Through the figure of Josephine Baker, Second Skin tells the story of an unexpected yet enduring intimacy between the invention of a modernist style and the theatricalization of black skin at the turn of the twentieth century. Stepping outside of the platitudes surrounding this iconic figure, Anne Anlin Cheng argues that Baker's famous nakedness must be understood within larger philosophic and aesthetic debates about, and desire for, 'pure surface' that crystallized at the convergence of modern art, architecture, machinery, and philosophy. Through Cheng's analysis, Baker emerges as a central artist whose work engages with and impacts various modes of modernist display such as film, photography, art, and even the modern house.
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柯布两章不足建立现代主义文学与建筑的关系吧，跟毕加索的争论有些意思。
评分柯布两章不足建立现代主义文学与建筑的关系吧，跟毕加索的争论有些意思。
评分柯布两章不足建立现代主义文学与建筑的关系吧，跟毕加索的争论有些意思。
评分柯布两章不足建立现代主义文学与建筑的关系吧，跟毕加索的争论有些意思。
评分柯布两章不足建立现代主义文学与建筑的关系吧，跟毕加索的争论有些意思。
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