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This comprehensive monograph explores the conceptual complexity and diversity of Claes Oldenburg's early work to reveal the influential artist's extraordinary inventiveness. Accompanying an exhibition of Oldenburg's seminal early work, this publication examines in depth the breadth of his artistic career from the late-1950s to 1970. It features works including the landmark installations The Street and The Store and their accompanying Happenings; the highly influential spectacular sculptures of everyday objects, as well as drawings and preparatory collages for public projects from the 1960s. The book traces the development of Oldenburg's practice as it follows his work up to the Mouse Museum. Included also in the book is an extensive chronology, alongside notes as well as a variety of installation views that showcase the careful consideration given to modes of presentation. In addition to imagery of his infamous Pop icons, the publication includes illustrations of materials that have never been shown, such as notebook pages, preparatory studies, photographs taken by the artist, drawings and collages, and clippings with amusing advertisements from the 1960s that served as models for his sculptures. Richly illustrated and including a wealth of previously unpublished materials, this volume probes diverse aspects of his work to offer fresh perspectives on Oldenburg's artistic development and unprecedented insights into the conceptual process of his artistic explorations.
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In Between Garden and City, Dorothée Imbert examines the career of Belgian landscape architect Jean Canneel-Claes (1909-1989), firmly establishing his place in the modernist movement. Canneel's theoretical positions and innovative designs sought to align the emergent landscape profession with architecture and urbanism while demonstrating its potential to address the needs of modern society.Canneel studied at La Cambre (Belgium's equivalent to the Bauhaus) under landscape urbanist Louis van der Swaelmen and graduated as the school's first landscape architect in 1931. Dedicated to connecting architecture and garden design, he commissioned a house from Le Corbusier and collaborated with prominent Belgian modernist architects Louis Herman De Koninck, Huib Hoste, and Victor Bourgeois. Seeing the garden as part of a larger design environment, Canneel expanded the scale of his interventions to urban greening and the planning of cities.In 1938, Canneel joined forces with Christopher Tunnard to found the International Association of Modernist Garden Architects and further the cause of landscape modernism across Europe. Two years later, Canneel applied his theory of the functionalist garden to postwar reconstruction with designs for cemeteries, sports grounds, and town squares.Imbert examines the social context and the aesthetic and theoretical influences that shaped Canneel's work. She positions him as a major figure at the confluence of art, architecture, and urbanism in the early twentieth century and opens new avenues for understanding the relationship of modernism to gardens, nature, and the city.  
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