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"The word is out that miracles still occur, and that a major one is happening here ... 'Have you seen Bilbao?' In architectural circles, the question has acquired the status of a shibboleth. Have you seen the light? Have you seen the future?" Herbert Muschamp's future is now. What can we learn from "The Guggenheim Effect"?" "Hailed as an "instant landmark," Gehry's Bilbao Guggenheim brought a new sense of relevance to architecture in the transformation of urban landscapes. It was the story of the architect as hero and, as Greeks believed, of architecture as the first art-arche. Bilbao was doing for the Basques what the Sydney Opera House had done for Australia. Gehry, while complaining of being "geniused to death," became not only the master architect but the master artist. As a result, after Bilbao, every city has dreamed of its own Guggenheim effect. Gehry's optimistic artichoke amid Bilbao's post-industrial ruin has become an icon of what architecture can do for a city in decline. Warhol seems to be right in his prognostication that every museum should become a supermarket. Yet Hal Foster wondered, "Why all the hoopla?" Wasn't Gehry's museum risking the most problematic aspects of modernist monumentality and post-modernist faux populism?" "In this volume, artists (Fraser, Haacke, Muntadas, Sekula), architecture critics (Colomina, Gilbert-Rolfe), urban planners (Azua), art historians (Guilbaut, Guasch, Moxey, Welchman), museum specialists (Camara, Viar), art and tourism writers (Lippard, MacCannell), and anthropologists (Zulaika) discuss the various aspects of the Bilbao Guggenheim from an interdisciplinary perspective." -- Book Jacket.
Essays by Hal Foster and Carmen Gim nez.
Case studies / Francesca Esmay, Ted Mann, and Jeffrey Weiss -- Decommission. Lost and found : history, policy, works / Francesca Esmay, Ted Mann, and Jeffrey Weiss -- Endgame / Martha Buskirk -- Enforcing the work of art / Virginia Rutledge -- Where eoes the work reside? a conversation between Martha Buskirk and Virginia Rutledge -- Selected correspondence and PCI interviews.
Art museums, cases of beauty and calm in a fast-paced world, have emerged in recent decades as the most vibrant and popular of all cultural institutions. But as they have become more popular, their direction and values have been contested as never before. This engaging thematic history of the art museum from its inception in the eighteenth century to the present offers an essential framework for understanding contemporary debates as they have evolved in Europe and the United States.
Edited by Marilyn JS Goodman and Natalie K. Lieberman.
Published to accompany a major retrospective exhibition - the first in the United States in more than 35 years and the most comprehensive ever mounted - this title showcases the pioneering work of Italian artist Alberto Burri (1915-1995). Exploring the beauty and complexity of Burri's process-based works, the exhibition positions the artist as a central and singular protagonist of postwar art. Burri is best known for his series of Sacchi (sacks) made of stitched and patched remnants of torn burlap bags, often combined with fragments of discarded clothing. Far less familiar are his other series, which this exhibition represents in depth: Catrami (tars), Gobbi (hunchbacks), Muffe (molds), Bianchi (whites), Legni (woods), Ferri (irons), Combustioni plastiche (plastic combustions), Cretti and Cellotex works. Burri's work both demolished and reconfigured the Western pictorial tradition, while reconceptualizing modernist collage. Using unconventional materials, he moved beyond the painted surfaces and mark making of American Abstract Expressionism and European Art Informel. Burri's unprecedented approaches to manipulating humble substances - and his abject picture-objects - also profoundly influenced Arte Povera, Neo-Dada and Process art.
A groundbreaking study of visionary artist Hilma af Klint. When Swedish artist Hilma af Klint died in 1944 at the age of 81, she left behind more than a thousand paintings and works on paper that she kept largely private during her lifetime. Believing the world was not yet ready for her art, she stipulated that it should remain unseen for another 20 years. But only in recent decades has the public had a chance to reckon with af Klint's radically abstract painting practice - one which predates the work of Vasily Kandinsky and other artists widely considered trailblazers of modernist abstraction. Accompanying the first major survey exhibition of the artist's work in the United States, Hilma af Klint represents her groundbreaking painting series while expanding recent scholarship to present the fullest picture yet of the artist's life and work. Essays explore the social, intellectual, and artistic milieu of af Klint's 1906 break with figuration and her subsequent development, placing her in the context of Swedish modernism and folk art traditions, contemporary scientific discoveries, and spiritualist and occult movements. A roundtable discussion among contemporary artists, scholars, and curators considers af Klint's sources and relevance to art in the 21st century. The volume also delves into her unrealized plans for a spiral-shaped temple in which to display her art - a wish that finds a fortuitous answer in the Guggenheim Museum's rotunda, the site of the forthcoming exhibition.
Twenty-first-century Kandinsky: a reappraisal of the Russian abstractionist's art, life and thought through the extraordinary collection of the iconic museum One of the foremost artistic innovators of abstraction in the 20th century, Vasily Kandinsky sought to liberate painting from its ties to the natural world and promote the spiritual in art. This richly illustrated publication looks at Kandinsky anew, through a critical lens, reframing our understanding of this vital figure of European modernism, who was also a prolific aesthetic theorist and writer. A series of thematic essays considers his engagement with avant-garde artistic communities including the Bauhaus, his relationship to improvisation and music, his travels in Europe and Russia, and the influences behind his self-declared anarchist mode of abstraction, among other topics. Tracing Kandinsky's life and work through his years in Moscow, several cities in Germany, and Paris, the texts offer striking new insights into an artist whose creative production and style were intimately tied to a sense of place--and displacement--and evolved amid the political and social upheavals catalyzed by the Russian Revolution and World Wars I and II. Kandinsky's history is closely linked to that of the Guggenheim Museum. Solomon R. Guggenheim began collecting the artist's work in 1929; a year later, they met at the Bauhaus, in Dessau. This book features more than half of the museum's deep holdings of works by Kandinsky, presenting the full arc of his artistic development and career. Included are paintings in oil and oil with sand, reverse-glass paintings, as well as woodcuts, watercolors and drawings on paper. An illustrated chronicle of Kandinsky's life and career, including selected exhibitions and publications, rounds out the volume.