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Patricia Johanson was one of the earliest minimalist painters and a friend of Tony Smith, Robert Smithson, Robert Morris, all artists trying to supersede the Modernist agenda for the arts set by Clement Greenberg. In 1969 the course of her career was dramatically deflected by an unexpected garden commission from the House & Garden magazine. It resulted in 150 garden proposals (146 of which survived and are presented here) and seven companion essays. Neither these proposals nor the essays have ever been published or exhibited as an entity before this book. The House & Garden Commission redefined the course of Johanson's art. She immediately gave up painting and started to create art in landscapes through a highly personal way. This commission reveals an unknown development of the late 60s New York Art world, putting forth a renewal of garden art in defiance of well known cultural trends of the time: formalism and modernism, earthworks and environmentalism. A comparison between Johanson and Scottish poet-gardner Ian Hamilton Finlay demonstrates two parallel attempts to re-instate an ethical dimension in the arts and their profound differences, since Finlay builds an intimate garden upon a return to the classical Mediterranean world, while Johanson translateds non-Western natural ethics and aesthetics into answers to issues of contemporary urban society. Thus the House & Garden Commission proposes, beyond a renewal of garden design, a new role for the visual arts in pursuit of the unfinished project of modernity.
Impeccably researched and richly detailed, this book addresses the issue of translation between visual arts and landscape design in the 50-year career of American painter and environmental artist Patricia Johanson. Exploring the artist's search for an art of the real as a member of the postwar New York art world, it demonstrates that visual translation cannot be understood solely through the works of art, instead attention must be paid to the process of creation. This book is an insightful attempt to confront a crucial question in the history of art through the work of a contemporary artist.
Patricia Johanson, one of the world's leading eco-artists, insists that art can heal the earth. Using an amazing mixture of art, landscape architecture and science, she creates large-scale public projects that prove her radical yet utterly practical vision. Johanson's graceful designs for sewers, highways, parks and other functional projects around the world link fragmented ecosystems and create conditions that allow endangered species to thrive. This long-awaited first monograph covers all of Johanson's major public projects and looks at their implications for art, architecture, landscape design and urban planning. Includes Johanson's personal history and creative development, drawings, reflections and ideas to inspire younger artists.
Impeccably researched and richly detailed, this book addresses the issue of translation between visual arts and landscape design in the 50 more years career of Patricia Johanson, an important artist in the second half of the twentieth-century. Examining the artist?s search for an "art of the real" as a member of the post-World War II New York art world, and how such pursuit has led her from painting and sculpture to public garden and environmental art, Xin Wu argues for the significance of the process of art creation, challenging the centrality of art objects. This book is an insightful study to confront a crucial question in the history of art through the work of a contemporary artist. It therefore converses with art historians and critics alike, as well as advanced readers of twentieth-century art. Following Johanson's artistic development, from its formation in the 1960s American art scene to the very present day, across the fields of art, architecture, garden, civil engineering and environmental aesthetics, it investigates the process of creation in a transdisciplinary perspective, and reveals a view of art as a domain of exploration of key issues for the contemporary world. The artist's concept of nature is highlighted, and particular impacts of Chinese aesthetics and thought unveiled. Based on extensive analysis of unpublished private archives, Xin Wu offers us the first ever comprehensive scholarly interpretation of Patricia Johanson's oeuvre, including drawings, paintings, sculptures, installations, garden proposals, and built and unbuilt projects in the United States, Brazil, Kenya, and Korea.
Using a variety of critical perspectives, this text demonstrates a renewal of garden design and directions for garden aesthetics, analysing projects by Fernando Chacel (Brazil), Andy Goldsworthy (Great Britain), Charles Jencks (Great Britain), Patricia Johanson (U.S.) and Bernard Lassus (France).
During the late 1920s and early 1930s, architectural photographer Samuel H. Gottscho created a portrait of New York as a modern metropolis. This book presents more than 170 images of the city and provides a window to New York architecture and design of that era.
"A native of the Rust Belt whose own life resonates with these stories, Rotella has gone to the home turf of his characters, hanging out in boxing gyms and blues clubs, riding along with cops and moviemakers, discussing the future of Brockton with a visionary artist and a pitbull-fancying janitor who both plan to save the city's soul. These people make culture with their hands, and hands become an expressive metaphor for Rotella as he traces the links between their individual talents and the urban scenes in which they flourish. His writing connects what happens on the street to the larger story of urban transformation, especially the shift from a way of life that demanded individuals be "good with their hands" to one that depends on the intellectual and social skills fostered by formal education and service work."
Aesthetic sensibility rests on perceptual experience and characterizes not only our experience of the arts but our experience of the world. Sensibility and Sense offers a philosophically comprehensive account of humans' social and cultural embeddedness encountered, recognized, and fulfilled as an aesthetic mode of experience. Extending the range of aesthetic experience from the stone of the earth's surface to the celestial sphere, the book focuses on the aesthetic as a dimension of social experience. The guiding idea of pervasive interconnectedness, both social and environmental, leads to an aesthetic critique of the urban environment, the environment of daily life, and of terrorism, and has profound implications for grounding social and political values. The aesthetic emerges as a powerful critical tool for appraising urban culture and political practice.