Podcasts about nushelle

How do you keep the cracks in Starry Night from spreading? How do you prevent artworks made of hugs or candies from disappearing? How do you render a fading photograph eternal—or should you attempt it at all? These are some of the questions that conservators, curators, registrars, and exhibition designers dealing with contemporary art face on a daily basis. In Still Life: Ecologies of the Modern Imagination at the Art Museum (University of Chicago Press, 2020), Fernando Domínguez Rubio delves into one of the most important museums of the world, the Museum of Modern Art (MoMA) in New York, to explore the day-to-day dilemmas that museum workers face when the immortal artworks that we see in the exhibition room reveal themselves to be slowly unfolding disasters. Still Life offers a fascinating and detailed ethnographic account of what it takes to prevent these disasters from happening. Going behind the scenes at MoMA, Domínguez Rubio provides a rare view of the vast technological apparatus—from climatic infrastructures and storage facilities, to conservation labs and machine rooms—and teams of workers—from conservators and engineers to guards and couriers—who fight to hold artworks still. As MoMA reopens after a massive expansion and rearranging of its space and collections, Still Life not only offers a much-needed account of the spaces, actors, and forms of labor traditionally left out of the main narratives of art, but it also offers a timely meditation on how far we, as a society, are willing to go to keep the things we value from disappearing into oblivion. This interview is part of an NBN special series on “Mobilities and Methods.” Fernando Domínguez Rubio is an Associate Professor at the Department of Communication at the University of California-San Diego. Alize Arıcan is a PhD candidate in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on urban renewal, futurity, care, and migration in Istanbul, Turkey. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

How do you keep the cracks in Starry Night from spreading? How do you prevent artworks made of hugs or candies from disappearing? How do you render a fading photograph eternal—or should you attempt it at all? These are some of the questions that conservators, curators, registrars, and exhibition designers dealing with contemporary art face on a daily basis. In Still Life: Ecologies of the Modern Imagination at the Art Museum (University of Chicago Press, 2020), Fernando Domínguez Rubio delves into one of the most important museums of the world, the Museum of Modern Art (MoMA) in New York, to explore the day-to-day dilemmas that museum workers face when the immortal artworks that we see in the exhibition room reveal themselves to be slowly unfolding disasters. Still Life offers a fascinating and detailed ethnographic account of what it takes to prevent these disasters from happening. Going behind the scenes at MoMA, Domínguez Rubio provides a rare view of the vast technological apparatus—from climatic infrastructures and storage facilities, to conservation labs and machine rooms—and teams of workers—from conservators and engineers to guards and couriers—who fight to hold artworks still. As MoMA reopens after a massive expansion and rearranging of its space and collections, Still Life not only offers a much-needed account of the spaces, actors, and forms of labor traditionally left out of the main narratives of art, but it also offers a timely meditation on how far we, as a society, are willing to go to keep the things we value from disappearing into oblivion. This interview is part of an NBN special series on “Mobilities and Methods.” Fernando Domínguez Rubio is an Associate Professor at the Department of Communication at the University of California-San Diego. Alize Arıcan is a PhD candidate in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on urban renewal, futurity, care, and migration in Istanbul, Turkey. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

How do you keep the cracks in Starry Night from spreading? How do you prevent artworks made of hugs or candies from disappearing? How do you render a fading photograph eternal—or should you attempt it at all? These are some of the questions that conservators, curators, registrars, and exhibition designers dealing with contemporary art face on a daily basis. In Still Life: Ecologies of the Modern Imagination at the Art Museum (University of Chicago Press, 2020), Fernando Domínguez Rubio delves into one of the most important museums of the world, the Museum of Modern Art (MoMA) in New York, to explore the day-to-day dilemmas that museum workers face when the immortal artworks that we see in the exhibition room reveal themselves to be slowly unfolding disasters. Still Life offers a fascinating and detailed ethnographic account of what it takes to prevent these disasters from happening. Going behind the scenes at MoMA, Domínguez Rubio provides a rare view of the vast technological apparatus—from climatic infrastructures and storage facilities, to conservation labs and machine rooms—and teams of workers—from conservators and engineers to guards and couriers—who fight to hold artworks still. As MoMA reopens after a massive expansion and rearranging of its space and collections, Still Life not only offers a much-needed account of the spaces, actors, and forms of labor traditionally left out of the main narratives of art, but it also offers a timely meditation on how far we, as a society, are willing to go to keep the things we value from disappearing into oblivion. This interview is part of an NBN special series on “Mobilities and Methods.” Fernando Domínguez Rubio is an Associate Professor at the Department of Communication at the University of California-San Diego. Alize Arıcan is a PhD candidate in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on urban renewal, futurity, care, and migration in Istanbul, Turkey. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Albeit inspired by a progressive vision of a working environment without walls or hierarchies, the open plan office has come to be associated with some of the most dehumanizing and alienating aspects of the modern office. Jennifer Kaufman-Buhler's fascinating new book Open Plan: A Design History of the American Office (Bloomsbury, 2021) examines the history of the open plan office concept from its early development in the late 1960s and 1970s, through its present-day dominance in working spaces throughout the world, examining the design, meaning, and use of the open plan from the perspective of architects and designers, organizations, and workers. Using the progressive vision of the early promoters of the open plan as a framework for analysis, and drawing on original archival research and contemporary discussions of the open plan, this book explores the various goals embedded in the open plan and examines how the design of the open plan evolved through the late 20th century in response to various social, cultural, organizational, technological and economic changes. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Albeit inspired by a progressive vision of a working environment without walls or hierarchies, the open plan office has come to be associated with some of the most dehumanizing and alienating aspects of the modern office. Jennifer Kaufman-Buhler's fascinating new book Open Plan: A Design History of the American Office (Bloomsbury, 2021) examines the history of the open plan office concept from its early development in the late 1960s and 1970s, through its present-day dominance in working spaces throughout the world, examining the design, meaning, and use of the open plan from the perspective of architects and designers, organizations, and workers. Using the progressive vision of the early promoters of the open plan as a framework for analysis, and drawing on original archival research and contemporary discussions of the open plan, this book explores the various goals embedded in the open plan and examines how the design of the open plan evolved through the late 20th century in response to various social, cultural, organizational, technological and economic changes. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Albeit inspired by a progressive vision of a working environment without walls or hierarchies, the open plan office has come to be associated with some of the most dehumanizing and alienating aspects of the modern office. Jennifer Kaufman-Buhler's fascinating new book Open Plan: A Design History of the American Office (Bloomsbury, 2021) examines the history of the open plan office concept from its early development in the late 1960s and 1970s, through its present-day dominance in working spaces throughout the world, examining the design, meaning, and use of the open plan from the perspective of architects and designers, organizations, and workers. Using the progressive vision of the early promoters of the open plan as a framework for analysis, and drawing on original archival research and contemporary discussions of the open plan, this book explores the various goals embedded in the open plan and examines how the design of the open plan evolved through the late 20th century in response to various social, cultural, organizational, technological and economic changes. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Albeit inspired by a progressive vision of a working environment without walls or hierarchies, the open plan office has come to be associated with some of the most dehumanizing and alienating aspects of the modern office. Jennifer Kaufman-Buhler's fascinating new book Open Plan: A Design History of the American Office (Bloomsbury, 2021) examines the history of the open plan office concept from its early development in the late 1960s and 1970s, through its present-day dominance in working spaces throughout the world, examining the design, meaning, and use of the open plan from the perspective of architects and designers, organizations, and workers. Using the progressive vision of the early promoters of the open plan as a framework for analysis, and drawing on original archival research and contemporary discussions of the open plan, this book explores the various goals embedded in the open plan and examines how the design of the open plan evolved through the late 20th century in response to various social, cultural, organizational, technological and economic changes. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices

Albeit inspired by a progressive vision of a working environment without walls or hierarchies, the open plan office has come to be associated with some of the most dehumanizing and alienating aspects of the modern office. Jennifer Kaufman-Buhler's fascinating new book Open Plan: A Design History of the American Office (Bloomsbury, 2021) examines the history of the open plan office concept from its early development in the late 1960s and 1970s, through its present-day dominance in working spaces throughout the world, examining the design, meaning, and use of the open plan from the perspective of architects and designers, organizations, and workers. Using the progressive vision of the early promoters of the open plan as a framework for analysis, and drawing on original archival research and contemporary discussions of the open plan, this book explores the various goals embedded in the open plan and examines how the design of the open plan evolved through the late 20th century in response to various social, cultural, organizational, technological and economic changes. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices

Albeit inspired by a progressive vision of a working environment without walls or hierarchies, the open plan office has come to be associated with some of the most dehumanizing and alienating aspects of the modern office. Jennifer Kaufman-Buhler's fascinating new book Open Plan: A Design History of the American Office (Bloomsbury, 2021) examines the history of the open plan office concept from its early development in the late 1960s and 1970s, through its present-day dominance in working spaces throughout the world, examining the design, meaning, and use of the open plan from the perspective of architects and designers, organizations, and workers. Using the progressive vision of the early promoters of the open plan as a framework for analysis, and drawing on original archival research and contemporary discussions of the open plan, this book explores the various goals embedded in the open plan and examines how the design of the open plan evolved through the late 20th century in response to various social, cultural, organizational, technological and economic changes. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

What do the technical practices, procedures, and systems that have shaped institutions of higher learning in the United States, from the Ivy League and women's colleges to historically black colleges and land-grant universities, teach us about the production and distribution of knowledge? Addressing media theory, architectural history, and the history of academia, Knowledge Worlds: Media, Materiality, and the Making of the Modern University (Columbia UP, 2021) reconceives the university as a media complex comprising a network of infrastructures and operations through which knowledge is made, conveyed, and withheld. Reinhold Martin argues that the material infrastructures of the modern university—the architecture of academic buildings, the configuration of seminar tables, the organization of campus plans—reveal the ways in which knowledge is created and reproduced in different kinds of institutions. He reconstructs changes in aesthetic strategies, pedagogical techniques, and political economy to show how the boundaries that govern higher education have shifted over the past two centuries. From colleges chartered as rights-bearing corporations to research universities conceived as knowledge factories, educating some has always depended upon excluding others. Knowledge Worlds shows how the division of intellectual labor was redrawn as new students entered, expertise circulated, science repurposed old myths, and humanists cultivated new forms of social and intellectual capital. Combining histories of architecture, technology, knowledge, and institutions into a critical media history, Martin traces the uneven movement in the academy from liberal to neoliberal reason. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

What do the technical practices, procedures, and systems that have shaped institutions of higher learning in the United States, from the Ivy League and women's colleges to historically black colleges and land-grant universities, teach us about the production and distribution of knowledge? Addressing media theory, architectural history, and the history of academia, Knowledge Worlds: Media, Materiality, and the Making of the Modern University (Columbia UP, 2021) reconceives the university as a media complex comprising a network of infrastructures and operations through which knowledge is made, conveyed, and withheld. Reinhold Martin argues that the material infrastructures of the modern university—the architecture of academic buildings, the configuration of seminar tables, the organization of campus plans—reveal the ways in which knowledge is created and reproduced in different kinds of institutions. He reconstructs changes in aesthetic strategies, pedagogical techniques, and political economy to show how the boundaries that govern higher education have shifted over the past two centuries. From colleges chartered as rights-bearing corporations to research universities conceived as knowledge factories, educating some has always depended upon excluding others. Knowledge Worlds shows how the division of intellectual labor was redrawn as new students entered, expertise circulated, science repurposed old myths, and humanists cultivated new forms of social and intellectual capital. Combining histories of architecture, technology, knowledge, and institutions into a critical media history, Martin traces the uneven movement in the academy from liberal to neoliberal reason. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

What do the technical practices, procedures, and systems that have shaped institutions of higher learning in the United States, from the Ivy League and women's colleges to historically black colleges and land-grant universities, teach us about the production and distribution of knowledge? Addressing media theory, architectural history, and the history of academia, Knowledge Worlds: Media, Materiality, and the Making of the Modern University (Columbia UP, 2021) reconceives the university as a media complex comprising a network of infrastructures and operations through which knowledge is made, conveyed, and withheld. Reinhold Martin argues that the material infrastructures of the modern university—the architecture of academic buildings, the configuration of seminar tables, the organization of campus plans—reveal the ways in which knowledge is created and reproduced in different kinds of institutions. He reconstructs changes in aesthetic strategies, pedagogical techniques, and political economy to show how the boundaries that govern higher education have shifted over the past two centuries. From colleges chartered as rights-bearing corporations to research universities conceived as knowledge factories, educating some has always depended upon excluding others. Knowledge Worlds shows how the division of intellectual labor was redrawn as new students entered, expertise circulated, science repurposed old myths, and humanists cultivated new forms of social and intellectual capital. Combining histories of architecture, technology, knowledge, and institutions into a critical media history, Martin traces the uneven movement in the academy from liberal to neoliberal reason. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/education

What do the technical practices, procedures, and systems that have shaped institutions of higher learning in the United States, from the Ivy League and women's colleges to historically black colleges and land-grant universities, teach us about the production and distribution of knowledge? Addressing media theory, architectural history, and the history of academia, Knowledge Worlds: Media, Materiality, and the Making of the Modern University (Columbia UP, 2021) reconceives the university as a media complex comprising a network of infrastructures and operations through which knowledge is made, conveyed, and withheld. Reinhold Martin argues that the material infrastructures of the modern university—the architecture of academic buildings, the configuration of seminar tables, the organization of campus plans—reveal the ways in which knowledge is created and reproduced in different kinds of institutions. He reconstructs changes in aesthetic strategies, pedagogical techniques, and political economy to show how the boundaries that govern higher education have shifted over the past two centuries. From colleges chartered as rights-bearing corporations to research universities conceived as knowledge factories, educating some has always depended upon excluding others. Knowledge Worlds shows how the division of intellectual labor was redrawn as new students entered, expertise circulated, science repurposed old myths, and humanists cultivated new forms of social and intellectual capital. Combining histories of architecture, technology, knowledge, and institutions into a critical media history, Martin traces the uneven movement in the academy from liberal to neoliberal reason. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

What do the technical practices, procedures, and systems that have shaped institutions of higher learning in the United States, from the Ivy League and women's colleges to historically black colleges and land-grant universities, teach us about the production and distribution of knowledge? Addressing media theory, architectural history, and the history of academia, Knowledge Worlds: Media, Materiality, and the Making of the Modern University (Columbia UP, 2021) reconceives the university as a media complex comprising a network of infrastructures and operations through which knowledge is made, conveyed, and withheld. Reinhold Martin argues that the material infrastructures of the modern university—the architecture of academic buildings, the configuration of seminar tables, the organization of campus plans—reveal the ways in which knowledge is created and reproduced in different kinds of institutions. He reconstructs changes in aesthetic strategies, pedagogical techniques, and political economy to show how the boundaries that govern higher education have shifted over the past two centuries. From colleges chartered as rights-bearing corporations to research universities conceived as knowledge factories, educating some has always depended upon excluding others. Knowledge Worlds shows how the division of intellectual labor was redrawn as new students entered, expertise circulated, science repurposed old myths, and humanists cultivated new forms of social and intellectual capital. Combining histories of architecture, technology, knowledge, and institutions into a critical media history, Martin traces the uneven movement in the academy from liberal to neoliberal reason. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

What do the technical practices, procedures, and systems that have shaped institutions of higher learning in the United States, from the Ivy League and women's colleges to historically black colleges and land-grant universities, teach us about the production and distribution of knowledge? Addressing media theory, architectural history, and the history of academia, Knowledge Worlds: Media, Materiality, and the Making of the Modern University (Columbia UP, 2021) reconceives the university as a media complex comprising a network of infrastructures and operations through which knowledge is made, conveyed, and withheld. Reinhold Martin argues that the material infrastructures of the modern university—the architecture of academic buildings, the configuration of seminar tables, the organization of campus plans—reveal the ways in which knowledge is created and reproduced in different kinds of institutions. He reconstructs changes in aesthetic strategies, pedagogical techniques, and political economy to show how the boundaries that govern higher education have shifted over the past two centuries. From colleges chartered as rights-bearing corporations to research universities conceived as knowledge factories, educating some has always depended upon excluding others. Knowledge Worlds shows how the division of intellectual labor was redrawn as new students entered, expertise circulated, science repurposed old myths, and humanists cultivated new forms of social and intellectual capital. Combining histories of architecture, technology, knowledge, and institutions into a critical media history, Martin traces the uneven movement in the academy from liberal to neoliberal reason. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices

What do the technical practices, procedures, and systems that have shaped institutions of higher learning in the United States, from the Ivy League and women's colleges to historically black colleges and land-grant universities, teach us about the production and distribution of knowledge? Addressing media theory, architectural history, and the history of academia, Knowledge Worlds: Media, Materiality, and the Making of the Modern University (Columbia UP, 2021) reconceives the university as a media complex comprising a network of infrastructures and operations through which knowledge is made, conveyed, and withheld. Reinhold Martin argues that the material infrastructures of the modern university—the architecture of academic buildings, the configuration of seminar tables, the organization of campus plans—reveal the ways in which knowledge is created and reproduced in different kinds of institutions. He reconstructs changes in aesthetic strategies, pedagogical techniques, and political economy to show how the boundaries that govern higher education have shifted over the past two centuries. From colleges chartered as rights-bearing corporations to research universities conceived as knowledge factories, educating some has always depended upon excluding others. Knowledge Worlds shows how the division of intellectual labor was redrawn as new students entered, expertise circulated, science repurposed old myths, and humanists cultivated new forms of social and intellectual capital. Combining histories of architecture, technology, knowledge, and institutions into a critical media history, Martin traces the uneven movement in the academy from liberal to neoliberal reason. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century.

What do the technical practices, procedures, and systems that have shaped institutions of higher learning in the United States, from the Ivy League and women's colleges to historically black colleges and land-grant universities, teach us about the production and distribution of knowledge? Addressing media theory, architectural history, and the history of academia, Knowledge Worlds: Media, Materiality, and the Making of the Modern University (Columbia UP, 2021) reconceives the university as a media complex comprising a network of infrastructures and operations through which knowledge is made, conveyed, and withheld. Reinhold Martin argues that the material infrastructures of the modern university—the architecture of academic buildings, the configuration of seminar tables, the organization of campus plans—reveal the ways in which knowledge is created and reproduced in different kinds of institutions. He reconstructs changes in aesthetic strategies, pedagogical techniques, and political economy to show how the boundaries that govern higher education have shifted over the past two centuries. From colleges chartered as rights-bearing corporations to research universities conceived as knowledge factories, educating some has always depended upon excluding others. Knowledge Worlds shows how the division of intellectual labor was redrawn as new students entered, expertise circulated, science repurposed old myths, and humanists cultivated new forms of social and intellectual capital. Combining histories of architecture, technology, knowledge, and institutions into a critical media history, Martin traces the uneven movement in the academy from liberal to neoliberal reason. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices

A bold reorientation of art history that bridges the divide between fine art and material culture through an examination of objects and their uses art history is often viewed through cultural or national lenses that define some works as fine art while relegating others to the category of craft.  Global Objects: Toward a Connected Art History (Princeton UP, 2022) points the way to an interconnected history of art, examining a broad array of functional aesthetic objects that transcend geographic and temporal boundaries and challenging preconceived ideas about what is and is not art. Avoiding traditional binaries such as East versus West and fine art versus decorative art, Edward Cooke looks at the production, consumption, and circulation of objects made from clay, fiber, wood, and nonferrous base metals. Carefully considering the materials and process of making, and connecting process to product and people, he demonstrates how objects act on those who look at, use, and acquire them. He reveals how objects retain aspects of their local fabrication while absorbing additional meanings in subtle and unexpected ways as they move through space and time. In emphasizing multiple centers of art production amid constantly changing contexts, Cooke moves beyond regional histories driven by geography, nation-state, time period, or medium. Beautifully illustrated, Global Objects traces the social lives of objects from creation to purchase, and from use to experienced meaning, charting exciting new directions in art history. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A bold reorientation of art history that bridges the divide between fine art and material culture through an examination of objects and their uses art history is often viewed through cultural or national lenses that define some works as fine art while relegating others to the category of craft.  Global Objects: Toward a Connected Art History (Princeton UP, 2022) points the way to an interconnected history of art, examining a broad array of functional aesthetic objects that transcend geographic and temporal boundaries and challenging preconceived ideas about what is and is not art. Avoiding traditional binaries such as East versus West and fine art versus decorative art, Edward Cooke looks at the production, consumption, and circulation of objects made from clay, fiber, wood, and nonferrous base metals. Carefully considering the materials and process of making, and connecting process to product and people, he demonstrates how objects act on those who look at, use, and acquire them. He reveals how objects retain aspects of their local fabrication while absorbing additional meanings in subtle and unexpected ways as they move through space and time. In emphasizing multiple centers of art production amid constantly changing contexts, Cooke moves beyond regional histories driven by geography, nation-state, time period, or medium. Beautifully illustrated, Global Objects traces the social lives of objects from creation to purchase, and from use to experienced meaning, charting exciting new directions in art history. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

A bold reorientation of art history that bridges the divide between fine art and material culture through an examination of objects and their uses art history is often viewed through cultural or national lenses that define some works as fine art while relegating others to the category of craft.  Global Objects: Toward a Connected Art History (Princeton UP, 2022) points the way to an interconnected history of art, examining a broad array of functional aesthetic objects that transcend geographic and temporal boundaries and challenging preconceived ideas about what is and is not art. Avoiding traditional binaries such as East versus West and fine art versus decorative art, Edward Cooke looks at the production, consumption, and circulation of objects made from clay, fiber, wood, and nonferrous base metals. Carefully considering the materials and process of making, and connecting process to product and people, he demonstrates how objects act on those who look at, use, and acquire them. He reveals how objects retain aspects of their local fabrication while absorbing additional meanings in subtle and unexpected ways as they move through space and time. In emphasizing multiple centers of art production amid constantly changing contexts, Cooke moves beyond regional histories driven by geography, nation-state, time period, or medium. Beautifully illustrated, Global Objects traces the social lives of objects from creation to purchase, and from use to experienced meaning, charting exciting new directions in art history. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

A bold reorientation of art history that bridges the divide between fine art and material culture through an examination of objects and their uses art history is often viewed through cultural or national lenses that define some works as fine art while relegating others to the category of craft.  Global Objects: Toward a Connected Art History (Princeton UP, 2022) points the way to an interconnected history of art, examining a broad array of functional aesthetic objects that transcend geographic and temporal boundaries and challenging preconceived ideas about what is and is not art. Avoiding traditional binaries such as East versus West and fine art versus decorative art, Edward Cooke looks at the production, consumption, and circulation of objects made from clay, fiber, wood, and nonferrous base metals. Carefully considering the materials and process of making, and connecting process to product and people, he demonstrates how objects act on those who look at, use, and acquire them. He reveals how objects retain aspects of their local fabrication while absorbing additional meanings in subtle and unexpected ways as they move through space and time. In emphasizing multiple centers of art production amid constantly changing contexts, Cooke moves beyond regional histories driven by geography, nation-state, time period, or medium. Beautifully illustrated, Global Objects traces the social lives of objects from creation to purchase, and from use to experienced meaning, charting exciting new directions in art history. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century.

In the world of interior design, mid-century Modernism has left an indelible mark still seen and felt today in countless open-concept floor plans and spare, geometric furnishings. Yet despite our continued fascination, we rarely consider how this iconic design sensibility was marketed to the diverse audiences of its era. Examining advice manuals, advertisements in Life and Ebony, furniture, art, and more, Mid-Century Modernism and the American Body: Race, Gender, and the Politics of Power in Design (Princeton UP, 2021) offers a powerful new look at how codes of race, gender, and identity influenced—and were influenced by—Modern design and shaped its presentation to consumers. Taking us to the booming suburban landscape of postwar America, Kristina Wilson demonstrates that the ideals defined by popular Modernist furnishings were far from neutral or race-blind. Advertisers offered this aesthetic to White audiences as a solution for keeping dirt and outsiders at bay, an approach that reinforced middle-class White privilege. By contrast, media arenas such as Ebony magazine presented African American readers with an image of Modernism as a style of comfort, security, and social confidence. Wilson shows how etiquette and home decorating manuals served to control women by associating them with the domestic sphere, and she considers how furniture by George Nelson and Charles and Ray Eames, as well as smaller-scale decorative accessories, empowered some users, even while constraining others. A striking counter-narrative to conventional histories of design, Mid-Century Modernism and the American Body unveils fresh perspectives on one of the most distinctive movements in American visual culture. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century.

In the world of interior design, mid-century Modernism has left an indelible mark still seen and felt today in countless open-concept floor plans and spare, geometric furnishings. Yet despite our continued fascination, we rarely consider how this iconic design sensibility was marketed to the diverse audiences of its era. Examining advice manuals, advertisements in Life and Ebony, furniture, art, and more, Mid-Century Modernism and the American Body: Race, Gender, and the Politics of Power in Design (Princeton UP, 2021) offers a powerful new look at how codes of race, gender, and identity influenced—and were influenced by—Modern design and shaped its presentation to consumers. Taking us to the booming suburban landscape of postwar America, Kristina Wilson demonstrates that the ideals defined by popular Modernist furnishings were far from neutral or race-blind. Advertisers offered this aesthetic to White audiences as a solution for keeping dirt and outsiders at bay, an approach that reinforced middle-class White privilege. By contrast, media arenas such as Ebony magazine presented African American readers with an image of Modernism as a style of comfort, security, and social confidence. Wilson shows how etiquette and home decorating manuals served to control women by associating them with the domestic sphere, and she considers how furniture by George Nelson and Charles and Ray Eames, as well as smaller-scale decorative accessories, empowered some users, even while constraining others. A striking counter-narrative to conventional histories of design, Mid-Century Modernism and the American Body unveils fresh perspectives on one of the most distinctive movements in American visual culture. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the world of interior design, mid-century Modernism has left an indelible mark still seen and felt today in countless open-concept floor plans and spare, geometric furnishings. Yet despite our continued fascination, we rarely consider how this iconic design sensibility was marketed to the diverse audiences of its era. Examining advice manuals, advertisements in Life and Ebony, furniture, art, and more, Mid-Century Modernism and the American Body: Race, Gender, and the Politics of Power in Design (Princeton UP, 2021) offers a powerful new look at how codes of race, gender, and identity influenced—and were influenced by—Modern design and shaped its presentation to consumers. Taking us to the booming suburban landscape of postwar America, Kristina Wilson demonstrates that the ideals defined by popular Modernist furnishings were far from neutral or race-blind. Advertisers offered this aesthetic to White audiences as a solution for keeping dirt and outsiders at bay, an approach that reinforced middle-class White privilege. By contrast, media arenas such as Ebony magazine presented African American readers with an image of Modernism as a style of comfort, security, and social confidence. Wilson shows how etiquette and home decorating manuals served to control women by associating them with the domestic sphere, and she considers how furniture by George Nelson and Charles and Ray Eames, as well as smaller-scale decorative accessories, empowered some users, even while constraining others. A striking counter-narrative to conventional histories of design, Mid-Century Modernism and the American Body unveils fresh perspectives on one of the most distinctive movements in American visual culture. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

In the world of interior design, mid-century Modernism has left an indelible mark still seen and felt today in countless open-concept floor plans and spare, geometric furnishings. Yet despite our continued fascination, we rarely consider how this iconic design sensibility was marketed to the diverse audiences of its era. Examining advice manuals, advertisements in Life and Ebony, furniture, art, and more, Mid-Century Modernism and the American Body: Race, Gender, and the Politics of Power in Design (Princeton UP, 2021) offers a powerful new look at how codes of race, gender, and identity influenced—and were influenced by—Modern design and shaped its presentation to consumers. Taking us to the booming suburban landscape of postwar America, Kristina Wilson demonstrates that the ideals defined by popular Modernist furnishings were far from neutral or race-blind. Advertisers offered this aesthetic to White audiences as a solution for keeping dirt and outsiders at bay, an approach that reinforced middle-class White privilege. By contrast, media arenas such as Ebony magazine presented African American readers with an image of Modernism as a style of comfort, security, and social confidence. Wilson shows how etiquette and home decorating manuals served to control women by associating them with the domestic sphere, and she considers how furniture by George Nelson and Charles and Ray Eames, as well as smaller-scale decorative accessories, empowered some users, even while constraining others. A striking counter-narrative to conventional histories of design, Mid-Century Modernism and the American Body unveils fresh perspectives on one of the most distinctive movements in American visual culture. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In the world of interior design, mid-century Modernism has left an indelible mark still seen and felt today in countless open-concept floor plans and spare, geometric furnishings. Yet despite our continued fascination, we rarely consider how this iconic design sensibility was marketed to the diverse audiences of its era. Examining advice manuals, advertisements in Life and Ebony, furniture, art, and more, Mid-Century Modernism and the American Body: Race, Gender, and the Politics of Power in Design (Princeton UP, 2021) offers a powerful new look at how codes of race, gender, and identity influenced—and were influenced by—Modern design and shaped its presentation to consumers. Taking us to the booming suburban landscape of postwar America, Kristina Wilson demonstrates that the ideals defined by popular Modernist furnishings were far from neutral or race-blind. Advertisers offered this aesthetic to White audiences as a solution for keeping dirt and outsiders at bay, an approach that reinforced middle-class White privilege. By contrast, media arenas such as Ebony magazine presented African American readers with an image of Modernism as a style of comfort, security, and social confidence. Wilson shows how etiquette and home decorating manuals served to control women by associating them with the domestic sphere, and she considers how furniture by George Nelson and Charles and Ray Eames, as well as smaller-scale decorative accessories, empowered some users, even while constraining others. A striking counter-narrative to conventional histories of design, Mid-Century Modernism and the American Body unveils fresh perspectives on one of the most distinctive movements in American visual culture. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

In the world of interior design, mid-century Modernism has left an indelible mark still seen and felt today in countless open-concept floor plans and spare, geometric furnishings. Yet despite our continued fascination, we rarely consider how this iconic design sensibility was marketed to the diverse audiences of its era. Examining advice manuals, advertisements in Life and Ebony, furniture, art, and more, Mid-Century Modernism and the American Body: Race, Gender, and the Politics of Power in Design (Princeton UP, 2021) offers a powerful new look at how codes of race, gender, and identity influenced—and were influenced by—Modern design and shaped its presentation to consumers. Taking us to the booming suburban landscape of postwar America, Kristina Wilson demonstrates that the ideals defined by popular Modernist furnishings were far from neutral or race-blind. Advertisers offered this aesthetic to White audiences as a solution for keeping dirt and outsiders at bay, an approach that reinforced middle-class White privilege. By contrast, media arenas such as Ebony magazine presented African American readers with an image of Modernism as a style of comfort, security, and social confidence. Wilson shows how etiquette and home decorating manuals served to control women by associating them with the domestic sphere, and she considers how furniture by George Nelson and Charles and Ray Eames, as well as smaller-scale decorative accessories, empowered some users, even while constraining others. A striking counter-narrative to conventional histories of design, Mid-Century Modernism and the American Body unveils fresh perspectives on one of the most distinctive movements in American visual culture. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In the world of interior design, mid-century Modernism has left an indelible mark still seen and felt today in countless open-concept floor plans and spare, geometric furnishings. Yet despite our continued fascination, we rarely consider how this iconic design sensibility was marketed to the diverse audiences of its era. Examining advice manuals, advertisements in Life and Ebony, furniture, art, and more, Mid-Century Modernism and the American Body: Race, Gender, and the Politics of Power in Design (Princeton UP, 2021) offers a powerful new look at how codes of race, gender, and identity influenced—and were influenced by—Modern design and shaped its presentation to consumers. Taking us to the booming suburban landscape of postwar America, Kristina Wilson demonstrates that the ideals defined by popular Modernist furnishings were far from neutral or race-blind. Advertisers offered this aesthetic to White audiences as a solution for keeping dirt and outsiders at bay, an approach that reinforced middle-class White privilege. By contrast, media arenas such as Ebony magazine presented African American readers with an image of Modernism as a style of comfort, security, and social confidence. Wilson shows how etiquette and home decorating manuals served to control women by associating them with the domestic sphere, and she considers how furniture by George Nelson and Charles and Ray Eames, as well as smaller-scale decorative accessories, empowered some users, even while constraining others. A striking counter-narrative to conventional histories of design, Mid-Century Modernism and the American Body unveils fresh perspectives on one of the most distinctive movements in American visual culture. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In the world of interior design, mid-century Modernism has left an indelible mark still seen and felt today in countless open-concept floor plans and spare, geometric furnishings. Yet despite our continued fascination, we rarely consider how this iconic design sensibility was marketed to the diverse audiences of its era. Examining advice manuals, advertisements in Life and Ebony, furniture, art, and more, Mid-Century Modernism and the American Body: Race, Gender, and the Politics of Power in Design (Princeton UP, 2021) offers a powerful new look at how codes of race, gender, and identity influenced—and were influenced by—Modern design and shaped its presentation to consumers. Taking us to the booming suburban landscape of postwar America, Kristina Wilson demonstrates that the ideals defined by popular Modernist furnishings were far from neutral or race-blind. Advertisers offered this aesthetic to White audiences as a solution for keeping dirt and outsiders at bay, an approach that reinforced middle-class White privilege. By contrast, media arenas such as Ebony magazine presented African American readers with an image of Modernism as a style of comfort, security, and social confidence. Wilson shows how etiquette and home decorating manuals served to control women by associating them with the domestic sphere, and she considers how furniture by George Nelson and Charles and Ray Eames, as well as smaller-scale decorative accessories, empowered some users, even while constraining others. A striking counter-narrative to conventional histories of design, Mid-Century Modernism and the American Body unveils fresh perspectives on one of the most distinctive movements in American visual culture. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In the world of interior design, mid-century Modernism has left an indelible mark still seen and felt today in countless open-concept floor plans and spare, geometric furnishings. Yet despite our continued fascination, we rarely consider how this iconic design sensibility was marketed to the diverse audiences of its era. Examining advice manuals, advertisements in Life and Ebony, furniture, art, and more, Mid-Century Modernism and the American Body: Race, Gender, and the Politics of Power in Design (Princeton UP, 2021) offers a powerful new look at how codes of race, gender, and identity influenced—and were influenced by—Modern design and shaped its presentation to consumers. Taking us to the booming suburban landscape of postwar America, Kristina Wilson demonstrates that the ideals defined by popular Modernist furnishings were far from neutral or race-blind. Advertisers offered this aesthetic to White audiences as a solution for keeping dirt and outsiders at bay, an approach that reinforced middle-class White privilege. By contrast, media arenas such as Ebony magazine presented African American readers with an image of Modernism as a style of comfort, security, and social confidence. Wilson shows how etiquette and home decorating manuals served to control women by associating them with the domestic sphere, and she considers how furniture by George Nelson and Charles and Ray Eames, as well as smaller-scale decorative accessories, empowered some users, even while constraining others. A striking counter-narrative to conventional histories of design, Mid-Century Modernism and the American Body unveils fresh perspectives on one of the most distinctive movements in American visual culture. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In the world of interior design, mid-century Modernism has left an indelible mark still seen and felt today in countless open-concept floor plans and spare, geometric furnishings. Yet despite our continued fascination, we rarely consider how this iconic design sensibility was marketed to the diverse audiences of its era. Examining advice manuals, advertisements in Life and Ebony, furniture, art, and more, Mid-Century Modernism and the American Body: Race, Gender, and the Politics of Power in Design (Princeton UP, 2021) offers a powerful new look at how codes of race, gender, and identity influenced—and were influenced by—Modern design and shaped its presentation to consumers. Taking us to the booming suburban landscape of postwar America, Kristina Wilson demonstrates that the ideals defined by popular Modernist furnishings were far from neutral or race-blind. Advertisers offered this aesthetic to White audiences as a solution for keeping dirt and outsiders at bay, an approach that reinforced middle-class White privilege. By contrast, media arenas such as Ebony magazine presented African American readers with an image of Modernism as a style of comfort, security, and social confidence. Wilson shows how etiquette and home decorating manuals served to control women by associating them with the domestic sphere, and she considers how furniture by George Nelson and Charles and Ray Eames, as well as smaller-scale decorative accessories, empowered some users, even while constraining others. A striking counter-narrative to conventional histories of design, Mid-Century Modernism and the American Body unveils fresh perspectives on one of the most distinctive movements in American visual culture. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

Albeit inspired by a progressive vision of a working environment without walls or hierarchies, the open plan office has come to be associated with some of the most dehumanizing and alienating aspects of the modern office. Jennifer Kaufman-Buhler's fascinating new book Open Plan: A Design History of the American Office (Bloomsbury, 2021) examines the history of the open plan office concept from its early development in the late 1960s and 1970s, through its present-day dominance in working spaces throughout the world, examining the design, meaning, and use of the open plan from the perspective of architects and designers, organizations, and workers. Using the progressive vision of the early promoters of the open plan as a framework for analysis, and drawing on original archival research and contemporary discussions of the open plan, this book explores the various goals embedded in the open plan and examines how the design of the open plan evolved through the late 20th century in response to various social, cultural, organizational, technological and economic changes. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices

Albeit inspired by a progressive vision of a working environment without walls or hierarchies, the open plan office has come to be associated with some of the most dehumanizing and alienating aspects of the modern office. Jennifer Kaufman-Buhler's fascinating new book Open Plan: A Design History of the American Office (Bloomsbury, 2021) examines the history of the open plan office concept from its early development in the late 1960s and 1970s, through its present-day dominance in working spaces throughout the world, examining the design, meaning, and use of the open plan from the perspective of architects and designers, organizations, and workers. Using the progressive vision of the early promoters of the open plan as a framework for analysis, and drawing on original archival research and contemporary discussions of the open plan, this book explores the various goals embedded in the open plan and examines how the design of the open plan evolved through the late 20th century in response to various social, cultural, organizational, technological and economic changes. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Albeit inspired by a progressive vision of a working environment without walls or hierarchies, the open plan office has come to be associated with some of the most dehumanizing and alienating aspects of the modern office. Jennifer Kaufman-Buhler's fascinating new book Open Plan: A Design History of the American Office (Bloomsbury, 2021) examines the history of the open plan office concept from its early development in the late 1960s and 1970s, through its present-day dominance in working spaces throughout the world, examining the design, meaning, and use of the open plan from the perspective of architects and designers, organizations, and workers. Using the progressive vision of the early promoters of the open plan as a framework for analysis, and drawing on original archival research and contemporary discussions of the open plan, this book explores the various goals embedded in the open plan and examines how the design of the open plan evolved through the late 20th century in response to various social, cultural, organizational, technological and economic changes. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Albeit inspired by a progressive vision of a working environment without walls or hierarchies, the open plan office has come to be associated with some of the most dehumanizing and alienating aspects of the modern office. Jennifer Kaufman-Buhler's fascinating new book Open Plan: A Design History of the American Office (Bloomsbury, 2021) examines the history of the open plan office concept from its early development in the late 1960s and 1970s, through its present-day dominance in working spaces throughout the world, examining the design, meaning, and use of the open plan from the perspective of architects and designers, organizations, and workers. Using the progressive vision of the early promoters of the open plan as a framework for analysis, and drawing on original archival research and contemporary discussions of the open plan, this book explores the various goals embedded in the open plan and examines how the design of the open plan evolved through the late 20th century in response to various social, cultural, organizational, technological and economic changes. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Albeit inspired by a progressive vision of a working environment without walls or hierarchies, the open plan office has come to be associated with some of the most dehumanizing and alienating aspects of the modern office. Jennifer Kaufman-Buhler's fascinating new book Open Plan: A Design History of the American Office (Bloomsbury, 2021) examines the history of the open plan office concept from its early development in the late 1960s and 1970s, through its present-day dominance in working spaces throughout the world, examining the design, meaning, and use of the open plan from the perspective of architects and designers, organizations, and workers. Using the progressive vision of the early promoters of the open plan as a framework for analysis, and drawing on original archival research and contemporary discussions of the open plan, this book explores the various goals embedded in the open plan and examines how the design of the open plan evolved through the late 20th century in response to various social, cultural, organizational, technological and economic changes. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Albeit inspired by a progressive vision of a working environment without walls or hierarchies, the open plan office has come to be associated with some of the most dehumanizing and alienating aspects of the modern office. Jennifer Kaufman-Buhler's fascinating new book Open Plan: A Design History of the American Office (Bloomsbury, 2021) examines the history of the open plan office concept from its early development in the late 1960s and 1970s, through its present-day dominance in working spaces throughout the world, examining the design, meaning, and use of the open plan from the perspective of architects and designers, organizations, and workers. Using the progressive vision of the early promoters of the open plan as a framework for analysis, and drawing on original archival research and contemporary discussions of the open plan, this book explores the various goals embedded in the open plan and examines how the design of the open plan evolved through the late 20th century in response to various social, cultural, organizational, technological and economic changes. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

Albeit inspired by a progressive vision of a working environment without walls or hierarchies, the open plan office has come to be associated with some of the most dehumanizing and alienating aspects of the modern office. Jennifer Kaufman-Buhler's fascinating new book Open Plan: A Design History of the American Office (Bloomsbury, 2021) examines the history of the open plan office concept from its early development in the late 1960s and 1970s, through its present-day dominance in working spaces throughout the world, examining the design, meaning, and use of the open plan from the perspective of architects and designers, organizations, and workers. Using the progressive vision of the early promoters of the open plan as a framework for analysis, and drawing on original archival research and contemporary discussions of the open plan, this book explores the various goals embedded in the open plan and examines how the design of the open plan evolved through the late 20th century in response to various social, cultural, organizational, technological and economic changes. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

The history of how a deceptively ordinary piece of office furniture transformed our relationship with information The ubiquity of the filing cabinet in the twentieth-century office space, along with its noticeable absence of style, has obscured its transformative role in the histories of both information technology and work.  In The Filing Cabinet: A Vertical History of Information (U Minnesota Press, 2021), Craig Robertson explores how the filing cabinet profoundly shaped the way that information and data have been sorted, stored, retrieved, and used. Invented in the 1890s, the filing cabinet was a result of the nineteenth-century faith in efficiency. Previously, paper records were arranged haphazardly: bound into books, stacked in piles, curled into slots, or impaled on spindles. The filing cabinet organized loose papers in tabbed folders that could be sorted alphanumerically, radically changing how people accessed, circulated, and structured information. Robertson's unconventional history of the origins of the information age posits the filing cabinet as an information storage container, an "automatic memory" machine that contributed to a new type of information labor privileging manual dexterity over mental deliberation. Gendered assumptions about women's nimble fingers helped to naturalize the changes that brought women into the workforce as low-level clerical workers. The filing cabinet emerges from this unexpected account as a sophisticated piece of information technology and a site of gendered labor that with its folders, files, and tabs continues to shape how we interact with information and data in today's digital world. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices

The history of how a deceptively ordinary piece of office furniture transformed our relationship with information The ubiquity of the filing cabinet in the twentieth-century office space, along with its noticeable absence of style, has obscured its transformative role in the histories of both information technology and work.  In The Filing Cabinet: A Vertical History of Information (U Minnesota Press, 2021), Craig Robertson explores how the filing cabinet profoundly shaped the way that information and data have been sorted, stored, retrieved, and used. Invented in the 1890s, the filing cabinet was a result of the nineteenth-century faith in efficiency. Previously, paper records were arranged haphazardly: bound into books, stacked in piles, curled into slots, or impaled on spindles. The filing cabinet organized loose papers in tabbed folders that could be sorted alphanumerically, radically changing how people accessed, circulated, and structured information. Robertson's unconventional history of the origins of the information age posits the filing cabinet as an information storage container, an "automatic memory" machine that contributed to a new type of information labor privileging manual dexterity over mental deliberation. Gendered assumptions about women's nimble fingers helped to naturalize the changes that brought women into the workforce as low-level clerical workers. The filing cabinet emerges from this unexpected account as a sophisticated piece of information technology and a site of gendered labor that with its folders, files, and tabs continues to shape how we interact with information and data in today's digital world. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

The history of how a deceptively ordinary piece of office furniture transformed our relationship with information The ubiquity of the filing cabinet in the twentieth-century office space, along with its noticeable absence of style, has obscured its transformative role in the histories of both information technology and work.  In The Filing Cabinet: A Vertical History of Information (U Minnesota Press, 2021), Craig Robertson explores how the filing cabinet profoundly shaped the way that information and data have been sorted, stored, retrieved, and used. Invented in the 1890s, the filing cabinet was a result of the nineteenth-century faith in efficiency. Previously, paper records were arranged haphazardly: bound into books, stacked in piles, curled into slots, or impaled on spindles. The filing cabinet organized loose papers in tabbed folders that could be sorted alphanumerically, radically changing how people accessed, circulated, and structured information. Robertson's unconventional history of the origins of the information age posits the filing cabinet as an information storage container, an "automatic memory" machine that contributed to a new type of information labor privileging manual dexterity over mental deliberation. Gendered assumptions about women's nimble fingers helped to naturalize the changes that brought women into the workforce as low-level clerical workers. The filing cabinet emerges from this unexpected account as a sophisticated piece of information technology and a site of gendered labor that with its folders, files, and tabs continues to shape how we interact with information and data in today's digital world. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

The history of how a deceptively ordinary piece of office furniture transformed our relationship with information The ubiquity of the filing cabinet in the twentieth-century office space, along with its noticeable absence of style, has obscured its transformative role in the histories of both information technology and work.  In The Filing Cabinet: A Vertical History of Information (U Minnesota Press, 2021), Craig Robertson explores how the filing cabinet profoundly shaped the way that information and data have been sorted, stored, retrieved, and used. Invented in the 1890s, the filing cabinet was a result of the nineteenth-century faith in efficiency. Previously, paper records were arranged haphazardly: bound into books, stacked in piles, curled into slots, or impaled on spindles. The filing cabinet organized loose papers in tabbed folders that could be sorted alphanumerically, radically changing how people accessed, circulated, and structured information. Robertson's unconventional history of the origins of the information age posits the filing cabinet as an information storage container, an "automatic memory" machine that contributed to a new type of information labor privileging manual dexterity over mental deliberation. Gendered assumptions about women's nimble fingers helped to naturalize the changes that brought women into the workforce as low-level clerical workers. The filing cabinet emerges from this unexpected account as a sophisticated piece of information technology and a site of gendered labor that with its folders, files, and tabs continues to shape how we interact with information and data in today's digital world. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

The history of how a deceptively ordinary piece of office furniture transformed our relationship with information The ubiquity of the filing cabinet in the twentieth-century office space, along with its noticeable absence of style, has obscured its transformative role in the histories of both information technology and work.  In The Filing Cabinet: A Vertical History of Information (U Minnesota Press, 2021), Craig Robertson explores how the filing cabinet profoundly shaped the way that information and data have been sorted, stored, retrieved, and used. Invented in the 1890s, the filing cabinet was a result of the nineteenth-century faith in efficiency. Previously, paper records were arranged haphazardly: bound into books, stacked in piles, curled into slots, or impaled on spindles. The filing cabinet organized loose papers in tabbed folders that could be sorted alphanumerically, radically changing how people accessed, circulated, and structured information. Robertson's unconventional history of the origins of the information age posits the filing cabinet as an information storage container, an "automatic memory" machine that contributed to a new type of information labor privileging manual dexterity over mental deliberation. Gendered assumptions about women's nimble fingers helped to naturalize the changes that brought women into the workforce as low-level clerical workers. The filing cabinet emerges from this unexpected account as a sophisticated piece of information technology and a site of gendered labor that with its folders, files, and tabs continues to shape how we interact with information and data in today's digital world. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

The history of how a deceptively ordinary piece of office furniture transformed our relationship with information The ubiquity of the filing cabinet in the twentieth-century office space, along with its noticeable absence of style, has obscured its transformative role in the histories of both information technology and work.  In The Filing Cabinet: A Vertical History of Information (U Minnesota Press, 2021), Craig Robertson explores how the filing cabinet profoundly shaped the way that information and data have been sorted, stored, retrieved, and used. Invented in the 1890s, the filing cabinet was a result of the nineteenth-century faith in efficiency. Previously, paper records were arranged haphazardly: bound into books, stacked in piles, curled into slots, or impaled on spindles. The filing cabinet organized loose papers in tabbed folders that could be sorted alphanumerically, radically changing how people accessed, circulated, and structured information. Robertson's unconventional history of the origins of the information age posits the filing cabinet as an information storage container, an "automatic memory" machine that contributed to a new type of information labor privileging manual dexterity over mental deliberation. Gendered assumptions about women's nimble fingers helped to naturalize the changes that brought women into the workforce as low-level clerical workers. The filing cabinet emerges from this unexpected account as a sophisticated piece of information technology and a site of gendered labor that with its folders, files, and tabs continues to shape how we interact with information and data in today's digital world. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The history of how a deceptively ordinary piece of office furniture transformed our relationship with information The ubiquity of the filing cabinet in the twentieth-century office space, along with its noticeable absence of style, has obscured its transformative role in the histories of both information technology and work.  In The Filing Cabinet: A Vertical History of Information (U Minnesota Press, 2021), Craig Robertson explores how the filing cabinet profoundly shaped the way that information and data have been sorted, stored, retrieved, and used. Invented in the 1890s, the filing cabinet was a result of the nineteenth-century faith in efficiency. Previously, paper records were arranged haphazardly: bound into books, stacked in piles, curled into slots, or impaled on spindles. The filing cabinet organized loose papers in tabbed folders that could be sorted alphanumerically, radically changing how people accessed, circulated, and structured information. Robertson's unconventional history of the origins of the information age posits the filing cabinet as an information storage container, an "automatic memory" machine that contributed to a new type of information labor privileging manual dexterity over mental deliberation. Gendered assumptions about women's nimble fingers helped to naturalize the changes that brought women into the workforce as low-level clerical workers. The filing cabinet emerges from this unexpected account as a sophisticated piece of information technology and a site of gendered labor that with its folders, files, and tabs continues to shape how we interact with information and data in today's digital world. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In the first half of the twentieth century, urban elevated highways were much more than utilitarian infrastructure, lifting traffic above the streets; they were statements of civic pride, asserting boldly modern visions for a city's architecture, economy, and transportation network. Yet three of the most ambitious projects, launched in Chicago, New York, and Boston in the spirit of utopian models by architects such as Le Corbusier and Hugh Ferriss, ultimately fell short of their ideals. Modern Mobility Aloft: Elevated Highways, Architecture, and Urban Change in Pre-interstate America (Temple UP, 2020) is the first study to focus on pre-Interstate urban elevated highways within American architectural and urban history. Amy Finstein traces the idealistic roots of these superstructures, their contrasting realities once built, their impacts on successive development patterns, and the recent challenges they have posed to contemporary urban designers. Filled with more than 100 historic photographs and illustrations of beaux arts and art deco architecture, Modern Mobility Aloft provides a critical understanding of urban landscapes, transportation, and technological change as cities moved into the modern era. Amy Finstein is an Assistant Professor in the Department of Visual Arts at the College of the Holy Cross, where she teaches modern architectural and urban history. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the first half of the twentieth century, urban elevated highways were much more than utilitarian infrastructure, lifting traffic above the streets; they were statements of civic pride, asserting boldly modern visions for a city’s architecture, economy, and transportation network. Yet three of the most ambitious projects, launched in Chicago, New York, and Boston in the spirit of utopian models by architects such as Le Corbusier and Hugh Ferriss, ultimately fell short of their ideals. Modern Mobility Aloft: Elevated Highways, Architecture, and Urban Change in Pre-interstate America (Temple UP, 2020) is the first study to focus on pre-Interstate urban elevated highways within American architectural and urban history. Amy Finstein traces the idealistic roots of these superstructures, their contrasting realities once built, their impacts on successive development patterns, and the recent challenges they have posed to contemporary urban designers. Filled with more than 100 historic photographs and illustrations of beaux arts and art deco architecture, Modern Mobility Aloft provides a critical understanding of urban landscapes, transportation, and technological change as cities moved into the modern era. Amy Finstein is an Assistant Professor in the Department of Visual Arts at the College of the Holy Cross, where she teaches modern architectural and urban history. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In the first half of the twentieth century, urban elevated highways were much more than utilitarian infrastructure, lifting traffic above the streets; they were statements of civic pride, asserting boldly modern visions for a city's architecture, economy, and transportation network. Yet three of the most ambitious projects, launched in Chicago, New York, and Boston in the spirit of utopian models by architects such as Le Corbusier and Hugh Ferriss, ultimately fell short of their ideals. Modern Mobility Aloft: Elevated Highways, Architecture, and Urban Change in Pre-interstate America (Temple UP, 2020) is the first study to focus on pre-Interstate urban elevated highways within American architectural and urban history. Amy Finstein traces the idealistic roots of these superstructures, their contrasting realities once built, their impacts on successive development patterns, and the recent challenges they have posed to contemporary urban designers. Filled with more than 100 historic photographs and illustrations of beaux arts and art deco architecture, Modern Mobility Aloft provides a critical understanding of urban landscapes, transportation, and technological change as cities moved into the modern era. Amy Finstein is an Assistant Professor in the Department of Visual Arts at the College of the Holy Cross, where she teaches modern architectural and urban history. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

In the first half of the twentieth century, urban elevated highways were much more than utilitarian infrastructure, lifting traffic above the streets; they were statements of civic pride, asserting boldly modern visions for a city's architecture, economy, and transportation network. Yet three of the most ambitious projects, launched in Chicago, New York, and Boston in the spirit of utopian models by architects such as Le Corbusier and Hugh Ferriss, ultimately fell short of their ideals. Modern Mobility Aloft: Elevated Highways, Architecture, and Urban Change in Pre-interstate America (Temple UP, 2020) is the first study to focus on pre-Interstate urban elevated highways within American architectural and urban history. Amy Finstein traces the idealistic roots of these superstructures, their contrasting realities once built, their impacts on successive development patterns, and the recent challenges they have posed to contemporary urban designers. Filled with more than 100 historic photographs and illustrations of beaux arts and art deco architecture, Modern Mobility Aloft provides a critical understanding of urban landscapes, transportation, and technological change as cities moved into the modern era. Amy Finstein is an Assistant Professor in the Department of Visual Arts at the College of the Holy Cross, where she teaches modern architectural and urban history. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

In the first half of the twentieth century, urban elevated highways were much more than utilitarian infrastructure, lifting traffic above the streets; they were statements of civic pride, asserting boldly modern visions for a city's architecture, economy, and transportation network. Yet three of the most ambitious projects, launched in Chicago, New York, and Boston in the spirit of utopian models by architects such as Le Corbusier and Hugh Ferriss, ultimately fell short of their ideals. Modern Mobility Aloft: Elevated Highways, Architecture, and Urban Change in Pre-interstate America (Temple UP, 2020) is the first study to focus on pre-Interstate urban elevated highways within American architectural and urban history. Amy Finstein traces the idealistic roots of these superstructures, their contrasting realities once built, their impacts on successive development patterns, and the recent challenges they have posed to contemporary urban designers. Filled with more than 100 historic photographs and illustrations of beaux arts and art deco architecture, Modern Mobility Aloft provides a critical understanding of urban landscapes, transportation, and technological change as cities moved into the modern era. Amy Finstein is an Assistant Professor in the Department of Visual Arts at the College of the Holy Cross, where she teaches modern architectural and urban history. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

In the first half of the twentieth century, urban elevated highways were much more than utilitarian infrastructure, lifting traffic above the streets; they were statements of civic pride, asserting boldly modern visions for a city’s architecture, economy, and transportation network. Yet three of the most ambitious projects, launched in Chicago, New York, and Boston in the spirit of utopian models by architects such as Le Corbusier and Hugh Ferriss, ultimately fell short of their ideals. Modern Mobility Aloft: Elevated Highways, Architecture, and Urban Change in Pre-interstate America (Temple UP, 2020) is the first study to focus on pre-Interstate urban elevated highways within American architectural and urban history. Amy Finstein traces the idealistic roots of these superstructures, their contrasting realities once built, their impacts on successive development patterns, and the recent challenges they have posed to contemporary urban designers. Filled with more than 100 historic photographs and illustrations of beaux arts and art deco architecture, Modern Mobility Aloft provides a critical understanding of urban landscapes, transportation, and technological change as cities moved into the modern era. Amy Finstein is an Assistant Professor in the Department of Visual Arts at the College of the Holy Cross, where she teaches modern architectural and urban history. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In the first half of the twentieth century, urban elevated highways were much more than utilitarian infrastructure, lifting traffic above the streets; they were statements of civic pride, asserting boldly modern visions for a city’s architecture, economy, and transportation network. Yet three of the most ambitious projects, launched in Chicago, New York, and Boston in the spirit of utopian models by architects such as Le Corbusier and Hugh Ferriss, ultimately fell short of their ideals. Modern Mobility Aloft: Elevated Highways, Architecture, and Urban Change in Pre-interstate America (Temple UP, 2020) is the first study to focus on pre-Interstate urban elevated highways within American architectural and urban history. Amy Finstein traces the idealistic roots of these superstructures, their contrasting realities once built, their impacts on successive development patterns, and the recent challenges they have posed to contemporary urban designers. Filled with more than 100 historic photographs and illustrations of beaux arts and art deco architecture, Modern Mobility Aloft provides a critical understanding of urban landscapes, transportation, and technological change as cities moved into the modern era. Amy Finstein is an Assistant Professor in the Department of Visual Arts at the College of the Holy Cross, where she teaches modern architectural and urban history. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network