In his 1992 book Campagna Romana. The Countryside of Ancient Rome Joel Sternfeld focused on the ruins of grand structures with a clear warning: great civilizations fall, ours may too. Now in Rome After Rome, containing images from the previous book as well as numerous unpublished pictures, Sternfeld’s questions multiply: who are these modern Romans? What is their relationship to the splendor that was? What is the nature of sullied modernity in relation to the

The arguments in this book are an attempt to rethink the terms, limits and logics by which we produce or convey images and photographic images, attempting encroachments or reinventions through different declinations. Perhaps it is true that in the present time it is more correct to speak of images rather than photographs, as the photographic has been incorporated into the complex combinatorial machine of the iconosphere, between the net and smartphones, between social and som

An ever growing enthusiasm for the creative possibilties and sensuous aspects of making something with your own hands has a growing influence on contemporary design to a great degree because of an inherent fusion of production and consumption. However, the mass phenomenon of do-it-yourself and prosumer culture is a paradoxical trend: While it promises liberation from consumer contraints, dogmas of taste, and design norms, it allows at the same time new technologies, production methods and

Protest. presents and reflects on present and past forms of protest and looks at marginalized communities’ practices of resistance from a wide variety of perspectives. The publication shows how protest draws on irony, subversion, and provocation from a position of powerlessness, for pricking small but palpable pinholes into the controlling system of rule. “Make Love Not War,” “Soyez réalistes, demandez l’impossible,” “Keine Macht für Niemanden,” “We are the 99%”: The last de

What is the future of the book? And, specifically, what is the future of books on art, design and architecture, and cultural-critical publications? A large number of international interested individuals was asked to respond to this question. Journalists, artists, architects, curators, translators, designers, philosophers, sociologists, teachers, book scholars, publishers, printing houses, distributors, booksellers, historians and art-historians, critics, policymakers, editors, students, and many others have enthusiastically shared their views, looking ahead five, twenty, or seventy-two yea