- Hardcover: 452 pages
- Publisher: MIT Press (2 April 1996)
- Language English
- ISBN-10: 0262231859
- ISBN-13: 978-0262231855
- Product Dimensions: 26.2 x 21.3 x 3.3 cm
- Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 1,962,756 in Books (See Top 100 in Books)
- See Complete Table of Contents
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Review
"A brilliant and masterful work that forces one to reconsider essential aspects of modernities, obsessions, and representations."--Mark Jarzombek, M.I.T.
Review
"A brilliant and masterful work that forces one to reconsideressential aspects of modernities, obsessions, and representations." Mark Jarzombek, M.I.T.
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Customer Reviews
Most Helpful Customer Reviews
0 of 1 people found the following review helpful
Format:Hardcover
And what about the white walls of museums & art galleries. What about "the white cube" (Brian ' O Doherty) It takes Wigley a whole book to show that white walls are far from neutral. So therefore it seems to me a nice contradiction to say the opposite about the white walls of an art galllery. (page 8) In one sentence Wigley seems to forget that there was a very strong relationship between artist & architects in the early modernism. For me, interested in the relationship between art & architecture, this one sentence undermines the whole book. I'm sorry if this reaction is a bit sharp, but this page is too small to give a detailed critique. Wouter Davidts
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
1 review
7 of 16 people found the following review helpful
what about the white cube?
19 Nov 1997
Format:Hardcover
And what about the white walls of museums & art galleries. What about "the white cube" (Brian ' O Doherty) It takes Wigley a whole book to show that white walls are far from neutral. So therefore it seems to me a nice contradiction to say the opposite about the white walls of an art galllery. (page 8) In one sentence Wigley seems to forget that there was a very strong relationship between artist & architects in the early modernism. For me, interested in the relationship between art & architecture, this one sentence undermines the whole book. I'm sorry if this reaction is a bit sharp, but this page is too small to give a detailed critique. Wouter Davidts
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