Spyros Papapetros Books

A cookbook and culinary memoir about growing up as the daughter of revered chef/restaurateur Alice Waters: a story of food, family, and the need for beauty in all aspects of life. In this extraordinarily intimate portrait of her mother--and herself--Fanny Singer, daughter of food icon and activist Alice Waters, chronicles a unique world of food, wine, and travel; a world filled with colorful characters, mouth-watering traditions, and sumptuous feasts. Across dozens of vignettes with accompanying recipes, she shares the story of her own culinary coming of age and reveals a side of her legendary mother that has never been seen before. A charming, smart translation of Alice Waters's ideals and attitudes about food for a new generation, Always Home is a loving, often funny, unsentimental, and exquisitely written look at a life defined in so many ways by food, as well as the bond between mother and daughter.

A cookbook and culinary memoir about growing up as the daughter of revered chef/restaurateur Alice Waters

If modernists invented the model of an ostensible 'synthesis of the arts,' their postmodern progeny promoted the semblance of pluralist fusion. In 1979, reacting against contemporary art's transformation of modernist medium-specificity into postmodernist medium multiplicity, the art historian Rosalind Krauss published an essay, 'Sculpture in the Expanded Field,' that laid out in a precise diagram the structural parameters of sculpture, architecture, and landscape art. Krauss tried to clarify what these art practices were, what they were not, and what they could become if logically combined. The essay soon assumed a canonical status and affected subsequent developments in all three fields. This book revisits Krauss's hugely influential text and maps the ensuing interactions between art and architecture

Throughout human history, people have imagined inanimate objects to have intelligence, language, and even souls. In our secular societies today, we still willingly believe that nonliving objects have lives of their own as we find ourselves interacting with computers and other equipment. In On the Animation of the Inorganic, Spyros Papapetros examines ideas about simulated movement and inorganic life during and after the turn of the twentieth century—a period of great technical innovation whose effects continue to reverberate today. Exploring key works of art historians such as Aby Warburg, Wilhelm Worringer, and Alois Riegl, as well as architects and artists like Fernand Léger, Mies van der Rohe, and Salvador Dalí, Papapetros tracks the evolution of the problem of animation from the fin de siècle through the twentieth century. He argues that empathy—the ability to identify with objects of the external world—was repressed by twentieth-century modernist culture, but it returned, projected onto inorganic objects such as machines, automobiles, and crystalline skyscrapers. These modern artifacts, he demonstrates, vibrated with energy, life, and desire of their own and had profound effects on people. Subtle and insightful, this book will change how we view modernist art, architecture, and their histories.

Thomas Bayrle verbindet in seiner die MAK-Sammlung reflektierenden Einzelausstellung traditionelle handwerkliche Techniken mit computergenerierter Kunst des Informationszeitalters. Mit Metaphern des Färbens, Webens und Programmierens untersucht Bayrle die Ambivalenz von Kunst, Handwerk, Industrie und lässt kaleidoskopartige Formen – Ornamente der Masse – entstehen. Seine legendären „Superformen“ entwickelt Bayrle als Referenz auf kulturelle und industrielle Ikonen wie Jesus Christus, Mao, die Autobahn oder das Smartphone. Das überdimensionale Szenenbild iPhone meets Japan (Arbeitstitel, 2017) für die MAK-Säulenhalle komponiert er aus iPhones, die unter den Vorzeichen digitaler Vernetzung zwischen einem Paar, das sich dem flüchtigen Duftspiel hingibt, und architektonischen Elementen oszilliert. Mit Bayrles Projekt wird das MAK zum Schauplatz einer neu aufgenommenen Interaktion zwischen Kunst und Handwerk, KünstlerIn und WeberIn. Die in Blau getauchte ornamentale Bildfläche der iPhone Pietà (Arbeitstitel, 2017), einer in Frankreich von Hand gewebten Tapisserie, zeichnet Bayrle aus Smartphones – Ornament, Apparat und Schmuck zugleich – und übersetzt den kulturellen Code der Pietà in ein Stimmungsbild gesellschaftlicher und politischer Ereignisse. Die Publikation erschien anlässlich der Ausstellung „Wenn etwas zu lang ist – mach es länger“ im MAK Wien.