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The esteemed collectors Laurence and Patrick Seguin first discovered the work of Jean Prouve in the late 1980s, and were quick to embrace his entire aesthetic vision, from architectural design to furniture. "There is no difference between constructing a piece of furniture and constructing a building," Prouve once famously said, and the Seguins have modeled their collection around his stance, becoming major advocates and disseminators of his work in France. This gorgeously produced volume, which presents the Seguins' Prouve collection for the first time, consequently provides a comprehensive overview of their holdings. An entire chapter is devoted to Prouve works at the Seguins' Paris residence. Other sections include an examination of Prouve's relevance to contemporary art; a chapter on Prouve's Aluminum Metropole House, a structure that exemplifies the brilliance of Prouve's architectural work; and a survey of around 40 pieces, most of which are prototypes or rarities, from the armchair designed for the University of Nancy in 1932, to the light armchair created for the University of Antony in 1954, to the African furniture. These are supplemented by archival documents (sketches, models, photographs, etc. and detailed analysis. Also included is a wealth of photo-documentation of the exhibition this volume accompanies, held at the famous former Fiat building in Turin, Italy--once described by Le Corbusier as "one of the most impressive sights in industry" and recently rebuilt into a modern shopping/cultural complex by Renzo Piano, a longstanding admirer of Prouve.Equally admired for his work in furniture, metalwork and architecture, Jean Prouve (1901-1984) is one of the most influential designers of the early modern design movement. His innovative chairs, desks, lamps and shelves have long been collector's items.
Interest in contemporary cultural industries has grown in the past decade, as they take on a greater significance in our increasingly consumer-led society. Focusing on the world of fashion photography, this book presents an interdisciplinary approach in which this and other aesthetic markets, such as advertising, modelling, art, music and more, can be viewed.
The main thrust of this groundbreaking book, is in developing a theory for these cultural markets, characterized by insecurity, and where status and aesthetic diversity generate order and price differentiation. In these industries, services and products are offered that are a mix of the aesthetic and the economic, and for fashion photographers such as those studied here, it is necessary to carefully position themselves in the market by developing unique photographic styles and separating themselves from competitors.
Yet the markets in which these industries operate differ from the type of exchange markets depicted by neoclassical economists, and therefore cannot be considered using such modes of analysis. Instead Aspers conducts his study using empirical phenomenology, an original approach presented here for the first time, which can be easily used in other empirical studies. He draws on original empirical material; participant observation and interviews generated in New York and Stockholm; which bring a depth of analysis and a relevance to this book which academics, researchers and those with a vested interest in such industries will value.
Written by one of the world's brightest young economic sociologists, this fascinating book (previously published in Sweden and enthusiastically received) is endorsed by recognized industry authorities. A noteworthy book, it provides a foothold in the burgeoning sub discipline of economic sociology, and a significant analysis of the economics of the fashion photography industry.
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