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Guggenheim Architecture

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Architectural info on the Guggenheim and artists in the Under the Same Sun Exhibition

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Guggenheim Architecture

  1. 1. DONNA CONLON AND JONOTHAN HARKER Do Now: Now that you’ve sampled a bit of their creative process, do you see their artwork any differently?
  2. 2. ARCHITECTURE T H E A R T OR P R ACT I CE OF D E S I GN I NG A N D CON S T R UCT I NG B U I L D I NGS Zayed National Museum By Foster + Partners Abu Dhabi Expected completion 2016
  3. 3. ARCHITECTURE “MODERN” =ART STYLES OF 1920-60’S What kind you like 1. “contemporary” structure 2. Old factories 3. Zaha Hadid (so amazing, like mad swirly and such) 4. Why you like it: 1. Beautiful aesthetics 2. what it looks like. “style” 2. 3. 4. What kind you dislike 1. “Edgy” or “boxy” brick apartment buildings….they’re like too basic (for joe) 2. When the façade has no features. “the face of the building” 3. Cracky paint falling off 4. No windows just walls. 5. Only windows. Why you dislike it: 1. 2. 3. 4.
  4. 4. HTTP://WWW.SLIDESHARE.NET/KOZA KARTCLASS First presentation has been uploaded!
  5. 5. THE GUGGENHEIM NEW YORK Built in 1959 Designed by Frank Lloyd Wright Signature material: Concrete Style: Modernism
  6. 6. THE GUGGENHEIM NEW YORK Built in 1959 Designed by Frank Lloyd Wright Signature material: Concrete Style: Modernism Wasily Kandinsky: Sketch for Composition VII, 1913
  7. 7. THE GUGGENHEIM BILBAO, SPAIN Built in 1997 Designed by Frank Gehry Signature material: Titanium Style: Deconstructivist
  8. 8. THE GUGGENHEIM BILBAO, SPAIN Built in 1997 Designed by Frank Gehry Signature material: Titanium Style: Deconstructivist
  9. 9. THE GUGGENHEIM ABU DHABI, UNITED ARAB EMIRATES (UAE) Finished by 2017 Designed by Frank Gehry Style: Deconstructivist
  10. 10. THE GUGGENHEIM ABU DHABI, UNITED ARAB EMIRATES (UAE) Finished by 2017 Designed by Frank Gehry Style: Deconstructivist
  11. 11. THE GUGGENHEIM HISTORY AND CONTROVERSY The Island of Happiness, or Saadiyat Island, will be the new cultural center of the United Arab Emirates and the Middle East. The island will feature a world class opera house designed by Zaha Hadid, a branch of the Guggenheim, and the Louvre, as well as a satellite campus for New York University. This efffort is being made to transform the UAE’s economy from one based on petroleum to one based on tourism and culture.
  12. 12. THE GUGGENHEIM HISTORY AND CONTROVERSY The question that remains is who do you get to build these massive structures in what was a desert only ten years ago?
  13. 13. MIGRANT WORKERS! Workers primarily come from Thailand, India, Bangladesh, Laos, Vietnam, Pakistan, and the Philippines. These are workers from very impoverished backgrounds with little formal education, and diverse skill levels.
  14. 14. The Changes that Gulf Labor. Org wants to see… 1. An end to recruitment fees and relocation costs paid by workers. 2. An end to the confiscation of worker passports by employers. (Though we recognize that this has appreciably improved in recent years.) 3. Poor and unsafe housing and living conditions, even in the Saadiyat Construction Village that is meant to embody the highest standards for worker welfare. 4. Lack of freedom to change jobs or to form trade unions for collective bargaining. 5. Lack of open platforms for workers to express grievances or abuses without fear of recriminatioN, dismissal, or deportation.
  15. 15. JUST AN AVERAGE SATURDAY NIGHT AT THE GUGGENHEIM… Finished by 2017 Designed by Frank Gehry Style: Deconstructivist
  16. 16. THE GUGGENHEIM HISTORY AND CONTROVERSY The United Arab Emirates is transforming their economy from one based on petroleum to one based on tourism and culture. Do they have the right to hire whoever they want to construct this? Do they have a right to pay workers so little? Does the UAE have to be responsible for the well being of these migrant workers? Keep in mind, that many western countries (including the USA) became major world players through the use of free labor aka SLAVERY….
  17. 17. Never been seen before, different from the norm, modern, contemporary, luxurious, extravagant, unique, prominent, important, dynamic, art inside of art, artistic, artistic,
  18. 18. AND NOW…MARTA MINUJÍN
  19. 19. CONSUMPTION! P8 WHAT DO YOU CONSUME? Food: Electricity, energy Oxygen Carbon PROTEIN POWDER!!!! RAWWWWW! Potassium Chia seeds Fries Calcium Waterrrrrr New england clam chowder (the white) MANHATTAN clam chowdaa (the red) DATA
  20. 20. CONSUMPTION! P3 WHAT DO YOU CONSUME? Luuuucky charms McChiggins Platanos! Advertisements projected at my FACE! Tamáles! The blood of my enemies (with hot sauce) Cheeseburgers (with hot sauce) Basketballs??? Or not. Fried oreos Fries I tend to buy like a lot of headphones. ICECREAAAAM A LOT OF FOSSIL FUEL….THROUGH ELECTRICITY
  21. 21. HOMEWORK FOR MONDAY Write down everything you consume from Friday evening through Monday Morning. Format: Thing you consume Time Date Bowl of rice and chicken 7pm Friday 9/19 A book 4:30pm Saturday 9/20 Breakfast sammich 8am Sunday 9/21
  22. 22. MARTA MINUJÍN El obelisco de pan dulce, Buenos Aires Sweet Bread Obelisk 1979 Iron structure covered covered with 30,000 Panettone Height: 98 ft. (30 m.)
  23. 23. MARTA MINUJÍN El obelisco de pan dulce, Buenos Aires Sweet Bread Obelisk 1979 Iron structure covered covered with 30,000 Panettone Height: 98 ft. (30 m.)
  24. 24. El obelisco de pan dulce, Buenos Aires Sweet Bread Obelisk 1979 Iron structure covered covered with 30,000 Panettone Height: 98 ft. (30 m.) MARTA MINUJÍN
  25. 25. OBELISKS FROM THE GREEK OBELISKOS TEKHENU WHAT THE PEOPLE WHO INVENTED THEM CALLED THEM Washington Monument Built by Americans in 1848-1884 555’ 5” tall Luxor Obelisk - Paris Built by Egyprtians circa 1400 BCE Given to the French in 1833
  26. 26. WASHINGTON MONUMENT Circa 1860
  27. 27. El obelisco de pan dulce, Buenos Aires Sweet Bread Obelisk 1979 Iron structure covered covered with 30,000 Panettone Height: 98 ft. (30 m.) MARTA MINUJÍN
  28. 28. MARTA MINUJÍN What ideas come to mind when you hear these words? Psychedelic Art Uses a lot of colors and I don’t know….it’s really trippy. ASSumption: hippy swirs, whorls, and colors. LIKE BRIGHT COLORS IN YA FACE COLORS LIKE RAINBOW VOMIT Pop Art Like celebrities, popular language like “SWAG” “YOLO” Common things that you see often. Trendy….seems unique at first but it’s really quite common. Bright colors, defined, hi-def. Takes popular CULTURE and transforms it into smething else.
  29. 29. MARTA MINUJÍN Psychedelic Art: music, culture, or visual art based on psychedelic or hallucinatory experiences. Typically vibrant in color and tone. Pop Art : Art based on Popular Culture and Mass Media, especially in critical or ironic ways. This is usually the antithesis of traditional fine art values. Low brow=high brow.
  30. 30. Parthenon of Books 1983 Iron structure and 30.000 books prohibited by the military. 50 x 98 x 40 ft. (15 x 30 x 12 m.). MARTA MINUJÍN
  31. 31. THE PARTHENON Also known as the Acropolis of Athens 438 BCE, marble ivory, gold Designed by Iktinos, Kallikrates, and Phidias (the MAN when it comes to Greek art) The Parthenon was a structure dedicated to the goddess Athena, who was the patron deity of the Athenian people. Construction began in 447 BC when the Athenian Empire was at the height of its power. It was completed in 438 BC although decoration of the building continued until 432 BC. It is one of the most important buildings of Ancient Greece.
  32. 32. Parthenon of Books 1983 Iron structure and 30.000 books prohibited by the military. 50 x 98 x 40 ft. (15 x 30 x 12 m.). MARTA MINUJÍN
  33. 33. MARTA MINUJIN Tower of Babel 2011 Iron structure and 30,000 books of different languages
  34. 34. FROM THE BOOK OF GENESIS 4 And they said, Go to, let us build us a city and a tower, whose top may reach unto heaven; and let us make us a name, lest we be scattered abroad upon the face of the whole earth. 5 And the Lord came down to see the city and the tower, which the children of men built. 6 And the Lord said, Behold, the people is one, and they have all one language; and this they begin to do: and now nothing will be restrained from them, which they have imagined to do. 7 Go to, let us go down, and there confound their language, that they may not understand one another's speech. 8 So the Lord scattered them abroad from thence upon the face of all the earth: and they left off to build the city. 9 Therefore is the name of it called Babel; because the Lord did there confound the language of all the earth: and from thence did the Lord scatter them abroad upon the face of all the earth. —Genesis 11:4–9[2] Example of a “ziggurat” structure In Confusion of Tongues by Gustave Doré, 1865
  35. 35. As a pioneer of happenings, MARTA MINUJÍN performance art, soft sculpture, and video, Marta Minujín pursues a varied and bizarre practice that shows a profound distrust of the collectible art object. Her work is not meant to be bought and sold in the traditional sense. She often uses ephemeral materials such as cardboard, fabric, and food in work that is both monumental and fragile.
  36. 36. MARTA MINUJÍN Letter from Marta Minujín to McDonalds Corporation February 29, 1979
  37. 37. La transformación de la Estatua de la Libertad en comestible Transformation of the Statue of Liberty into something edible Marta Minujin 1979, Ink on paper
  38. 38. La transformación de la Estatua de la Libertad en comestible Transformation of the Statue of Liberty into something edible Marta Minujin 1979, Ink on paper
  39. 39. La transformación de la Estatua de la Libertad en comestible Transformation of the Statue of Liberty into something edible Marta Minujin 1979, Ink on paper
  40. 40. La transformación de la Estatua de la Libertad en comestible Transformation of the Statue of Liberty into something edible Marta Minujin 1979, Ink on paper
  41. 41. MARTA MINUJÍN Letter from Diane Klecka, Consumer Affairs Administratorm McDonald’s Corporation to Marta Minujín May 7, 1980
  42. 42. What do you think the effects of this project would be if it were to be realized?
  43. 43. Minujín’s performance-based installations are driven by a desire to transform art from the static museum display into something dynamic, interactive radical and, ultimately, destructive. As such, Minujín’s work undergoes a pyrotechnic ritual every few years. Phoenix-like, out of the ashes new creations emerge, unburdened by anything as status quo as cultural legacy. MARTA MINUJÍN Carlos Gardel of Fire 1981 Iron covered with cotton. Height: 56 ft. (17 m.).
  44. 44. WHAT ARCHITECTURAL SPACE WOULD YOU ALTER? HOW WOULD YOU CHANGE IT? Team up with a few people and generate some ideas!
  45. 45. GABRIEL SIERRA Born 1975, San Juan Nepomuceno, Colombia. Studied Industrial Design at Universidad Jorge Tadeo Lozano of Bogotá. Lives and works in Bogotá, Colombia Sierra actively pursues the social ways we relate to architecture. While some may walk past his artwork, not realizing it is in fact artwork at all, others may gain a greater appreciate for spatial architectural environments and how we logically design them. While much of his work seems rather minimal, or lacking in material and form, his creations directly relate to the textures, materials and shapes that we associate with ordinariness. Almost as if the site of his installations are under construction.
  46. 46. GABRIEL SIERRA Estructuras para transición 1 Structures for Transition 1 Mixed media 2008 / 2014
  47. 47. LUIS CAMNITZER Art History Lesson no. 6 ten slide projectors 2000 This work is made up of several slide projectors…th ese are objects that have been used in college lecture halls for the past century, particularly in Art History classes.
  48. 48. Camnitzer’s work points to the fact that Art History is written by those who are in power, which tends to exclude stories, narratives, and dialogues from non- European countries. This work’s empty projectors present viewers with a space within which to imagine and potentially write their own narratives.
  49. 49. POR EJEMPLO… WHAT IS THIS? HAVE YOU SEEN IT BEFORE?
  50. 50. Leonardo da Vinci Mona Lisa 1503 Oil on panel
  51. 51. Leonardo da Vinci Mona Lisa 1503 Oil on panel
  52. 52. Leonardo da Vinci Mona Lisa 1503 Oil on panel The Mona Lisa is one of the most recognizable images in the world. While it was once a relic from the Renaissance zeitgeist, it has transcended that era of time and is an almost timeless representation of “Art” with a capital “A” It is one of the few pieces of art that becomes…Canon.
  53. 53. Leonardo da Vinci Mona Lisa 1503 Oil on panel Canon: the body of “rules,” principles, or standards in artwork. Canon Artwork is accepted as universally beautiful and well made. It is Artwork that is treated as a fundamental thing that everyone should know or experience.
  54. 54. Canon: the body of “rules,” principles, or standards in artwork. Canon Artwork is accepted as universally beautiful and well made. It is Artwork that is treated as a fundamental thing that everyone should know or experience. What other subjects have a Canon? 1. European history 2. Civil War history 3. Bohr Atomic Model 4. Shakespeare
  55. 55. Canon: the body of “rules,” principles, or standards in artwork. Canon Artwork is accepted as universally beautiful and well made. It is Artwork that is treated as a fundamental thing that everyone should know or experience. What other subjects have a Canon? 1. EINSTEIN: E=MC2 …Theories becoming laws 2. SHAKESPEARE 3. HOW TO KILL A MOCKING BIRD 4. New york YANKESS 5. Elvis presley …marilyn monroe…n JESUS…CHRISTIANITY
  56. 56. WHAT DOES “GOD” LOOK LIKE? Write 5 adjectives (descriptive words) in your notebook. White male Holy Old Female? Woman of color Long hair P8
  57. 57. WHAT DOES “GOD” LOOK LIKE? Write 5 adjectives (descriptive words) in your notebook. SPIRITUAL PRESENCE (PRAYER REFERENCES, FOCUS ON POWER… DARK SKINNED FEMALE NON-HUMAN…GHOST CLOUD WITH MAAASSSSIIIVEEEE HANDS WHITE LIGHT ROBES, RAGS, GOWN, A LARGE WHITE BEARD CLOUD BODY DEEP VOICE OMINOUS FIGURE SITS ON A BIG CHAIR…ON A CLOUD MORGAN FREEMAN ROSE P3
  58. 58. WHERE DOES THIS IMAGERY COME FROM?
  59. 59. CANON VS. ZEITGEIST The History of art has Our entire world view is sculpted by Art History…the images left behind by our predecessors.
  60. 60. The History of art has had a profound affect on you and on everyone else. If “History” is how we relate to the past, “Art History” is how we SEE the past, and how we identify with it. When an image or idea becomes canon, our entire world view is sculpted by it. While these are only the the images left behind by our predecessors, they continue to penetrate our modern culture to this day.
  61. 61. FIGHTING THE “MASTER NARRATIVE” ONE SHADOW PUPPET AT A TIME…
  62. 62. What CULTURAL or NATIONAL histories are erased from the life you live? What PERSONAL or SOCIAL histories are erased from the life you live?
  63. 63. LUIS CAMNITZER “The point of art should be to treat the public (students and visitors) as the artists’ colleagues, not as consumers. We should involve them in the thought process without allowing them to dismiss something in a couple of seconds just because they didn’t like or understand what they saw…. …I should confess that I am increasingly less interested in art and more interested in education. The social impact of a piece of art hanging on a wall is relatively small, while the effect of a major change in sharing knowledge in schools is relatively big.”

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