Naum Gabo, Antoine Pevsner (1948)

Introduction by Herbert Read
Texts by Ruth Olson and Abraham Chanin
Publisher Museum of Modern Art, New York, 1948
83 pages

Publisher (incl. press release and installation views)

PDF (updated on 2016-9-18, via MoMA)
multiple formats (Archive.org)

Bernard Cache: Earth Moves: The Furnishing of Territories (1995)

Earth Moves, Bernard Cache’s first major work, conceptualizes a series of architectural images as vehicles for two important developments. First, he offers a new understanding of the architectural image itself. Following Gilles Deleuze and Henri Bergson, he develops an account of the image that is nonrepresentational and constructive—images as constituents of a primary, image world, of which subjectivity itself is a special kind of image. Second, Cache redefines architecture beyond building proper to include cinematic, pictoral, and other framings.

Complementary to this classification, Cache offers what is to date the only Deleuzean architectural development of the “fold,” a form and concept that has become important over the last few years. For Cache, as for Deleuze, what is significant about the fold is that it provides a way to rethink the relationship between interior and exterior, between past and present, and between architecture and the urban.

Translation of an unpublished French manuscript written in 1983 under the title Terre meuble.
Translated by Anne Boyman
Edited by Michael Speaks
Publisher MIT Press, 1995
Writing Architecture series
ISBN 0262531305, 9780262531306
153 pages

publisher
google books

PDF

Clement Greenberg: Homemade Esthetics: Observations on Art and Taste (2000)

“In this work, which gathers previously uncollected essays and a series of seminars delivered at Bennington College in 1971, Greenberg provides his most expansive statement of his views on taste and quality in art. He insists that despite the attempts of modern artists to escape the jurisdiction of taste by producing an art so disjunctive that it cannot be judged, taste is inexorable. He maintains that standards of quality in art, ohe artist’s responsibility to seek out the hardest demands of a medium, and the critic’s responsibility to discriminate, are essential conditions for great art. He discusses the interplay of expectation and surprise in aesthetic experience, and the exalted consciousness produced by great art. Homemade Esthetics allows us to watch the critic’s mind at work, defending (and at times reconsidering) his controversial and influential theories. Charles Harrison’s introduction to this volume places Homemade Esthetics in the context of Greenberg’s work and the evolution of 20th century criticism.”

Foreword by Janice Van Horne Greenberg
Introduction by Charles Harrison
Publisher Oxford University Press, 2000
ISBN 0195139232, 9780195139235
256 pages

Publisher

PDF