Post-MinimalArchitectural SculptureSculptural Architecture

http://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, NYCdesigned 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

Quiz

Please put everything away except pens/pencils and notebook paper. Write your name, Art 112 or 212

and today’s date (April 8, 2008) on top.

Identify this artwork: Artist’s full name and nationality, title, location, date. Write everything you know about it and the artist’s intentions from your on-site visit, the video, Sculpture of the Eighties, lecture, and Fineberg (textbook). Do not just describe what can be seen here (except to show how form conveys content).

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 Architecture

and new digital design possibilities

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

as in architectural design

A201 Ribat, 1979, wood86 x 51 x 20 in

M160, masonite4 x 13 x 13” 1976

1-14 Ramp, masonite3 x 17 x 48”, 1974

A209 Zogg, 1980, Pine112” H

(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 Atrium

Aluminum, 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

Überorgan 2000 at Mass MoCA (righttop and bottom)

Sound and air controls

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 Izenour

Learning 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

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”

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

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.

detail

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”

Detail

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.

Giacometti

Bourgeois

Bourgeois, two cells from Passages Dangereux, mixed media installation, 1997

Bourgeois, Spider, steel and mixed media, 1996

Bourgeois, Maman, 35 ft H, Tate London, 1999

Hatoum, Light at the End, 1989, London, iron frame and six electric heating elements

Franz von Stuck, Sin, 1893Femme Fatale

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

Hatoum, 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

Zittel, A-Z Homestead Unit, 2001

Zittel, A-Z Escape Vehicles, 2005

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

Rachel Whiteread, House, 1993, (left) before and after casting

(below) casting process

Demolition of House on January 11, 1993

Rachel Whiteread, Demolished C: Trowbridge Estate, London E9; Hannington Point; Hilmarton Point; Deverill Point; June 1995 1996

Demolished 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

Whiteread, Embankment, Tate Modern Turbine hall installation, 2005-2006

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

Thousands of tiny holes are woven by handwith hair and thread

Detail with doll bed

Doris Salcedo, Defiant (detail), SFMoMA installation, 1992-2004, shoes, animal fiber, and surgical thread

Salcedo, Untitled, 1995, wooden furniture, cement, hair and domestic materials