, this book will re-kindle your passion... and if you are not familiar with it, this book will light your fire! As a dealer and collector, I own hundreds of books on jewelry, and this is one of my top-10 favorites. Buy it now and enjoy it for years to come.

Beautiful photos -- useful for my son who recently completed Le Cordon Bleu Culinary School.

A master piece by craftsmen with unique skill and brillances of creativity. Very detailed, and the recipes work. Photography is fantastic.

This book is great for aspiring pastry chefs. I do think some knowledge of high end desserts is necessary if a person would like to make any of the dishes in the book. The pictures are beautiful and the instructions are clear and easy to follow. I know the other books by these authors have gotten good reviews as well.

My positive views about 'Grand Finales' may be considered suspect (I'm the husband of co-author Tish Boyle), but those of journalists and cooking professionals merit serious attention. It's undeniable that 'Grand Finales' is unique among cookbooks: it's the first "to examine the predominant schools of pastry design," with pictures that "are worth a thousand design-concept theories," according to TIME OUT, New York City's premier publication devoted to the cutting edge. TIME OUT concludes that 'Grand Finales' "does a superb job of documenting the high-design phenomenon in making pastries." BEARD HOUSE Magazine observes that 'Grand Finales' has "assembled an impressive collection of recipes from the country's best pastry chefs...for this handsome volume about upscale restaurant desserts." The WASHINGTON POST praises the book's "75 fabulous creations," adding a mock-serious qualification that "some are downright silly, goofy, splendid in a crazed sort of way." Among cooking professionals, 'Grand Finales' also earned exceptional acclaim when it was selected as a finalist among 420 entries in the 1998 Julia Childs Cookbook Awards. This striking book is a must for the library of anyone with an interest in modern desserts.

Many renowned Pastry Chefs share insights in creating and mastering their techniques. Although I am not a pastry chef, I do create desserts, and I was thrilled to not only see pictures and practically step by step procedures, but to also learn more about pricing and creativity when designing a pastry masterpiece..

This book shares with the reader the highlights of Koenig's career with breathtaking shots of the case study houses, blue prints, and narration accompanying each. Truly, one of the most spectacular collections dedicated to this incredibly gifted, ground breaking architect.

This book presents a wonderful view of the work of Koenig. Its images are of the quality that they are in use as a series of plates within the Pierre Koenig memorial library at the APX andronicus house at the university of southern california. as a source for understanding of koenig and and the case study movement, this is an invaluable tool.

This book presents Pierre Koenigs work very well. James Steele has written many great architecture books and this one is as good as his others. In the book is the most complete and extensive representation of Pierre Koenings work I have ever seen printed. The pictures are large, and very nice. It is a very good book with his work well documented and insightful articles written by James Steele and others.

Excellent book, I wanted to see more.

Some books are so good you can't put them down. Some, of course, are so bad you can't wait till they end, and the going is slow. The going is slow for James Steele and David Jenkins' book Pierre Koenig... for the opposite reason. After a quick glance at the magnificent pictures and some of the text, I wanted to take my time. I dreaded the moment I'd have to close the back cover and say goodbye to this book. Koenig designed mostly in steel... but throw away your notions of an "industrial" look.. for Koenig, steel was a means of building, and a way to express a contemporary style. As someone who was born and raised in and amongst Eichlers, I was very gratified to discover how wide spread the "California style" was for a period. The style seems to have lasted -and evolved- in public buildings, but residential builders lost their nerve and returned to something more conventional. Since many of my architectural heroes have passed away, or changed styles, it's nice to know Koenig is still around, still designing, and still promoting the use of steel as the palette for expression of this Zen-like style. As for completing the book? Well, I understand now why we have "coffee table" books... so you can re-live the first time you read a book like this, through the eyes of someone else.

Great book; found it very useful for a presentation on Bauhaus.

This is the book for people who are interested in design (i.e. buy things)
but don't read design magazines. Thought-provoking and funny.

Sprinkled liberally with the author's own pencil sketches of famous architects, buildings and other design icons, "The Bauhaus Ideal" is a small book chock full of unique perspectives on the history of design. It is pitched at the lay reader or college student - even someone with no interest whatsoever in Bauhaus or architecture would find this an absorbing read, which is why I think it would do very well in an intro liberal arts course for college freshmen hoping to pick up some ideas about modern art and architecture before they branch off onto the irreversible "med school" or "law school" track. It reads rather like the notebooks of da Vinci because of the deft pencil sketches; it also reminds me of John Ruskin's manifesto, "The Stones of Venice". Smock would very conversationally talk about an architect or a building, then throw in a little sketch - the effect is like dropping in on a professor who really knows his stuff but is cool enough to not beat you over the head with it. Smock is good enough to be a professional illustrator. In a few lead strokes he would capture the spirit of a real person's face, or the bare branches of winter. For the non-lay reader, the architect, or "those in the know", this book reaffirms one's thoughts about the giants in the architecture world and asks provoking questions about why things are what they are. All in all, a real treat and worth the price.

Today's design students are overloaded with too many skills and ideas to absorb. Unfortunately, as students race into the future, it seems that subjects like Design History are the first to suffer. This book addresses that problem. You could think of it as the 'cliff notes' of Modernism. It's concise, fun to read, and beautifully illustrated. You can read it in one sitting. It connects Modernist ideas across design, art and architecture from the Bauhaus until now. Along the way, Smock pokes fun at some of the more pretensious characters and positions of Modernism. Most of all, he puts the ideas and forms of Modernism in context for our time. The author clearly has a deep appreciation for his subject, and argues that we still have much to learn from the spirit and optimism of Modernism. For students, this book should help to inspire new interest in what Modernism was/is all about. It suggests that rather than seeing a dusty footnote in history, maybe it's something we should pick up, polish, and re-examine. As an intro, this book should inspire further study for young designers.

This book (the first volume) is over 600 pages. And they are 600 pages chock full of intelligent analyses and overviews of all the poetic schools in Britian and the US since the 1890s. This book is fascinating in its content and a joy to read because of Perkins' clear and humane style. It is amazing that one person can know so much. But don't let that intimidate you. This book will do wonders for your working knowledge of American and British poetry.

David Perkins's "History of Modern Poetry" gives the reader the essentials of the modernist movement, from its beginnings as a reaction against the outworn Romantic era to the poetry of Ashbery, Ammons, and Merrill in our own age. Brevity is a virtue here: Perkins states the essentials of a poet's life only and so escapes the common error of overinterpretation which most critics commit. The series also pays attention to minor poets who do not rank highly today and past movements in journals and anthology editing so as to provide us with a complete picture of what the past century of poetry has consisted. Highly recommended.

David Perkins's "History of Modern Poetry" gives the reader the essentials of the modernist movement, from its beginnings as a reaction against the outworn Romantic era to the poetry of Ashbery, Ammons, and Merrill in our own age. Brevity is a virtue here: Perkins states the essentials of a poet's life only and so escapes the common error of overinterpretation which most critics commit. The series also pays attention to minor poets who do not rank highly today and past movements in journals and anthology editing so as to provide us with a complete picture of what the past century of poetry has consisted. Highly recommended.

I love poetry. Books like "History of Modern Poetry: Modernism and After" fill my bookshelves. I eat this stuff up. But one thing a lot of poetry books do is mush up the sense of it all in the hope of appealing to the academics. Since most regularly published poets are professors in English departments, it works out, but it creates a great divide between the laity and the academic.

What David Perkins has done is explain the basic chronology of poets periods. This is neither an encyclopedia of terms nor an anthology of great poems. Instead, Perkins takes a period, affiliates the poets major within that period and explains their context and importance.

He keeps it simple without talking down to the reader.

Essentially, it is a collection of intelligent essays. Some are topical, like "The Postwar Period" while others are poet-specific, like "W. H. Auden."

Perkins writes clearly. It isn't trying to impress you, but he is trying to help you understand Eliot and onward.

I read it for personal growth, but it would make a solid textbook, in tandem with Perkins' other volume covering the previous eras.

I fully recommend "History of Modern Poetry: Modernism and After" by David Perkins.

Anthony Trendl

The book is a excelent review of investigation about "Men of maize". I'd apreciate if you could send me the address (email, phone, city etc.) of Gerald Martin. I want to contact him because I'like to send him a article about Asturias book. Sincerly yours Dr. Oscar Vinueza.

Men of Maize is an incredible tale of Indian life in Latin America during the early twentieth century, woven poetically by Asturias. In six parts he simultaneously creates and re-tells history, blurring the distinctions between reality and myth. He interweaves the past, present and future, giving the background tale, then continuing on to show how that tale would become the folklore of the future.

In Maize, there is a strong undercurrent of the clash of cultures that fuels the fires of conflict between the Ladinos, Mestizos and Indians. The Indians see themselves as made of maize, and to have their flesh and blood grown by foreigners for profit is abhorrent to them. As they are evermore forced off their land to clear fields for the commercial maizegrowers they begin to rebel. It is here that Asturias starts his novel, with an attack on Indian Chief Gaspar Ilóm led by soldiers and maizegrowers. The death of Ilóm, one of the magical firefly wizards, wreaks a cycle of revenge that affects all who were involved. A series of battles ensue, and tensions rise, giving way to permanent distrust and dislike between the two groups. Asturias then takes the reader farther through time, showing how the past discords (and the legends that arose from it) give hope and motivation to the generations of the future, as they struggle against the same forces their ancestors struggled with. He creates the tales of many different players in different periods of time, such as the great Chief Ilóm, the Indian postman, and Goyo Yic, the blind Indian beggar. Asturias connects these seemingly unrelated lives with a common theme: each man is gradually alienated from a "progressing" society through losing his land, his woman, and eventually his own self. By this Asturias describes the reality for an indigenous person living in an ever-fluctuating post-colonial Latin America.

Crucial to understanding this clash of cultures is understanding the Indian way of life. For the indigenous of Latin America, the answer to everything lay in the every day activities and choices of the people. The Maya are a highly ritualized culture, even the smallest activity, such as eating or drinking, is governed by unwritten rules. The clothes, the huipil, the essential food, maize, and the petate mat on which they sleep, each play their part in appeasing a higher power (by now syncretized into a Christian God). Asturias makes hundreds of references to these daily activities and the beliefs they represent. Of central importance is the maize, the crop of the Maya, their sustenance, and the basis for their existence. To interfere with the growing of the maize is to interfere with the very core of a Maya, himself being made of maize. Another recurring theme in this book is the importance of the nahual, or "soul double" that each person is assigned at birth. The nahuales take the form of animals, and those animals serve as a connection for each person to the animal world, as aides and companions.

In a loose sense the novel does progress linearly through the years of the early 1900's, though the reader immediately feels a more cyclical motion of time. Often unsure of how much time has passed between stories, and whether the events being described are in "real" time or dream time, the reader is swirled into the reality of the tale. However, by the end of the book the reader, almost surprised, finds each story tied to another in some form, with the final revelation of the identity of the betrayess, María Tecún, completing all cycles.

Asturias' ability to write from the native perspective is amazing. He has succeeded in making this novel a mystical and magical experience for the reader. Through his poetic language Asturias places the reader right in the heart of the forest, with magical fireflies swarming about and rain pelting down on the dusty paths. He has masterfully recreated in writing the lack of acknowledgement of time that is pervasive throughout Latin America. It is no easy feat to put in writing la magia de lo real, or, the magic of reality, and Asturias has done it well. He has shared with the reader an existence contrary to "Western" consciousness, where no thing is governed by "Western" rules, yet this existence found itself trying to reconcile itself with the ever-"Westernizing" world. Through fiction Asturias painst the picture of reality - the cruelty and tragedy of the idigenous struggle to survive in post-colonial Latin America.

Asturias writes like no one I have ever read before, but what irked me was the constant dependency on the back of the book for keys as to what anything meant. Much of it comes from the legends of the Mayan culture which I'm sure most people don't know concisely enough to know parts of the Mayan "bible." For the more patient reader, it is an amazing set of tales, but without the critical edition, I think one might become devoured by the profundity it entails, and comprehend only the title. From what I read however, I realized that we are dealing with an unorthodox writer, a shaman with words, and the predecessor of Marquez.

Some people said: Asturias is a writer. I say Asturias is an artist who paints the reality of a magic land: Guatemala. You could feel it. Sorry for my english, but I'm another "woman of maize". (Usually we dont speak english).