Perimeters/pavilions/decoys PDF Download

Author: Mary Miss
Publisher:
ISBN:
Category : Sculpture, American
Languages : en
Pages : 38

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Author: Mary Miss
Publisher: Princeton Architectural Press
ISBN: 1568983395
Category : Architecture
Languages : en
Pages : 267

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"For more than three decades, Mary Miss has reshaped the boundaries between sculpture, architecture, landscape, design, installation art, photography and drawing, [...]. With an usual combination of raw power and simple poetry, her works demand engagement with materials, ideas, environments, and ourselves." (extrait de la 2e de couv.).

Author: Mark Jarzombek
Publisher: Bloomsbury Publishing
ISBN: 1350326143
Category : Architecture
Languages : en
Pages : 377

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Architecture Constructed explores the central, open secret of architecture: the long-suppressed conflict between arche and teckton-between those who design, and those who build. This unresolved tension has a centuries-old history in the discipline, persisting through Classical and Renaissance times to the present day, and yet it has rarely been addressed through a historical and theoretical lens. In this book, acclaimed architectural theorist Mark Jarzombek examines this tension head-on, and uses it to rethink the nature of the history of architecture. He reveals architecture to be a troubled, interconnected realm, incomplete and unstable, where labor, craft, and occupation are the 'invisible' complements to the work of the architect. Erudite, entertaining, and full of surprising and thought-provoking juxtapositions and challenges, Architecture Constructed is packed with novel insights into the internal conflicts and paradoxes of architecture, and is rich with examples from modern and contemporary practice-including Mies, Koolhaas, Potrc, Hadid, Bawa, Diller + Scofidio-which demonstrate how contemporary architecture inhabits the very same tensions that have riven the discipline since the days of Alberti. This provocative book will stimulate conversations among students, researchers, and designers, as it pushes the boundaries on how we define the professional discipline of architecture and overturns entrenched assumptions about the nature of architectural history and theory.

Author: Ken Wilder
Publisher: Bloomsbury Publishing
ISBN: 1350088412
Category : Art
Languages : en
Pages : 345

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Beholding considers the spatially situated encounter between artwork and spectator. It argues that artworks created for specific places or conditions structure a reciprocal encounter, which is completed by the presence of a beholder. These are works which demand the 'beholder's share', but not, as Ernst Gombrich famously claimed, to sustain an illusion. Rather, Beholding reconfigures Gombrich's notion of the beholder's share as a set of 'licensed' imaginative and cognitive projections. Each chapter frames a particular work of art from the remit of a complementary theoretical text. The book establishes a transhistorical notion of the spatially situated encounter, and considers the role of the architectural host in bringing the beholder's orientation into play. The book engages a diverse range of practices: from Renaissance painting and group portraiture to intermedia practices of installation and performance art. Written within the broad remit of reception aesthetics, the book proposes a phenomenological theory of beholding, argued through an in-depth examination of artworks and their spatial contexts, selected for their explanatory potential. These various encounters allocate different constitutive roles to the beholder, bringing not only spatial and temporal orientation into play, but also a repertoire of anticipated ideas and beliefs.

Author: Spyros Papapetros
Publisher: MIT Press
ISBN: 0262027593
Category : Art
Languages : en
Pages : 288

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Scholars and artists revisit a hugely influential essay by Rosalind Krauss and map the interactions between art and architecture over the last thirty-five years. Expansion, convergence, adjacency, projection, rapport, and intersection are a few of the terms used to redraw the boundaries between art and architecture during the last thirty-five years. If modernists invented the model of an ostensible “synthesis of the arts,” their postmodern progeny promoted the semblance of pluralist fusion. In 1979, reacting against contemporary art's transformation of modernist medium-specificity into postmodernist medium multiplicity, the art historian Rosalind Krauss published an essay, “Sculpture in the Expanded Field,” that laid out in a precise diagram the structural parameters of sculpture, architecture, and landscape art. Krauss tried to clarify what these art practices were, what they were not, and what they could become if logically combined. The essay soon assumed a canonical status and affected subsequent developments in all three fields. Retracing the Expanded Field revisits Krauss's hugely influential text and maps the ensuing interactions between art and architecture. Responding to Krauss and revisiting the milieu from which her text emerged, artists, architects, and art historians of different generations offer their perspectives on the legacy of “Sculpture in the Expanded Field.” Krauss herself takes part in a roundtable discussion (moderated by Hal Foster). A selection of historical documents, including Krauss's essay, presented as it appeared in October, accompany the main text. Neither eulogy nor hagiography, Retracing the Expanded Field documents the groundbreaking nature of Krauss's authoritative text and reveals the complex interchanges between art and architecture that increasingly shape both fields. Contributors Stan Allen, George Baker, Yve-Alain Bois, Benjamin Buchloh, Beatriz Colomina, Penelope Curtis, Sam Durant, Edward Eigen, Kurt W. Forster, Hal Foster, Kenneth Frampton, Branden W. Joseph, Rosalind Krauss, Miwon Kwon, Sylvia Lavin, Sandro Marpillero, Josiah McElheny, Eve Meltzer, Michael Meredith, Mary Miss, Sarah Oppenheimer, Matthew Ritchie, Julia Robinson, Joe Scanlan, Emily Eliza Scott, Irene Small, Philip Ursprung, Anthony Vidler

Author: Susanneh Bieber
Publisher: Taylor & Francis
ISBN: 1000894800
Category : Art
Languages : en
Pages : 346

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This volume reframes the development of US-American avant-garde art of the long 1960s—from minimal and pop art to land art, conceptual art, site-specific practices, and feminist art—in the context of contemporary architectural discourses. Susanneh Bieber analyzes the work of seven major artists, Donald Judd, Robert Grosvenor, Claes Oldenburg, Robert Smithson, Lawrence Weiner, Gordon Matta-Clark, and Mary Miss, who were closely associated with the formal-aesthetic innovations of the period. While these individual artists came to represent diverse movements, Bieber argues that all of them were attracted to the field of architecture—the work of architects, engineers, preservationists, landscape designers, and urban planners—because they believed these practices more directly shaped the social and material spaces of everyday life. This book’s contribution to the field of art history is thus twofold. First, it shows that the avant-garde of the long 1960s did not simply develop according to an internal logic of art but also as part of broader sociocultural discourses about buildings and cities. Second, it exemplifies a methodological synthesis between social art history and poststructural formalism that is foundational to understanding the role of art in the construction of a more just and egalitarian society. The book will be of interest to scholars working in art history, architecture, urbanism, and environmental humanism.

Author: Jenn Joy
Publisher: MIT Press
ISBN: 0262325993
Category : Performing Arts
Languages : en
Pages : 245

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An investigation of dance and choreography that views them not only as artistic strategies but also as intrinsically theoretical and critical practices. The choreographic stages a conversation in which artwork is not only looked at but looks back; it is about contact that touches even across distance. The choreographic moves between the corporeal and cerebral to tell the stories of these encounters as dance trespasses into the discourse and disciplines of visual art and philosophy through a series of stutters, steps, trembles, and spasms. In The Choreographic, Jenn Joy examines dance and choreography not only as artistic strategies and disciplines but also as intrinsically theoretical and critical practices. She investigates artists in dialogue with philosophy, describing a movement of conceptual choreography that flourishes in New York and on the festival circuit. Joy offers close readings of a series of experimental works, arguing for the choreographic as an alternative model of aesthetics. She explores constellations of works, artists, writers, philosophers, and dancers, in conversation with theories of gesture, language, desire, and history. She choreographs a revelatory narrative in which Walter Benjamin, Pina Bausch, Francis Alÿs, and Cormac McCarthy dance together; she traces the feminist and queer force toward desire through the choreography of DD Dorvillier, Heather Kravas, Meg Stuart, La Ribot, Miguel Gutierrez, luciana achugar, and others; she maps new forms of communicability and pedagogy; and she casts science fiction writers Samuel R. Delany and Kim Stanley Robinson as perceptual avatars and dance partners for Ralph Lemon, Marianne Vitali, James Foster, and Janet Cardiff and George Bures Miller. Constructing an expanded notion of the choreographic, Joy explores how choreography as critical concept and practice attunes us to a more productively uncertain, precarious, and ecstatic understanding of aesthetics and art making.

Author: Susan Herrington
Publisher: Taylor & Francis
ISBN: 1315470764
Category : Architecture
Languages : en
Pages : 339

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Phenomenology, Materiality, Cybernetics, Palimpsest, Cyborgs, Landscape Urbanism, Typology, Semiotics, Deconstruction - the minefield of theoretical ideas that students must navigate today can be utterly confusing, and how do these theories translate to the design studio? Landscape Theory in Design introduces theoretical ideas to students without the use of jargon or an assumption of extensive knowledge in other fields, and in doing so, links these ideas to the processes of design. In five thematic chapters Susan Herrington explains: the theoretic groundings of the theory of philosophy, why it matters to design, an example of the theory in a work of landscape architecture from the twentieth and twenty-first centuries, debates surrounding the theory (particularly as they elaborate modern and postmodern thought) and primary readings that can be read as companions to her text. An extensive glossary of theoretical terms also adds a vital contribution to students’ comprehension of theories relevant to the design of landscapes and gardens. Covering the design of over 40 landscape architects, architects, and designers in 111 distinct projects from 20 different countries, Landscape Theory in Design is essential reading for any student of the landscape.

Author: Eve Meltzer
Publisher: University of Chicago Press
ISBN: 022600791X
Category : Art
Languages : en
Pages : 250

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By the early 1960s, theorists like Lévi-Strauss, Lacan, Foucault, and Barthes had created a world ruled by signifying structures and pictured through the grids of language, information, and systems. Artists soon followed, turning to language and its related forms to devise a new, conceptual approach to art making. Examining the ways in which artists shared the structuralist devotion to systems of many sorts, Systems We Have Loved shows that even as structuralism encouraged the advent of conceptual art, it also raised intractable problems that artists were forced to confront. Considering such notable art figures as Mary Kelly, Robert Morris, Robert Smithson, and Rosalind Krauss, Eve Meltzer argues that during this period the visual arts depicted and tested the far-reaching claims about subjectivity espoused by theorists. She offers a new way of framing two of the twentieth century’s most transformative movements—one artistic, one expansively theoretical—and she reveals their shared dream—or nightmare—of the world as a system of signs. By endorsing this view, Meltzer proposes, these artists drew attention to the fictions and limitations of this dream, even as they risked getting caught in the very systems they had adopted. The first book to describe art’s embrace of the world as an information system, Systems We Have Loved breathes new life into the study of conceptual art.

Author: Suzaan Boettger
Publisher: U of Minnesota Press
ISBN: 1452968608
Category : Biography & Autobiography
Languages : en
Pages : 630

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An expansive and revelatory study of Robert Smithson’s life and the hidden influences on his iconic creations This first biography of the major American artist Robert Smithson, famous as the creator of the Spiral Jetty, deepens understanding of his art by addressing the potent forces in his life that were shrouded by his success, including his suppressed early history as a painter; his affiliation with Christianity, astrology, and alchemy; and his sexual fluidity. Integrating extensive investigation and acuity, Suzaan Boettger uncovers Smithson’s story and, with it, symbolic meanings across the span of his painted and drawn images, sculptures, essays, and earthworks up to the Spiral Jetty and beyond, to the circumstances leading to what became his final work, Amarillo Ramp. While Smithson is widely known for his monumental earthwork at the edge of the Great Salt Lake, Inside the Spiral delves into the arc of his artistic production, recognizing it as a response to his family’s history of loss, which prompted his birth and shaped his strange intelligence. Smithson configured his personal conflicts within painterly depictions of Christ’s passion, the rhetoric of science fiction, imagery from occult systems, and the impersonal posture of conceptual sculpture. Aiming to achieve renown, he veiled his personal passions and transmuted his professional persona, becoming an acclaimed innovator and fierce voice in the New York art scene. Featuring copious illustrations never before published of early work that eluded Smithson’s destruction, as well as photographs of Smithson and his wife, the noted sculptor Nancy Holt, and recollections from nearly all those who knew him throughout his life, Inside the Spiral offers unprecedented insight into the hidden impulses of one of modern art’s most enigmatic figures. With great sensitivity to the experiences of loss and existential strife that defined his distinct artistic language, this biographical analysis provides an expanded view of Smithson’s iconic art pilgrimage site and the experiences and works that brought him to its peculiar blood red water.