David Monteyne (6 results)

Hardback. Condition: New. For immigrants making the transoceanic journey from Europe or Asia to North America, the experience of a new country began when they disembarked. In Canada the federal government built a network of buildings that provided newcomers with shelter, services, and state support. "Immigration sheds" such as Pier 21 in Halifax - where ocean liners would dock and global migrants arrived and were processed - had many counterparts across the country: new arrivals were accommodated or incarcerated at reception halls, quarantine stations, and immigrant detention hospitals. For the Temporary Accommodation of Settlers reconstructs the experiences of people in these spaces - both immigrants and government agents - to pose a question at the heart of architectural thinking: how is meaning produced in the built environments that we encounter? David Monteyne interprets official governmental intentions and policy goals embodied by the architecture of immigration but foregrounds the unofficial, informal practices of people who negotiated these spaces to satisfy basic needs, ensure the safety of their families, learn about land and job opportunities, and ultimately arrive at their destinations. The extent of this Canadian network, which peaked in the early twentieth century at over sixty different sites, and the range of building types that comprised it are unique among immigrant-receiving nations in this period. In our era of pandemic quarantine and migrant detention facilities, For the Temporary Accommodation of Settlers offers new ways of seeing and thinking about the historical processes of immigration, challenging readers to consider government architecture and the experience of migrants across global networks. …

Hardback. Condition: New. For immigrants making the transoceanic journey from Europe or Asia to North America, the experience of a new country began when they disembarked. In Canada the federal government built a network of buildings that provided newcomers with shelter, services, and state support. "Immigration sheds" such as Pier 21 in Halifax - where ocean liners would dock and global migrants arrived and were processed - had many counterparts across the country: new arrivals were accommodated or incarcerated at reception halls, quarantine stations, and immigrant detention hospitals. For the Temporary Accommodation of Settlers reconstructs the experiences of people in these spaces - both immigrants and government agents - to pose a question at the heart of architectural thinking: how is meaning produced in the built environments that we encounter? David Monteyne interprets official governmental intentions and policy goals embodied by the architecture of immigration but foregrounds the unofficial, informal practices of people who negotiated these spaces to satisfy basic needs, ensure the safety of their families, learn about land and job opportunities, and ultimately arrive at their destinations. The extent of this Canadian network, which peaked in the early twentieth century at over sixty different sites, and the range of building types that comprised it are unique among immigrant-receiving nations in this period. In our era of pandemic quarantine and migrant detention facilities, For the Temporary Accommodation of Settlers offers new ways of seeing and thinking about the historical processes of immigration, challenging readers to consider government architecture and the experience of migrants across global networks. …

Wraps. Condition: Very good. 1st Edition. 248 pages. Erin Barnett is an art historian, curator, editor, and writer who played a dual role as both the catalog's co-editor and the exhibition's primary curator. Role at ICP: She spent nearly two decades at the International Center of Photography (ICP) in New York, eventually serving as the Director of Exhibitions and Collections from 2016 to 2020. Curatorial Contribution: For the Hiroshima project, Barnett spent extensive time working in the National Archives. She meticulously decoded historical notations and plotted blast locations to organize the photos based on geographical "zones of impact"-ultimately driving the "Ground Zero" thematic framing of the project. Background: She holds a degree from Oberlin College, where she first shifted her focus to how photography can simultaneously document and manipulate truth. She frequently serves as a jurist and writer across global photography competitions. Philomena Mariani is a veteran editor and cultural critic specializing in the intersection of politics, literature, and visual arts. Role at ICP: She served as the Director of Publications at the International Center of Photography, steering the museum's complex, high-profile catalog collaborations with international art publishers like Steidl. Other Work: Beyond photography, Mariani has a background in literary editing. She is recognized as the editor of Critical Fictions: The Politics of Imaginative Writing, a prominent collection of essays examining identity, culture, and political discourse featuring major writers like Margaret Atwood and James Baldwin. She co-edited The Weegee Guide to New York. On 6 August 1945, the US government dropped an atomic bomb on Hiroshima. This was the first wartime use of a nuclear weapon, and along with the bombing of Nagasaki three days later, heralded the surrender of Japan and the end of World War II. After the dust had settled, President Truman dispatched military personnel and civilians to photograph the destruction. Nearly seventy years later, Hiroshima: Ground Zero 1945 presents a selection of these once confidential images alongside critical texts. 1,100 photographs were taken, and 865 of them published in the classified report The Effects of the Atomic Bomb on Hiroshima, Japan (1947). Today, 700 of these images are part of the permanent collection at the International Center of Photography. Hiroshima: Ground Zero 1945 is testament to this shameful, haunting episode of the twentieth century and the role of documentary photography within it, and is the latest phase in ICP's ongoing investigation of the unacknowledged histories of photography. The International Center of Photography (ICP) is a photography museum and school at 84 Ludlow Street on the Lower East Side of Manhattan in New York City. ICP's photographic collection, reading room, and archives are at Mana Contemporary in Jersey City, New Jersey. The organization was founded by Cornell Capa in 1974. It is located at 84 Ludlow Street, within the Lower East Side. ICP is the host of the Infinity Awards, inaugurated in 1985 "to bring public attention to outstanding achievements in photography by honoring individuals with distinguished careers in the field and by identifying future luminaries." Since its founding in 1974 by Cornell Capa with help from Micha Bar-Am in Willard Straight House, on Fifth Avenue's Museum Mile, ICP has presented over 500 exhibitions, bringing the work of more than 3,000 photographers and other artists to the public in one-person and group exhibitions and provided various classes and workshops for students. ICP was founded to keep the legacy of "Concerned Photography" alive. After the untimely deaths of his brother Robert Capa and his colleagues Werner Bischof, Chim (David Seymour), and Dan Weiner in the 1950s, Capa saw the need to keep their humanitarian documentary work in the public eye. In 1966 he founded the International Fund for Concerned Photography. By 1974 the Fund needed a home, and the International Center of Photography was created. First Edition [stated] Presumed first printing. …

Condition: very_good. Fast & Free Shipping â" Very Good condition book with a firm cover and clean pages. Shows normal use and some light wear or limited notes markings. A solid, nice copy to enjoy.

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Paperback. Condition: New. On 6 August 1945, the US government dropped an atomic bomb on Hiroshima. This was the first wartime use of a nuclear weapon, and along with the bombing of Nagasaki three days later, heralded the surrender of Japan and the end of World War II. After the dust had settled, President Truman dispatched military personnel and civilians to photograph the destruction. Nearly seventy years later, Hiroshima: Ground Zero 1945 presents a selection of these once confidential images alongside critical texts. 1,100 photographs were taken, and 865 of them published in the classified report The Effects of the Atomic Bomb on Hiroshima, Japan (1947). Today, 700 of these images are part of the permanent collection at the International Center of Photography. Hiroshima: Ground Zero 1945 is testament to this shameful, haunting episode of the twentieth century and the role of documentary photography within it, and is the latest phase in ICP's ongoing investigation of the unacknowledged histories of photography. …