"This title focuses on an Italian architect and engraver of the 18th century - Piranesi. In this book it is argued that Piranesi grants a metaphorical meaning to the Carcesi - a set of etchings - in order to impriso those he saw as obstructing the arts and threatening his own freedom. In light of the growing academic interest in Italy and the re-organization of many university courses in Italian, this series aims to bring together di fferent scholarly perspectives on Italy and its culture."

From the origins of modern copyright in early eighteenth-century culture to the efforts to represent nature and death in postmodern fiction, this pioneering book explores a series of problems regarding the containment of representation. Stewart focuses on specific cases of "crimes of writing"--the forgeries of George Psalmanazar, the production of "fakelore," the "ballad scandals" of the eighteenth and nineteenth centuries, the imposture of Thomas Chatterton, and contemporary legislation regarding graffiti and pornography. In this way, she emphasizes the issues which arise once language is seen as a matter of property and authorship is viewed as a matter of originality. Finally, Stewart demonstrates that crimes of writing are delineated by the law because they specifically undermine the status of the law itself: the crimes illuminate the irreducible fact that law is written and therefore subject to temporality and interpretation.

Lavishly illustrated, this book thoughtfully presents and discusses architectural images which both derive from and inspire the act of building. Beautiful illustrations fill the pages, paying tribute to the process of image-making as an exercise of the imagination. Also covered are techniques for composing architectural images, including how to employ the best media and graphic devices, and more. 157 b&w illus., 50 color illus.

Vincent Scully has shaped not only how we view the evolution of architecture in the twentieth century but also the course of that evolution itself. Combining the modes of historian and critic in unique and compelling ways--with an audience that reaches from students and scholars to professional architects and ardent amateurs--Scully has profoundly influenced the way architecture is thought about and made. This extensively illustrated and elegantly designed volume distills Scully's incalculable contribution. Neil Levine, a former student of Scully's, selects twenty essays that reveal the breadth and depth of Scully's work from the 1950s through the 1990s. The pieces are included for their singular contribution to our understanding of modern architecture as well as their relative unavailability to current readers. Levine offers a perceptive overview of Scully's distinguished career and introduces each essay, skillfully setting the scholarly and cultural scene. The selections address almost all of modern architecture's major themes and together go a long way toward defining what constitutes the contemporary experience of architecture and urbanism. Each is characteristically Scully--provocative, yet precise in detail and observation, written with passionate clarity. They document Scully's seminal views on the relationship between the natural and the built environment and trace his progressively intense concern with the fabric of the street and of our communities. The essays also highlight Scully's engagement with the careers of so many of the twentieth century's most significant architects, from Frank Lloyd Wright and Louis Kahn to Robert Venturi. In the tradition of great intellectual biographies, this finely made book chronicles our most influential architectural historian and critic. It is a gift to architecture and its history.

A fictional autobiography of the famed eighteenth-century Italian engraver Giovanni Battista Piranesi, Piranesi's Dream draws from fact to imagine the embittered, eccentric, yet fantastically creative mind of this prolific artist. Piranesi, however, is not simply recreated in his time; instead, he travels throughout time and throughout the world, musing over art and aesthetics, attacking his enemies, and ruminating over his thwarted dream of becoming an architect. Appearing in contemporary Australia, in ancient Egypt, and even in Vancouver, Piranesi gives full reign to his dreams and his meditations. He envisions--posthumously--the construction of a great city in the Australian desert. He attacks his contemporary, the critic Johannes Winckelmann, with intense hatred, condemning his admiration of classical Greek architecture. Forced to work as an engraver--the medium in which he created the dungeon and prison scenes he is best known for today--Piranesi labors, embittered and frustrated, always yearning to fulfill himself as an architect. Piranesi's Dream is the story of an artist and of a visionary of ages past and present. In telling Piranesi's story, Kopf has written not only a fictional autobiography but a compelling psychological novel. As Gunter Grass has observed, Kopf is a born storyteller.

Architecture Post Mortem surveys architecture’s encounter with death, decline, and ruination following late capitalism. As the world moves closer to an economic abyss that many perceive to be the death of capital, contraction and crisis are no longer mere phases of normal market fluctuations, but rather the irruption of the unconscious of ideology itself. Post mortem is that historical moment wherein architecture’s symbolic contract with capital is put on stage, naked to all. Architecture is not irrelevant to fiscal and political contagion as is commonly believed; it is the victim and penetrating analytical agent of the current crisis. As the very apparatus for modernity’s guilt and unfulfilled drives-modernity’s debt-architecture is that ideological element that functions as a master signifier of its own destruction, ordering all other signifiers and modes of signification beneath it. It is under these conditions that architecture theory has retreated to an 'Alamo' of history, a final desert outpost where history has been asked to transcend itself. For architecture’s hoped-for utopia always involves an apocalypse. This timely collection of essays reformulates architecture’s relation to modernity via the operational death-drive: architecture is but a passage between life and death. This collection includes essays by Kazi K. Ashraf, David Bertolini, Simone Brott, Peggy Deamer, Didem Ekici, Paul Emmons, Donald Kunze, Todd McGowan, Gevork Hartoonian, Nadir Lahiji, Erika Naginski, and Dennis Maher.

Published on the occasion of the exhibition "Meant to Be Shared: Selections from the Arthur Ross Collection of European Prints at the Yale University Art Gallery" held at the Yale University Art Gallery, New Haven, Connecticut, December 18, 2015-April 24, 2016, the Samuel P. Harn Museum of Art, University of Florida, Gainesville, January 29-May 8, 2017 and at the Syracuse University Art Galleries, New York, August 17-November 19, 2017.

The Getty Research Journal is a periodical that showcases work by scholars and staff associated with the Getty Research Institute and the other programs of the J. Paul Getty Trust. It offers refereed essays that focus on an object or aspect of the Getty's extensive archival, rare book, and artistic holdings or that bear upon the annual research themes of the Research Institute or the Getty Villa. It also presents a selection of short, lively pieces about new acquisitions, scholarly activities, and ongoing research projects at the Getty. The second issue features essays by Gail Feigenbaum, Claire Fox, Sarah E. Fraser, Talinn Grigor, Karen J. Lloyd, Kristina Luce, Courtney J. Martin, and Irene Sun-Woo; the short texts examine materials related to Roman graves, painters' prices in seventeenth-century Rome, Giovanni Battista Piranesi's Prisons series, the alchemist Sigismund Bacstrom, a nineteenth-century Venetian picture gallery, Goupil & Cies stock books, the Beau Geste Press, the photography of Sam Wagstaff, and the transgressive techniques of the Guerrilla Girls. It closes with new work by photographer Ken Gonzales-Day.