New Museum of Contemporary Art, NYC designed by SANAA: Kazuyo Sejima & Ryue Nishizawa - PowerPoint PPT Presentation

slide1 n.
Download
Skip this Video
Loading SlideShow in 5 Seconds..
New Museum of Contemporary Art, NYC designed by SANAA: Kazuyo Sejima & Ryue Nishizawa PowerPoint Presentation
Download Presentation
New Museum of Contemporary Art, NYC designed by SANAA: Kazuyo Sejima & Ryue Nishizawa

play fullscreen
1 / 36
New Museum of Contemporary Art, NYC designed by SANAA: Kazuyo Sejima & Ryue Nishizawa
393 Views
Download Presentation
greta
Download Presentation

New Museum of Contemporary Art, NYC designed by SANAA: Kazuyo Sejima & Ryue Nishizawa

- - - - - - - - - - - - - - - - - - - - - - - - - - - E N D - - - - - - - - - - - - - - - - - - - - - - - - - - -
Presentation Transcript

  1. Post-MinimalistArchitectural SculptureSculptural Architecturehttp://www.nytimes.com/packages/khtml/2007/03/27/arts/artsspecial/20070328_BIRTH_AUDIOSS.html?adxnnl=1&adxnnlx=1175178451-CKgno4UBJdFF1+NuoR9TeA New Museum of Contemporary Art, NYC designed by SANAA: Kazuyo Sejima & Ryue Nishizawa

  2. 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)

  3. 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

  4. Alice Aycock (U.S. b. 1946) Untitled, 1996. Aluminum, motors, vinyl, mirrored Plexiglas, 28’ high x 30’ wide x 110’ long, 12’ above floorLocation: Sacramento Convention CenterFabricator: Dover Tank and Plate Co.

  5. (left) Frank Gehry (US, b. Canada, 1929) Guggenheim Museum Bilbao, Bilbao, Spain, 1997(right) AliceAycock, Functional and Fantasy Stair, 1996. San Francisco Main Library, 100 Larkin St., 5th floor and 4th Floor Atrium, aluminum, painted steel, stainless steel, and plaster sculpture. “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.” (Aycock)

  6. Alice Aycock, Functional and Fantasy Stair, San Francisco Public Library,1996

  7. Richard Serra, Torqued Elipses, Guggenheim Bilbao, 1997 spatial affinity-unity-dialectical intercourse of museum and sculpture. Both work to create a theatrical space, an embodied visual-spatial experience Serra installation at at Dia: Beacon, NY

  8. 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 (Modernist) 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 modern architecture

  9. Modernist housing developments outside of Paris built in the 1950s and ’60s

  10. The 1972 demolition of the Pruitt-Igoe housing project in St Louis, USA, built in 1952Modernist mass housing projects can be found in every major city worldwide. Failed utopianism

  11. Postmodern “Vernacular” (Pop) 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

  12. Frank Gehry, Gehry House, 1002 22nd Street, Santa Monica, California, 1978“Deconstructive” domestic architecture. Use of industrial vernacular materials like chain link fencing and corrugated steel were added to a 1920’s bungalow

  13. Zaha Hadid (British, b. Iraq, 1950) Wolfsburg, Germany, Science Center, 2002Form made possible by new computer design/engineering possibilities. See course website“Readings” for video interview of Hadid.

  14. Compare (left) Hadid’s architetural design with 1917 Russian Suprematist painting by Kasimir Malevich (right). In 2004 Zaha Hadid became the first woman to receive the Pritzker Architecture Prize

  15. 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) - the term coined by the artist to suggest his intention to challenge the idea of “home” as place of security

  16. 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”

  17. Gordon Matta-Clark, Conical Intersect, 1974, near the Pompidou Center (Beaubourg), two townhouses dated 1699 located in the first arrondissement, Paris

  18. Cornelia Parker (UK, 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 a facsimile of the shed prior to explosion. detail

  19. Cornelia Parker, Anti-Mass, a 3-D explosion of suspended debris constructed of the burned remains of a Southern Black Baptist church destroyed by arsonists, approximately 156 x 126 x 126” De Young Museum, San Francisco Detail

  20. Rachel Whiteread (British b. 1963) House [East London], 1993-4

  21. Rachel Whiteread, House, 1993, (left) before and after casting(below) casting process

  22. Demolition of House on January 11, 1993

  23. Do-Ho Suh (Seoul, Korea, b.1962) Seoul Home/L.A. Home/New York Home/Baltimore Home/London Home/Seattle Home, 1999, Silk, 149 x 240 x 240 inches, Installation view at the Seattle Asian Art Museum, Seattle, 2002, Collection of the Museum of Contemporary Art, Los Angeles

  24. Do-Ho Suh, Seoul Home/L.A. Home/New York Home/Baltimore Home/London Home/Seattle Home 1999, silk, 149 x 240 x 240 inches, Installation view at the Korean Cultural Center, Los Angeles, 1999

  25. Doris Salcedo (Bogotá, Colombia, 1958), Unland: irreversible witness, 1995-1998, wood, cloth, metal, and hair

  26. http://www.sfmoma.org/artwork/26592#For more information about Salcedo’s process and intentions San Francisco Museum of Modern Art “The way that an artwork brings materials together is incredibly powerful. Sculpture is its materiality. I work with materials that are already charged with significance, with meaning they have acquired in the practice of everyday life…then, I work to the point where it becomes something else, where metamorphosis is reached.” Doris Salcedo

  27. Doris Salcedo, Shibboleth, 2008, Turbine Hall, Tate

  28. http://channel.tate.org.uk/media/28291797001 Video of Salcedo discussing her intentions regarding Shibboleth

  29. Krzysztof Wodiczko (Polish, b. 1943), Homeless Vehicle Project, New York, 1988. Canadian passport, lives in New York and Boston, works at MIT

  30. Krzysztof Wodiczko, The Hiroshima Projection, 1999, public projection at the A-Bomb Dome, Hiroshima, Japan. Motion images of the hands of fourteen people, including survivors of the atomic bomb (Japanese as well as Koreans), were projected upon a river embankment below the Dome along with their voices.

  31. Image from the CECUT Project, Tijuana, Mexico, 2001 by Krzysztof Wodiczko, Adam Whiton, Sung Ho Kim. "The purpose was to use progressive technology to give voice and visibility to the women who work in the "maquiladora" industry in Tijuana. We designed a headset that integrated a camera and a microphone allowing the wearer to move while keeping the transmitted image in focus. The headset was connected to two projectors and loudspeakers that transmitted the testimonies live. The women's testimonies focused on a variety of issues including work related abuse, sexual abuse, family disintegration, alcoholism, and domestic violence. These problems were shared live by the participants, in a public plaza on two consecutive nights, for an audience of more than 1,500. projections on the 60-foot diameter facade of the Omnimax theater at the Centro Cultural Tijuana (CECUT)

  32. Andrea Zittel (US, b. 1965) with Wagon Station, 2005 (right) at A-Z West near Joshua Tree, California Zittel received a BFA in painting and sculpture from San Diego State University in 1988

  33. Andrea Zittel, A-Z Escape Vehicles, 2005 http://www.pbs.org/art21/artists/andrea-zittel