Loading in 2 Seconds...
Loading in 2 Seconds...
Post-Minimal Architectural Sculpture Sculptural Architecture. New Museum of Contemporary Art, NYC designed by SANAA: Kazuyo Sejima & Ryue Nishizawa.
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
M160, masonite4 x 13 x 13” 1976
1-14 Ramp, masonite3 x 17 x 48”, 1974
A209 Zogg, 1980, Pine
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.
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
at Mass MoCA (right
top and bottom)
Sound and air controls
“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
Gordon Matta-Clark (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, Splitting, 1974, chromogenic prints mounted on board, 40 x 30 in. “non-u-mental” - “to convert a place into a state of mind”
Cornelia Parker (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.
Refer to Gil Perry’s “Dream Houses:
Installations and the Home”
Cornelia Parker, Mass (Colder Darker Matter), 1997, Charcoal retrieved from a church struck by lightning (Baptist Church of Lytle, Texas), approximately 156 x 126 x 126”
Louise Bourgeois (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) 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) Meret 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.
Tate London, 1999
Mona Hatoum (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
on January 11, 1993
Rachel Whiteread, 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, 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, Embankment, Tate Modern Turbine Hall, London, 2005-200614,000 translucent polyethylene white cubes cast from cardboard boxes in a gallery 500 feet long
Doris Salcedo (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