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An important resource for scholars of contemporary art and architecture, this volume considers contemporary art that takes architecture as its subject. Concentrated on works made since 1990, Contemporary Art About Architecture: A Strange Utility is the first to take up this topic in a sustained and explicit manner and the first to advance the idea that contemporary art functions as a form of architectural history, theory, and analysis. Over the course of fourteen essays by both emerging and established scholars, this volume examines a diverse group of artists in conjunction with the vernacular, canonical, and fantastical structures engaged by their work. I? Manglano-Ovalle, Matthew Barney, Monika Sosnowska, Pipo Nguyen-duy, and Paul Pfeiffer are among those considered, as are the compelling questions of architecture's relationship to photography, the evolving legacy of Mies van der Rohe, the notion of an architectural unconscious, and the provocative concepts of the unbuilt and the unbuildable. Through a rigorous investigation of these issues, Contemporary Art About Architecture calls attention to the fact that art is now a vital form of architectural discourse. Indeed, this phenomenon is both pervasive and, in its individual incarnations, compelling - a reason to think again about the entangled histories of architecture and art.
In Making Dystopia, distinguished architectural historian James Stevens Curl tells the story of the advent of architectural Modernism in the aftermath of the First World War, its protagonists, and its astonishing, almost global acceptance after 1945. He argues forcefully that the triumph of architectural Modernism in the second half of the twentieth century led to massive destruction, the creation of alien urban landscapes, and a huge waste of resources. Moreover, the coming of Modernism was not an inevitable, seamless evolution, as many have insisted, but a massive, unparalled disruption that demanded a clean slate and the elimination of all ornament, decoration, and choice. Tracing the effects of the Modernist revolution in architecture to the present, Stevens Curl argues that, with each passing year, so-called 'iconic' architecture by supposed 'star' architects has become more and more bizarre, unsettling, and expensive, ignoring established contexts and proving to be stratospherically remote from the aspirations and needs of humanity. In the elite world of contemporary architecture, form increasingly follows finance, and in a society in which the 'haves' have more and more, and the 'have-nots' are ever more marginalized, he warns that contemporary architecture continues to stack up huge potential problems for the future, as housing costs spiral out of control, resources are squandered on architectural bling, and society fractures. This courageous, passionate, deeply researched, and profoundly argued book should be read by everyone concerned with what is around us. Its combative critique of the entire Modernist architectural project and its apologists will be highly controversial to many. But it contains salutary warnings that we ignore at our peril. And it asks awkward questions to which answers are long overdue.
An important resource for scholars of contemporary art and architecture, this volume considers contemporary art that takes architecture as its subject. Concentrated on works made since 1990, Contemporary Art About Architecture: A Strange Utility is the first to take up this topic in a sustained and explicit manner and the first to advance the idea that contemporary art functions as a form of architectural history, theory, and analysis. Over the course of fourteen essays by both emerging and established scholars, this volume examines a diverse group of artists in conjunction with the vernacular, canonical, and fantastical structures engaged by their work. I? Manglano-Ovalle, Matthew Barney, Monika Sosnowska, Pipo Nguyen-duy, and Paul Pfeiffer are among those considered, as are the compelling questions of architecture's relationship to photography, the evolving legacy of Mies van der Rohe, the notion of an architectural unconscious, and the provocative concepts of the unbuilt and the unbuildable. Through a rigorous investigation of these issues, Contemporary Art About Architecture calls attention to the fact that art is now a vital form of architectural discourse. Indeed, this phenomenon is both pervasive and, in its individual incarnations, compelling - a reason to think again about the entangled histories of architecture and art.
Drawing Futures brings together international designers and artists for speculations in contemporary drawing for art and architecture.Despite numerous developments in technological manufacture and computational design that provide new grounds for designers, the act of drawing still plays a central role as a vehicle for speculation. There is a rich and long history of drawing tied to innovations in technology as well as to revolutions in our philosophical understanding of the world. In reflection of a society now underpinned by computational networks and interfaces allowing hitherto unprecedented views of the world, the changing status of the drawing and its representation as a political act demands a platform for reflection and innovation. Drawing Futures will present a compendium of projects, writings and interviews that critically reassess the act of drawing and where its future may lie.Drawing Futures focuses on the discussion of how the field of drawing may expand synchronously alongside technological and computational developments. The book coincides with an international conference of the same name, taking place at The Bartlett School of Architecture, UCL, in November 2016. Bringing together practitioners from many creative fields, the book discusses how drawing is changing in relation to new technologies for the production and dissemination of ideas.
This new account of international modernism explores the complex motivations behind this revolutionary movement and assesses its triumphs and failures. The work of the main architects of the movement such as Frank Lloyd Wright, Adolf Loos, Le Corbusier, and Mies van der Rohe is re-examined shedding new light on their roles as acknowledged masters. Alan Colquhoun explores the evolution of the movement fron Art Nouveau in the 1890s to the megastructures of the 1960s, revealing the often contradictory demands of form, function, social engagement, modernity and tradition.
Richly illustrated and clearly focused, this book surveys the genesis, development, and culmination of modern European/American painting, sculpture, architecture, and conceptual art--from postimpressionism through the most recent developments in the twenty-first century.
A compelling examination of the art museum from a renowned director, this sweeping book explores how architecture, vision, and funding have transformed art museums around the world over the past eighty years. How have art museums changed in the past century? Where are they headed in the future? Charles Saumarez Smith is uniquely qualified to answer these questions, having been at the helm of three major institutions over the course of his distinguished career. For The Art Museum in Modern Times, Saumarez Smith has undertaken an odyssey, visiting art museums across the globe and examining how the experience of art is shaped by the buildings that house it. His story starts with the Museum of Modern Art in New York, one of the first museums to focus squarely on the art of the present rather than the past. When it opened in 1939, MoMA’s boldly modernist building represented a stark riposte to the neoclassicism of most earlier art museums. From there, Saumarez Smith investigates dozens of other museums, including the Tate Modern in London, the Getty Center in Los Angeles, the West Bund Museum in Shanghai, and the Centre Pompidou in Paris. He explores our shifting reasons for visiting museums, changes to the way exhibits are organized and displayed, and the spectacular new architectural landmarks that have become destinations in their own right. Global in scope yet full of personal insight, this fully illustrated celebration of the modern art museum will appeal to art lovers, museum professionals, and museum goers alike.
The Kabbalistic idea of creation, as expressed through light, space and geometry, has left its unmistakable mark on our civilization. Drawing upon a wide array of historical materials and images of contemporary art, sculpture and architecture, architect Alexander Gorlin explores the influence, whether actually acknowledged or not, of the Kabbalah on modern design.
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