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Post-Minimal Architectural Sculpture Sculptural Architecture. New Museum of Contemporary Art, NYC designed by SANAA: Kazuyo Sejima & Ryue Nishizawa.

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Post minimal architectural sculpture sculptural architecture
Post-MinimalArchitectural SculptureSculptural Architecture

New Museum of Contemporary Art, NYC

designed by SANAA: Kazuyo Sejima & Ryue Nishizawa


Alice Aycock (US, b. 1946) Maze, 1972, Pennsylvania (destroyed)“Originally, I had hoped to create a moment of absolute panic when the only thing that mattered was to get out.” (embodied vision – phenomenological consciousness)


Alice Aycock. (American, born 1946), Study for Project Entitled "The City of the Walls: A Narrow City: A Thin City." 1978, pencil on vellum paper, 42 3/8 x 72,“ MoMA NYC


Richard Serra, Bilbao permanent collection (left); Torqued Elipses, 1997, Dia (right)spatial affinity-unity-dialectical intercourse of museum and sculpture. Both work to create a theatrical space, an embodied visual-spatial experience


Zaha Hadid (British b. Iraq, 1950) Wolfsburg, Germany, Science Center, 2002Deconstructivist Architectureand new digital design possibilities


Jackie Ferrara (US, b. 1924), sculpturespre-conceived in numerous detailed drawings as in architectural design

M160, masonite4 x 13 x 13” 1976

1-14 Ramp, masonite3 x 17 x 48”, 1974

A209 Zogg, 1980, Pine

112” H

A201 Ribat, 1979, wood

86 x 51 x 20 in


(left) Emilio Ambasz (American b.1943 Argentina) Fukuoka Prefectural Hall, section & aerial views, ink jet prints on watercolor paper with hand-drawing in colored pencil, 1998(right) Compare Jackie Ferrara sculpture, A201 Ribat, 1979


Alice Aycock, Functional and Fantasy Stair, 1996, San Francisco Main Library, 100 Larkin St., Periodicals Reading Room, 5th floor and 4th Floor AtriumAluminum, painted steel, stainless steel, and plaster sculpture. The “Functional and Fantasy Stair” wraps around a two-story sculptural cone with an appearance of unraveling itself. As it unravels, fragments of imaginary stairs peel away.

Cyclone Fragment


Frank Gehry (US b. Canada, 1929) Guggenheim Museum Bilbao, Bilbao, Spain, 1997compare (right) Aycock, Functional and Fantasy Stair, 1996


Tim Hawkinson (US, b. San Francisco, 1960) (left) Überorgan, 2007, woven polyethylene, nylon net, cardboard tubing, and various mechanical components. Getty installation (Santa Monica), 2007. In this version it interacts with the modernist white walls, travertine, and glass of Richard Meier's architecture

Überorgan2000

at Mass MoCA (right

top and bottom)

Sound and air controls


Emilio ambasz la casa de retiro espiritual house of spiritual retreat 1979 cordoba spain
Emilio Ambasz, La Casa de Retiro Espiritual (House of Spiritual Retreat)1979 Cordoba, Spain


Ambasz, photograph from exhibition catalogue, MoMA NYC

“In Depth: The House of Spiritual Retreat,” 2006


Learning from Las Vegas, 1972Robert Venturi, Denise Scott Brown and Steven IzenourLearning from Las Vegas marked the historical origin of postmodern architecture. The book created a controversy in 1972 by calling for architects to be more receptive to the vernacular, the tastes and values of "common" people, and less immodest in their erections of "heroic," self-aggrandizing monuments.

"A roadway could become a city. A building

could become a sign. In no place at all,

someplace could be created. That is Las Vegas' genius.“

from Learning from Las Vegas

Gropius, Bauhaus, 1925-6, an icon of International Style modern architecture


Postmodern “Vernacular” ArchitectureFrank Gehry, (top left) Fishdance Restaurant, Kobe, Japan, 1987(left below) Gehry and Claes Oldenburg, Chiat-Day Building, 1986, Venice, California(right) Anonymous, Duck Restaurant, from Learning from Las Vegas

An advertising agency


Gehry house by frank gehry at santa monica california 1978 deconstructive domestic architecture
Gehry House, by Frank Gehry, at Santa Monica, California, 1978“Deconstructive” domestic architecture


Gordon Matta-Clark 1978 (US, 1943–1978), Splitting, 1974Matta-Clark cut through (with a chain saw) a condemned suburban two-story home in Englewood, New Jersey, splitting it down the middle. http://www.ubu.com/film/gmc_splitting.html

“anarchitecture” (anarchy + architecture)

Undoes the “home” as place of security


Gordon Matta-Clark 1978, Splitting, 1974, chromogenic prints mounted on board, 40 x 30 in. “non-u-mental” - “to convert a place into a state of mind”


Matta-Clark, 1978Conical Intersect, 1974, near the Pompidou Center (Beaubourg), two townhouses dated 1699 in the First Arrondissement, Paris


Cornelia Parker 1978 (English b. 1956 - a “YBA”: Young British Artist), Cold Dark Matter: An Exploded View  1991, a garden shed that had been filled with domestic objects by the artist and exploded by the British Army at her request. Below left is shed prior to explosion.

detail

Refer to Gil Perry’s “Dream Houses:

Installations and the Home”


Cornelia Parker 1978, Mass (Colder Darker Matter), 1997, Charcoal retrieved from a church struck by lightning (Baptist Church of Lytle, Texas), approximately 156 x 126 x 126”

Detail


Louise Bourgeois 1978 (French-American b. 1911) (left) with sculpture on roof of NYC apartment building, c.1944(center) Femme Maison (Woman House) 1947, ink on paper(right) The Listening One 1947-9. bronze (cast in the late 1980s)


(left top) 1978 Alberto Giacometti (Swiss, 1901-1966), Suspended Ball, plaster & metal, 1930(left below) Jean Arp (Alsace-French,1886-1966), Head with 3 Annoying Objects, 1930Compare (right) Bourgeois, The Destruction of the Father, plaster, latex, wood & fabric, 93 X 142 X 97,” installation, 1974


(left) 1978Meret Oppenheim, Object (Breakfast in Fur), fur-covered cup, saucer, and spoon, 1936(right top) Bourgeois, Janus Fleuri, bronze,10 in H , 1968 (left below) Giacometti, Woman Spoon (Femme cuillère), bronze, 56 in. H, 1926 (right below) Bourgeois, Femme Couteau (Woman Knife), carved pink marble, 9x7x12cm, 1969-70


(left) Traditional wunkirmian ladle, Dan people, Liberia or Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts.

Giacometti

Bourgeois


Bourgeois two cells from passages dangereux mixed media installation 1997
Bourgeois Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts., two cells from Passages Dangereux, mixed media installation, 1997


Bourgeois Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts., Spider, steel and mixed media, 1996


Bourgeois Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts., Maman, 35 ft H,

Tate London, 1999


Hatoum light at the end 1989 london iron frame and six electric heating elements
Hatoum Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts., Light at the End, 1989, London, iron frame and six electric heating elements


Franz von Stuck Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts., Sin, 1893

Femme Fatale


Mona Hatoum Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts. (Palestinian, born in Lebanon, London-based, 1952), Light Sentence (two different times), 1992, wire mesh lockers, slow-moving motorized light bulb, 198 x 185 x 490 cm


Hatoum corps etranger foreign body video installation 1997
Hatoum Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts., Corps Etranger (Foreign Body), video installation, 1997


Andrea zittel us b 1965 with wagon station 2005 right at a z west near joshua tree california
Andrea Zittel Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts. (US, b. 1965) with Wagon Station, 2005 (right) at A-Z West near Joshua Tree, California


Zittel a z homestead unit 2001
Zittel Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts., A-Z Homestead Unit, 2001


Zittel a z escape vehicles 2005
Zittel, Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts.A-Z Escape Vehicles, 2005


Rachel whiteread british b 1963 house east london 1993 4
Rachel Whiteread Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts. (British b. 1963) House [East London], 1993-4


Rachel whiteread house 1993 left before and after casting below casting process
Rachel Whiteread Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts., House, 1993, (left) before and after casting(below) casting process


Demolition of Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts.House

on January 11, 1993


Rachel Whiteread Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts., DemolishedC: Trowbridge Estate, London E9; Hannington Point; Hilmarton Point; Deverill Point; June 1995 1996Demolished documents the destruction of tower blocks in three different housing estates in Hackney, East London, between 1993 and 1995, “‘something that is going to be completely forgotten... the detritus of our culture.”


Whiteread Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts., Untitled (Stairs), mixed media, 3750 x 220 x 5800 mm , 2001 (compare left) Bruce Nauman, A Cast of the Space Under My Chair, 1965-68


Whiteread Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts., Embankment, Tate Modern Turbine Hall, London, 2005-200614,000 translucent polyethylene white cubes cast from cardboard boxes in a gallery 500 feet long


Whiteread embankment tate modern turbine hall installation 2005 2006
Whiteread Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts., Embankment, Tate Modern Turbine hall installation, 2005-2006


Doris Salcedo Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts. (Colombian b.1958 ), Unland, 1995-18; installation view, Site Santa Fe. Each of the three works was formed by combining two mismatched table halves into one unit. Taking over a year to complete each sculpture, the artist incorporated organic and domestic materials--human hair, silk, and a tiny metal bed

Detail with doll bed

Thousands of tiny holes are woven by hand

with hair and thread


Doris salcedo defiant detail sfmoma installation 1992 2004 shoes animal fiber and surgical thread
Doris Salcedo Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts., Defiant (detail), SFMoMA installation, 1992-2004, shoes, animal fiber, and surgical thread


Salcedo untitled 1995 wooden furniture cement hair and domestic materials
Salcedo Cote d’Ivoire, carved to represent an individual venerated woman in her youth whose status derives from their hospitality. Compare concepts., Untitled, 1995, wooden furniture, cement, hair and domestic materials


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