The document discusses the history of urban planning and design from the Industrial Revolution through the early 20th century. It covers major developments like the growth of industrial cities, the emergence of Romanticism, Camillo Sitte's theories of public spaces, Ebenezer Howard's Garden City movement, and the garden suburb of Garbatella in Rome. Key figures mentioned include John Ruskin, William Morris, Norman Shaw, and Innocenzo Sabbatini.
The document discusses the relationship between architecture, media, and perception from the early 20th century to today. It summarizes key ideas from thinkers like Walter Benjamin, Marshall McLuhan, Guy Debord, Jean Baudrillard, Beatriz Colomina, and others on how new media technologies have transformed human perception and the role of images in architecture. Examples of modernist architecture and media from the 1920s-1970s are provided alongside more recent discussions of digital media, the internet, and concepts like the post-internet society.
Vhils is a Portuguese street artist known for carving portraits into walls using acid, bleach, and paint to slowly remove layers and reveal the images underneath. He gains inspiration from the historical decay of Lisbon's streets and aims to reflect on societal layers and systems through his process-focused works. Vhils etches into buildings to conduct research that confronts materials and elements, creating friction to engage viewers in critical reflection on the environment and systems around them.
This document defines architectural analysis and outlines its goals and types. Architectural analysis involves breaking down architecture into its constituent elements in order to examine it from multiple perspectives. The goals of analysis include understanding a masterpiece's design process, evaluating innovation, and comprehending the meaning and theories behind a work. Types of analysis covered are experiential, formal, linguistic, typological, morphological, and programmatic. The document also discusses tools for analysis like photographs, sketches, drawings, and models, and provides warnings and potential questions to consider in an architectural analysis.
Thierry Geoffroy/COLONEL is an artist who uses tents as canvases to create statements about urgent issues in the world. In 2012, he created a tent for Documenta 13 that read "THE EMERGENCY WILL REPLACE THE CONTEMPORARY", critiquing the art world's inability to address current problems. This small artwork sparked much discussion and led other artists and groups like Occupy to set up tents on the lawn. While Occupy's tents were eventually welcomed, Thierry's initial tent was removed. His work highlighted how emergencies may become more important than traditional contemporary art in the future if the art world does not address urgent global problems.
Deconstruction: a reaction to rational Modernism - Thesisfsteverlynck
This document is a thesis on deconstruction as a reaction against rational modernism. It discusses the philosophy of deconstruction and its applications in architecture. It examines key architects in deconstruction like Eisenman, Hadid, Gehry, and Koolhaas. It also discusses how deconstruction relates to concepts like metaphysics, clarity, logocentrism, meaning, and binaries. The document considers deconstruction's criticisms of structuralism and modernism. It provides the author's personal views on understanding deconstruction and its implications for architectural design.
Cubism was a revolutionary style of abstract art developed by Pablo Picasso and Georges Braque in Paris between 1907-1914. They were influenced by Cézanne's flattening of forms and rejection of traditional perspective techniques. Cubism involved analyzing subjects from multiple viewpoints and reconstructing them as geometric planes and facets within shallow space. This new visual language was further developed by other artists like Juan Gris, Robert Delaunay, and Fernand Léger. Picasso later introduced collage, initiating Synthetic Cubism and allowing for inclusion of real-world materials on canvases. Cubism had a profound and liberating influence on early 20th century art styles.
This document summarizes Mansilla + Tunon Arquitectos' Museum of Automotion project in Madrid, Spain. It discusses how Mansilla and Tunon became friends and partners after graduating from architecture school and working for Rafael Moneo for 10 years. It then analyzes the architects' exploration of materiality, programming, imagery, and historical references for the project through diagrams, models, and drawings. Key elements of their design include cylindrical light wells inspired by car engines, and a fortified exterior constructed of smashed cars that references both Spanish castles and Louis Kahn's parking structures.
The document discusses the history of urban planning and design from the Industrial Revolution through the early 20th century. It covers major developments like the growth of industrial cities, the emergence of Romanticism, Camillo Sitte's theories of public spaces, Ebenezer Howard's Garden City movement, and the garden suburb of Garbatella in Rome. Key figures mentioned include John Ruskin, William Morris, Norman Shaw, and Innocenzo Sabbatini.
The document discusses the relationship between architecture, media, and perception from the early 20th century to today. It summarizes key ideas from thinkers like Walter Benjamin, Marshall McLuhan, Guy Debord, Jean Baudrillard, Beatriz Colomina, and others on how new media technologies have transformed human perception and the role of images in architecture. Examples of modernist architecture and media from the 1920s-1970s are provided alongside more recent discussions of digital media, the internet, and concepts like the post-internet society.
Vhils is a Portuguese street artist known for carving portraits into walls using acid, bleach, and paint to slowly remove layers and reveal the images underneath. He gains inspiration from the historical decay of Lisbon's streets and aims to reflect on societal layers and systems through his process-focused works. Vhils etches into buildings to conduct research that confronts materials and elements, creating friction to engage viewers in critical reflection on the environment and systems around them.
This document defines architectural analysis and outlines its goals and types. Architectural analysis involves breaking down architecture into its constituent elements in order to examine it from multiple perspectives. The goals of analysis include understanding a masterpiece's design process, evaluating innovation, and comprehending the meaning and theories behind a work. Types of analysis covered are experiential, formal, linguistic, typological, morphological, and programmatic. The document also discusses tools for analysis like photographs, sketches, drawings, and models, and provides warnings and potential questions to consider in an architectural analysis.
Thierry Geoffroy/COLONEL is an artist who uses tents as canvases to create statements about urgent issues in the world. In 2012, he created a tent for Documenta 13 that read "THE EMERGENCY WILL REPLACE THE CONTEMPORARY", critiquing the art world's inability to address current problems. This small artwork sparked much discussion and led other artists and groups like Occupy to set up tents on the lawn. While Occupy's tents were eventually welcomed, Thierry's initial tent was removed. His work highlighted how emergencies may become more important than traditional contemporary art in the future if the art world does not address urgent global problems.
Deconstruction: a reaction to rational Modernism - Thesisfsteverlynck
This document is a thesis on deconstruction as a reaction against rational modernism. It discusses the philosophy of deconstruction and its applications in architecture. It examines key architects in deconstruction like Eisenman, Hadid, Gehry, and Koolhaas. It also discusses how deconstruction relates to concepts like metaphysics, clarity, logocentrism, meaning, and binaries. The document considers deconstruction's criticisms of structuralism and modernism. It provides the author's personal views on understanding deconstruction and its implications for architectural design.
Cubism was a revolutionary style of abstract art developed by Pablo Picasso and Georges Braque in Paris between 1907-1914. They were influenced by Cézanne's flattening of forms and rejection of traditional perspective techniques. Cubism involved analyzing subjects from multiple viewpoints and reconstructing them as geometric planes and facets within shallow space. This new visual language was further developed by other artists like Juan Gris, Robert Delaunay, and Fernand Léger. Picasso later introduced collage, initiating Synthetic Cubism and allowing for inclusion of real-world materials on canvases. Cubism had a profound and liberating influence on early 20th century art styles.
This document summarizes Mansilla + Tunon Arquitectos' Museum of Automotion project in Madrid, Spain. It discusses how Mansilla and Tunon became friends and partners after graduating from architecture school and working for Rafael Moneo for 10 years. It then analyzes the architects' exploration of materiality, programming, imagery, and historical references for the project through diagrams, models, and drawings. Key elements of their design include cylindrical light wells inspired by car engines, and a fortified exterior constructed of smashed cars that references both Spanish castles and Louis Kahn's parking structures.
A collection of thoughts about the influence that Internet and social media are exercising on architectural theory and practice, accompanied by some suggestions about how architects should react to it.
This document contains images and descriptions of works related to pixel landscapes and the urban image as collage. It includes pieces from Pablo Picasso, Paul Citroen, Mies van der Rohe, Archigram, Richard Hamilton, Hans Hollein, Superstudio, David Hockney, Botto&Bruno, Cyprien Gaillard, Kobas Laksa, Mansilla Tuñon, Office, Dogma, and other artists. The works depict cities and landscapes composed of pixels, fragments, and collages that reimagine the urban environment.
The document describes 4 concepts for an interactive museum exhibit about the artist Berrocal for the Museum of Berrocal in Spain.
Concept 1 involves placing a Berrocal sculpture in public spaces that collects voices from the public and moves parts of a corresponding sculpture inside the museum closer or farther apart based on positive or negative voices.
Concept 2 gives visitors puzzle pieces on tickets that can be scanned to solve a sculpture puzzle and learn about Berrocal's techniques.
Concept 3 projects an animated outline of a visitor's body on a wall showing how their form would be divided based on Berrocal's art as they walk, providing an educational experience.
Concept 4 creates online puzzles of Berrocal sculptures to attract puzzle enthusiasts and motivate
The document describes 4 concepts for an interactive museum exhibit about the artist Berrocal for the Museum of Berrocal in Spain. Concept 1 involves placing a Berrocal sculpture in public spaces that collects voices from the public and moves parts of a corresponding sculpture inside the museum. Concept 2 issues puzzle piece tickets to visitors that decode on screens to reveal a sculpture. Concept 3 projects an animated outline of a visitor's body on a wall showing how it would be divided based on Berrocal's techniques. Concept 4 creates online puzzles about Berrocal sculptures that are linked to a visualization inside the museum displaying puzzle completion data.
Slideshow complements Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 - Montgomery County Community College - Jean Thobaben - Adjunct Instructor.
Cubism was an influential early 20th century avant-garde art movement developed by Pablo Picasso and Georges Braque between 1907-1914. It involved depicting subjects from multiple viewpoints to represent three-dimensional forms on a two-dimensional surface and breaking up objects into geometric shapes. Cubism revolutionized European painting and influenced many other art movements.
Surrealism originated in Paris in the early 20th century and influenced various arts including writing, painting, and sculpture. André Breton founded the Surrealist movement in literature, which was influenced by Sigmund Freud's ideas on psychoanalysis and dreams. Key Surrealist artists included Joan Miró, Max Ernst, René Magritte, and Salvador Dali. There were two main approaches to Surrealist painting - automatism where the artist drew freely from the subconscious, and carefully realistic scenes that made no rational sense.
This document discusses several artists who helped transition art from object-based works to conceptual art, including Marcel Duchamp, Marcel Broodthaers, Joseph Beuys, Bruce Nauman, and Joseph Kosuth. It provides examples of key works by each artist that explored conceptual ideas rather than traditional mediums, such as Duchamp's "Fountain" urinal and Nauman's "Five Marching Men" installation. The document also includes photographs of works by Broodthaers, Beuys, and Kosuth that examined concepts through language and photographs rather than physical objects.
Sustainability and Urban Art: an Arduino Prototyping Experimentmelissazynda
The document summarizes a student project that created an interactive public art installation to promote sustainable transportation practices. The students developed concepts, created low-fidelity prototypes, and ultimately built an Arduino-powered light sculpture that detects pedestrian and vehicle traffic and changes color accordingly. The goal was to raise awareness of transportation impacts and encourage walking over driving through an engaging public art display.
Georges Braque was a major 20th century French painter and sculptor who co-founded Cubism along with Pablo Picasso between 1908-1914. He developed Cubist techniques including reducing forms to geometric shapes and experimenting with collage and papier collé. Braque's Cubist works with Picasso accelerated the movement's development until Braque served in WWI, after which he developed a more personal colorful style while still focusing on structure. Braque was instrumental in the invention and advancement of Cubism.
This document discusses whether installation art can be considered a form of architecture. It presents examples of installation artworks that incorporate architectural elements, including "No Vacancy" by Ben Coleman and Henry Detweiler, works by Ai Weiwei, "Radiant Soil" by Philip Beesley, and sculptures by Richard Serra. The document suggests that installation art, like architecture, aims to involve and engage participants, and both participate in the legacy of minimalism. It quotes Paul Frankl saying that while paintings can be reinterpreted, buildings lose their meaning when no longer inhabited.
Cubism was pioneered by Pablo Picasso and focused on depicting objects and people from multiple angles and perspectives simultaneously rather than a single viewpoint. It influenced various art forms including painting, sculpture, music and architecture by showing all sides of an object in one image and distorting forms. A music video could showcase cubism through using cubist-style people, patterns, distorting images, and point-of-view shots combining different angles of objects into one shot.
Jean Baudrillard was a French philosopher known for his ideas around simulations and simulacra in a postmodern environment. Some of his most important works that explored these concepts included "Simulacra and Simulations" and "Utopia Deferred." He believed that with advances in media and technology, simulated versions of reality could become indistinguishable from actual reality, resulting in a "hyperreality." Baudrillard used Disneyland as an example of how an imaginary space aims to mask the fact that reality is no longer real through heightened simulations. His work has been influential in understanding the effects of postmodernism and how it can alter perceptions of media and the world.
Toward an understanding of sculpture as public artKhairulEzani78
This document discusses the role of sculpture as public art. It begins by defining public art as works created for public spaces, as opposed to private collections, and intended to foster shared community meanings. The document then focuses on sculpture as a common form of public art that exists in many cultures. It discusses how sculpture and architecture both differ from other arts in their permanence within public spaces. The document examines examples like the Parthenon and Eiffel Tower to illustrate how public sculpture can represent civic ideals and events. It also notes how concepts of public art, space, and sphere have expanded with developments like electronic media and cyber art installations.
The document summarizes the interim review of influences on the author's project. It describes being impressed by the architecture of St. Stephen's Cathedral in Vienna, particularly the ribbed vault ceiling, and finding inspiration in the works of Egon Schiele, Charles Rennie Mackintosh, and Gustav Klimt. The author presented two initial proposals that incorporated elements from these influences, such as Schiele's use of color and Mackintosh's preference for selective coloring. Feedback was that the proposals looked too symmetrical, so the author plans to alter the compositions to be more asymmetrical and dynamic, drawing on characteristics of the artists' works like cropped, off-center compositions.
The proposal is for an art installation called "One Step For Our Planet", consisting of three giant shoe footprints built out of hay bales and measuring 100m by 30m. The footprints would be displayed in central Paris to raise awareness about environmental preservation. The artist aims to encourage visitors to make daily commitments to the planet. Partnerships are sought to help fund the installation and expand it to other cities.
This document summarizes an art student's portfolio from their studies. It includes:
- A self portrait using oils inspired by John William Waterhouse with observational skills developed using a mirror.
- Studies copying portraits by other artists using different mediums like acrylics, pencils and inks.
- Projects including a poster for an Easter Island exhibition and storyboards/illustrations for children's books.
- A interactive display for the V&A museum based on one of their objects incorporating drawings, photos and prototypes.
- The student's final project was a poster for a Tower of London exhibition combining techniques like drypoint printing and digital editing.
Rene Magritte is an impressive artist who sparked the writer's interest in surrealism at a young age through his painting "La Trahison des Images". The writer enjoys interpreting the hidden meanings in Magritte's works and finding the underlying messages. In particular, the writer likes how Magritte uses recurring objects like pipes, apples, and men in hats in unique ways that allow for fresh interpretations. Comparing how the same objects are portrayed differently provides stimulation. Rene Magritte remains the writer's favorite artist for his style that engages the imagination and his creative use of repetition.
The Louvre Pyramid in Paris, designed by architect I.M. Pei, was highly controversial when first proposed but has become an iconic landmark. When first unveiled, 90% of the public opposed the design, seeing it as an intrusion on the historic Louvre. Critics called it a "house of the dead" and a "megalomaniacal folly." However, it has since come to be appreciated for making the museum more accessible and transparent, serving as a focal point without detracting from the original architecture. The pyramid symbolizes the museum's role in preserving history and artworks for contemplation.
The document discusses various types of conceptual, performance, installation and new media art. It provides examples and descriptions of works by artists such as Marcel Duchamp, Sol Le Witt, Claes Oldenburg, Gordon Matta-Clark, Robert Indiana and Rachel Whiteread. It also discusses how conceptual ideas influenced the design of certain architecture like the Wexner Center and Centre Pompidou.
A collection of thoughts about the influence that Internet and social media are exercising on architectural theory and practice, accompanied by some suggestions about how architects should react to it.
This document contains images and descriptions of works related to pixel landscapes and the urban image as collage. It includes pieces from Pablo Picasso, Paul Citroen, Mies van der Rohe, Archigram, Richard Hamilton, Hans Hollein, Superstudio, David Hockney, Botto&Bruno, Cyprien Gaillard, Kobas Laksa, Mansilla Tuñon, Office, Dogma, and other artists. The works depict cities and landscapes composed of pixels, fragments, and collages that reimagine the urban environment.
The document describes 4 concepts for an interactive museum exhibit about the artist Berrocal for the Museum of Berrocal in Spain.
Concept 1 involves placing a Berrocal sculpture in public spaces that collects voices from the public and moves parts of a corresponding sculpture inside the museum closer or farther apart based on positive or negative voices.
Concept 2 gives visitors puzzle pieces on tickets that can be scanned to solve a sculpture puzzle and learn about Berrocal's techniques.
Concept 3 projects an animated outline of a visitor's body on a wall showing how their form would be divided based on Berrocal's art as they walk, providing an educational experience.
Concept 4 creates online puzzles of Berrocal sculptures to attract puzzle enthusiasts and motivate
The document describes 4 concepts for an interactive museum exhibit about the artist Berrocal for the Museum of Berrocal in Spain. Concept 1 involves placing a Berrocal sculpture in public spaces that collects voices from the public and moves parts of a corresponding sculpture inside the museum. Concept 2 issues puzzle piece tickets to visitors that decode on screens to reveal a sculpture. Concept 3 projects an animated outline of a visitor's body on a wall showing how it would be divided based on Berrocal's techniques. Concept 4 creates online puzzles about Berrocal sculptures that are linked to a visualization inside the museum displaying puzzle completion data.
Slideshow complements Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 - Montgomery County Community College - Jean Thobaben - Adjunct Instructor.
Cubism was an influential early 20th century avant-garde art movement developed by Pablo Picasso and Georges Braque between 1907-1914. It involved depicting subjects from multiple viewpoints to represent three-dimensional forms on a two-dimensional surface and breaking up objects into geometric shapes. Cubism revolutionized European painting and influenced many other art movements.
Surrealism originated in Paris in the early 20th century and influenced various arts including writing, painting, and sculpture. André Breton founded the Surrealist movement in literature, which was influenced by Sigmund Freud's ideas on psychoanalysis and dreams. Key Surrealist artists included Joan Miró, Max Ernst, René Magritte, and Salvador Dali. There were two main approaches to Surrealist painting - automatism where the artist drew freely from the subconscious, and carefully realistic scenes that made no rational sense.
This document discusses several artists who helped transition art from object-based works to conceptual art, including Marcel Duchamp, Marcel Broodthaers, Joseph Beuys, Bruce Nauman, and Joseph Kosuth. It provides examples of key works by each artist that explored conceptual ideas rather than traditional mediums, such as Duchamp's "Fountain" urinal and Nauman's "Five Marching Men" installation. The document also includes photographs of works by Broodthaers, Beuys, and Kosuth that examined concepts through language and photographs rather than physical objects.
Sustainability and Urban Art: an Arduino Prototyping Experimentmelissazynda
The document summarizes a student project that created an interactive public art installation to promote sustainable transportation practices. The students developed concepts, created low-fidelity prototypes, and ultimately built an Arduino-powered light sculpture that detects pedestrian and vehicle traffic and changes color accordingly. The goal was to raise awareness of transportation impacts and encourage walking over driving through an engaging public art display.
Georges Braque was a major 20th century French painter and sculptor who co-founded Cubism along with Pablo Picasso between 1908-1914. He developed Cubist techniques including reducing forms to geometric shapes and experimenting with collage and papier collé. Braque's Cubist works with Picasso accelerated the movement's development until Braque served in WWI, after which he developed a more personal colorful style while still focusing on structure. Braque was instrumental in the invention and advancement of Cubism.
This document discusses whether installation art can be considered a form of architecture. It presents examples of installation artworks that incorporate architectural elements, including "No Vacancy" by Ben Coleman and Henry Detweiler, works by Ai Weiwei, "Radiant Soil" by Philip Beesley, and sculptures by Richard Serra. The document suggests that installation art, like architecture, aims to involve and engage participants, and both participate in the legacy of minimalism. It quotes Paul Frankl saying that while paintings can be reinterpreted, buildings lose their meaning when no longer inhabited.
Cubism was pioneered by Pablo Picasso and focused on depicting objects and people from multiple angles and perspectives simultaneously rather than a single viewpoint. It influenced various art forms including painting, sculpture, music and architecture by showing all sides of an object in one image and distorting forms. A music video could showcase cubism through using cubist-style people, patterns, distorting images, and point-of-view shots combining different angles of objects into one shot.
Jean Baudrillard was a French philosopher known for his ideas around simulations and simulacra in a postmodern environment. Some of his most important works that explored these concepts included "Simulacra and Simulations" and "Utopia Deferred." He believed that with advances in media and technology, simulated versions of reality could become indistinguishable from actual reality, resulting in a "hyperreality." Baudrillard used Disneyland as an example of how an imaginary space aims to mask the fact that reality is no longer real through heightened simulations. His work has been influential in understanding the effects of postmodernism and how it can alter perceptions of media and the world.
Toward an understanding of sculpture as public artKhairulEzani78
This document discusses the role of sculpture as public art. It begins by defining public art as works created for public spaces, as opposed to private collections, and intended to foster shared community meanings. The document then focuses on sculpture as a common form of public art that exists in many cultures. It discusses how sculpture and architecture both differ from other arts in their permanence within public spaces. The document examines examples like the Parthenon and Eiffel Tower to illustrate how public sculpture can represent civic ideals and events. It also notes how concepts of public art, space, and sphere have expanded with developments like electronic media and cyber art installations.
The document summarizes the interim review of influences on the author's project. It describes being impressed by the architecture of St. Stephen's Cathedral in Vienna, particularly the ribbed vault ceiling, and finding inspiration in the works of Egon Schiele, Charles Rennie Mackintosh, and Gustav Klimt. The author presented two initial proposals that incorporated elements from these influences, such as Schiele's use of color and Mackintosh's preference for selective coloring. Feedback was that the proposals looked too symmetrical, so the author plans to alter the compositions to be more asymmetrical and dynamic, drawing on characteristics of the artists' works like cropped, off-center compositions.
The proposal is for an art installation called "One Step For Our Planet", consisting of three giant shoe footprints built out of hay bales and measuring 100m by 30m. The footprints would be displayed in central Paris to raise awareness about environmental preservation. The artist aims to encourage visitors to make daily commitments to the planet. Partnerships are sought to help fund the installation and expand it to other cities.
This document summarizes an art student's portfolio from their studies. It includes:
- A self portrait using oils inspired by John William Waterhouse with observational skills developed using a mirror.
- Studies copying portraits by other artists using different mediums like acrylics, pencils and inks.
- Projects including a poster for an Easter Island exhibition and storyboards/illustrations for children's books.
- A interactive display for the V&A museum based on one of their objects incorporating drawings, photos and prototypes.
- The student's final project was a poster for a Tower of London exhibition combining techniques like drypoint printing and digital editing.
Rene Magritte is an impressive artist who sparked the writer's interest in surrealism at a young age through his painting "La Trahison des Images". The writer enjoys interpreting the hidden meanings in Magritte's works and finding the underlying messages. In particular, the writer likes how Magritte uses recurring objects like pipes, apples, and men in hats in unique ways that allow for fresh interpretations. Comparing how the same objects are portrayed differently provides stimulation. Rene Magritte remains the writer's favorite artist for his style that engages the imagination and his creative use of repetition.
The Louvre Pyramid in Paris, designed by architect I.M. Pei, was highly controversial when first proposed but has become an iconic landmark. When first unveiled, 90% of the public opposed the design, seeing it as an intrusion on the historic Louvre. Critics called it a "house of the dead" and a "megalomaniacal folly." However, it has since come to be appreciated for making the museum more accessible and transparent, serving as a focal point without detracting from the original architecture. The pyramid symbolizes the museum's role in preserving history and artworks for contemplation.
The document discusses various types of conceptual, performance, installation and new media art. It provides examples and descriptions of works by artists such as Marcel Duchamp, Sol Le Witt, Claes Oldenburg, Gordon Matta-Clark, Robert Indiana and Rachel Whiteread. It also discusses how conceptual ideas influenced the design of certain architecture like the Wexner Center and Centre Pompidou.
The document discusses the concept of the "white cube" gallery space and how it shapes the viewing and interpretation of art. It explores the origins of the white cube in the 1930s Museum of Modern Art in New York, which established a sterile, neutral environment to isolate art from any external contexts. However, the document argues that gallery spaces are not truly neutral, but rather historical constructs that influence how art is perceived and valued. It examines various artists who have critiqued and subverted the conventions of the white cube to challenge the idea that it is the only appropriate space for viewing art.
The Death Of Germanicus By Charles PoussinGina Buck
Edouard Manet's painting "The Melon" from 1880 depicts a solitary watermelon. It diverged from traditional still life paintings by isolating the subject against a plain background and using impressionistic techniques like soft brushstrokes and abrupt color transitions to capture the play of light. While controversial when unveiled due to its departure from academic styles, "The Melon" exemplifies Manet's role in transitioning art to impressionism through simplified compositions and focus on capturing fleeting visual effects.
The document discusses the concept of the "white cube" gallery space and debates its merits and limitations. It explores the origins and conventions of the white cube, which aims to present art in a neutral and isolated environment. However, some argue this fails to acknowledge how the gallery context shapes artistic meaning and value. The document examines various artistic critiques of the white cube that seek to blur boundaries between art and life or highlight the institutional influences on art.
This is a workshop we gave in Ljubljana on 11 December 2009 for the Access To Contemporary Art Conservation seminar, organised by the Netherlands Institute of Cultural Heritage and the Museo Reina Sofia.
The document discusses Expressionist architecture, an avant-garde movement that sought to transform reality rather than imitate it. Expressionism emerged from Art Nouveau in the early 20th century and was influenced by the trauma of World War I, during which architects were freed from practical constraints. Notable Expressionist architects included Erich Mendelsohn, Joseph Maria Olbrich, Rudolph Steiner, Eero Saarinen, and Frank Gehry. Their works featured organic, non-rectilinear forms meant to express deeper meanings rather than mimic surface appearances.
The Palais de Tokyo contemporary art center in Paris differs from traditional "white cube" art spaces by leaving its interior unfinished and emphasizing experimentation over clean presentation. This reflects the curators' view of the space as a "laboratory" for interactive, work-in-progress art. However, such project-based art risks becoming merely an "experience" catering to entertainment. The trend of inviting artists to design museum amenities also enhances the curator's status over artistic works. Nicolas Bourriaud's theory of "relational aesthetics" aims to define 1990s art focusing on human interaction, but such work risks being merely pleasing rather than politically or critically engaged.
This project was an attempt to investigate the art museum as an specific building type as well as the issues involved in the design of spaces for contemporary art. As every architectonic object, art museums are deeply connected with the functions they must fulfil and must act on the user as a stimulus which requires a behaviour response.*
According to Michel Foucault museums are sites that have the curious property of being in relation with all other sites, but in such a way as to suspend, neutralize, or invert the set of relations that they happen to designate, mirror or reflect. The museum space is capable of juxtaposing in a single space several sites that are in themselves incompatible . Its space begins to function at full capacity when men arrive at a sort of absolute break with their traditional idea of time.
Designing a new museum requires a strong concept. An art museum should never be made as a neutral, weak thing. It should be made new and passionate. The museum space should create possibilities for the unpredictable. A space that is inspired, unconventional, unafraid of taking risks, humorous, provocative and spontaneous.
The new museum shouldn’t be there to train people how to answer but how to question. That what’s the new museum is for.
* Umberto Eco, taken from ’How an Exposition Exposes Itself’ quoted in Neil Leach, Rethinking Architecture, Routledge, London 1977, p.202.
Michel Foucault, Taken from ‘Of Other Spaces: Utopias and Heterotopias’ quoted in Neil Leach, Rethinking Architecture, Routledge, London 1977, p.15.
Patrick Healy, Beauty And The Sublime, SUN Publishers, Amsterdam 2003
Artists and designers indulge in lighting research as a creative expression, finding new ways to inspire emotional and sensory responses. The document profiles several lighting installations, products, and designers. A vast array of interactive, dazzling, and meditative light art provides insight into contemporary lighting design and the potential of new technologies to stimulate the body and spirit. Artists explore light's ability to distract and transport viewers into new realms of imagination.
Tracey Emin's 1998 artwork "My Bed" consisted of her actual messy, unmade bed, which was inspired by a depressive period in her life. It gained media attention when exhibited and was purchased by Charles Saatchi for £150,000. When auctioned in 2014, it sold for over £2.5 million.
Ronald Lewis Facchinetti has experimented with many unconventional curatorial formats and exhibitions over his career from 2004-2016. Some of his innovations include "Box Shock" which exhibited art in self-storage units, "ContainerArt" which used shipping containers as exhibition spaces in multiple cities worldwide, "Vroom" which brought video art to viewers in cars, and "Art Pod" which allowed people to carry and exchange small art installations in wearable accessories. He believes in developing new models for networked, distributed art museums that make art accessible to wider audiences.
Valentina Sanchez's undergraduate portfolio from the University of South Florida documents 6 architectural projects focused on elements like structure, space, light, and landscape. The portfolio includes drawings, models, and descriptions of projects like "The Kit of Elements" exploring abstraction, "Movement in the Field" developing concepts of faith and mistrust, and "The Inhabitable Wall" designing a landscape element for the university library. Sanchez's work emphasizes conceptual development, form studies, and understanding how architectural elements like structure and light define space.
The document discusses the nature and definitions of art. It covers various forms of art including visual art, auditory art, performing art, and others. It also discusses the functions of art such as cognitive function, aesthetic function, and others. Examples are provided to illustrate different types and styles of artworks.
A presentation by Alessandro Califano for the UNESCO capacity building training for museum professionals in Uzbekistan, running under the title: "In Quest for Excellence: Museums Between Local and Global Presence".
Tashkent, June 2008
Deconstruction and Deconstructivism. The new “architectural dictionary” of the twenty-first century
and the fragmentation of the architectural discourse
The document discusses the concept of fetishism and the sublime in relation to art objects. It explores how art objects can take on magical or spiritual qualities beyond their material existence and how this relates to humans' innate desire for transcendence. Several artworks are examined that trigger profound reactions and have taken on iconic status due to their ability to inspire awe or shock in viewers. Experts in fields like art, economics and perception are proposed to discuss these ideas further in a panel format.
history of contemporary architecture - 11. Expressionism.pptDania Abdel-aziz
Expressionism was an early 20th century art movement centered in Germany that sought to convey deep emotional content through abstraction and distortion rather than realism. In architecture, Expressionist buildings often had sculptural, irrational forms that were personalized and idiosyncratic. Bruno Taut was a German architect active during this period who is considered an Expressionist. Some of his notable works include the Glass Pavilion built in 1914, made of concrete and brightly colored glass, and the Horseshoe Estate residential development built in Berlin between 1925-1927, featuring curved buildings arranged around a central pond. Expressionist architecture tended to use materials like glass, steel and brick, and forms that were individualistic compared to other styles of the time.
Tanjore Painting: Rich Heritage and Intricate Craftsmanship | Cottage9Cottage9 Enterprises
Explore the exquisite art of Tanjore Painting, known for its vibrant colors, gold foil work, and traditional themes. Discover its cultural significance today!
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1. PHANTOM OF LIBERTY
Interview Loris Gréaud & Marie-Laure Bernadac
MARIE-LAURE BERNADAC : You've been interested in the Pyramid space for a long
time. I remember that in 2005 you had already devised a light ht installation that was
unable to be completed Was it this first experience that led you to imagine a project for the
belvedere column?
LORIS GRÉAUD : That's right. I was asked to create a work under the Pyramid, but in the
end I decided not to install this work. I wanted to emphasise the historical Parisian axis
that is offset from the architectural axis of the Pyramid. For that, I imagined a way of
materialising the two axes using neon lights, which would have split the space like two
strokes of a pencil. The [I] project responds to a pure curatorial desire, corresponding to
the museum context and to the fact that you and I have both wanted to work together for
many years now. So there is no real connection with the first proposition, in that sense.
MARIE-LAURE BERNADAC : Your first idea for the Pyramid was entitled Storage Stone,
and already proposed a monumental sculpture raised on a pedestal Could you tell us
about this project, made from the ashes of your works? And why you abandoned the idea?
LORIS GRÉAUD : The Storage Stone was the first proposition we worked on. Since 2010,
I have been incinerating my artists' proofs and the works stored in my studio. Through a
partnership with a crematorium, we installed a brass framework capable of accumulating
the electrical energy created through combustion. So the significance of this gesture was
twofold: the recuperation of the ash, the residue from the cremation, which was then
transformed into sculptures or paintings, thus creating new artworks, coupled with the
accumulation of physical energy in batteries with the aim of sparking a new performance. I
particularly like the idea of the mutation and transformation of this energy generated by
destruction and the way in which it can be redeployed as an inert form - a chrysalis i state -
on the one hand; and on the other hand as an energy that is ready to be used to fuel a
new project.
MARIE-LAURE BERNADAC : When did you have the idea to present the exhibition in two
sites (the Louvre Pyramid and the Forum of the Pompidou Centre)? What attracted you to
these two spaces,' was it the transition from od to new their architecture or their function
as 'bast" sites?
LORIS GRÉAUD : As I Mentioned earlier, you and I have wanted to create a specific work
or the Louvre Museum for several years now. The Pompidou Centre also wanted us to
work together on a new production. The presidents, Henri Loyrette and Alain Seban thus
evoked the idea of a shared project that would be installed in these two majors institutions
as a single exhibition.
I thought about the form this project could take. My primary obsession was to take
advantage of this invitation to present a free exhibition, accessible to all, and visible to the
widest audience possible, I thint that this idea eventually dictated the form that this
exhibition would take: an inclusive project. that would be immediate in a certain sense, that
would be capable of questioning all visitors - whether they were tourists, children, or simply
rassers-by. For t Is reason, these two popular sites (the belvedere column under the
Louvre Pyramid and the Forum of the Pompidou Centre) that are among the most
frequented sites in the world, were the obvious choices.
2. MARIE-LAURE BERNADAC : Your second project was a sculptural deployment of
"levitating" meteorites within the Pyramid space. Did this emerge from this desire for a
combined exhibition at the two institutions? Was it necessary that the two works presented
respectively at the Pompidou Centre and the Louvre Museum echo one another?
LORIS GRÉAUD : Absolutely not. I didn't try to constrain the two forms so that an 'obvious'
dialogue would emerge. When we were working on the meteorites project, the idea was to
present a sculpture with a function and transform the very role of the museum. Beyond its
sculptural dimension, the work was a functional radio-telescopic aerial , connected to the
Observatoire de Nany, which was going to be capable of recording in real time and
retransmitting the sound of dead stars into the Pyrald space.
At the time, we used the term ghost machine: the sculpture would transmit the sound of
stars that had disappeared light years away but that were paradoxically still visible and
audible. A spectral auditory experience would have been offered to each visitor, like a
vision, with the space beneath the Pyramid becoming a soundscape,
MARIE-LAURE BERNADAC : The "unidentified" artwork that you have called [1] is a
black monumental sculpture placed on a pedestal, covered by a veil that seems to have
been petrified, becoming part of the sculpture itself. You had already made similar
sculptures in 2012 at the Pace Gallery in flew York. Could you tell us how this project
came about and what these six hidden sculptures were?
LORIS GRÉAUD : [I] is the title of this double exhibition and also the title of the two works
presented in this context. It is a title that cannot really be pronounced, but that represents
a symbol.
The work presented under the Pyramid does belong to this series of stand-alone works
presented in my exhibition "The Unplayed Notes" with the same paradigm of an artwork
having lost its centre: with a veil hiding ng an artwork becoming an artwork itself.
The series presented in New York thus a ready prefigured [I] since it comprised six plaster
reproductions of artworks present in the Louvre's collection. But at this stage in the project,
the artwork that had been veiled lost all of its importance, since the objective was simply to
endlessly prolong the liminal moment of inauguration of a public sculpture.
The sculpture presented under the Pyramid thus stems from several "traditions" in formal
terms: it respects the art of (imitation) drapery in sculpture, the way in which sculptures are
protected and veiled prior to their inauguration and also the basic packaging of the
artworks presented during the winter. There is no real aesthetic intention when an artwork
is protected or when the veil is temporary, prior to its revelation. This is precisely the
combination that interests me: the infinite prolongation of the productive moment of desire
when the ribbon is cut or the sheet is removed.
MARIE-LAURE BERNADAC : At the same time you produced and presented
photographs of the intensity of the light in certain paintings in the Grande Galeria including
Caravaggio. How did this develop and what is the relationship between these sculptural
ghosts' and the 'spectres of paintings ? Were these projects derived from a melancholic
view of the museum of a desire to dematerialise the artwork in favour of a different kind of
visual rendering?
1. Loris Gréaud, The Unplir, ed Notes-, The Rice Gallery, New York, 2012. m-ww.theunplayednotes.com
3. LORIS GRÉAUD : Alongside the production of this series. I did conduct an experiment,
using the Louvre Museum as a kind of enormous camera obscura, The process was as
follows: I placed zones of light and shade in front of major artworks — in the form of lap
photosensitive plates capable of storing ambient licht from the paintincs' reflections — in
order to capture their 'aura', and potentially the hosts' that inhabit them. This procedure of
recording allowed the light to be 'fixed' directly, inside the museun, producing forty-four
'photographs' that are all very different.
Once presented in the gallery space, these forty-four diasecs suggest that we have
transported and transposed a part of the museum's soul, in a sensitive and poetic
translation.
MARIE-LAURE BERNADAC : Does the choice of Michelangelo's Captive have a
symbolic value?
LORIS GRÉAUD : There is of course an aesthetic choice involved in selecting something
that will be hidden and veiled forever. It seeTed appropriate to chose a major work that is
visible in the permanent exhibition: one that is capable of activating the procedure chosen
for [/] and creating a dialogue.
The story of Michelangelo's Captives was also taken into account: these two sculptures
were part of the project original y designed for the tomb of Pope Jules II, which were
eventually put aside. It took no less than forty years to produce these two non-finito
sculptures, and their interpretatiors still remain obscure (various interpretations Inc ude the
connection of the soul to the weight of the body, a concept beloved of P ato: or the
subjugation of the provinces). With no real destination, these two sculptures were
presented on the façade of the Château d'Ecouen then at the Château de Richelieu,
before finally being integrated into the Louvre collections. Making a space for the so-called
"Rebellious" Captive on the majestic belvedere column while preventing it frog being
wholly unveiled therefore seemed to make sense.
MARIE-LAURE BERNADAC : From a veiled body to a falling body... Your interest in
bodies appears to be recent,' from the ghostly silhouettes in the film Hors-Prise to the
carnal and erotic bodies in your latest film The Unplayed Notes presented at the Yvon
Lambert Gallery. What role does the body play in your approach?
LORIS GRÉAUD : It's very new, but I can't quite explain it. Vy projects up until now have
always been bodiless. However. I had already produced a work in which human bodies
would have provided the spectacle of a sculpture to visitors, a strange garre in which the
rules have not yet been invented: in Merzball Pavilion, professional paintballers try to hit
each other with IKB, the colour of immateriality.
Often in my projects the body has a function; it is a vector in itself. In my latest film The
Unplayed NM, an explicit sexua act was performed by sex workers attempting to attain
orgasm, filmed with a thermic camera. The technology of the can-era consists of producing
light within the image as the bodies heat up. So the closer the actors got to attaining
orgasm, the more light lit up the projection screen.
For [I] at the Ponpidou Centre, there are body-machines that endlessly let themselves fall
into the void of the ForuT space, like an eternal return, using basic gravity without any
acrobatics or spectacle, using the structure-sculpture like a bachelor machine, in a closed
circuit, like a vanitas.
2. Loris Greaud, "The Unplayed Notes", galerie Yvon Lambert, Paris, 2012. www.theunplayednotes.com
4. MARIE-LAURE BERNADAC : Consciously or unconsciously, these last two works [I]
make reference to older works, namely those of Yves Klein or Richard Serra for the leaps
into the void, but also the likes of Man Ray Christo, or firs Fischer. Do you acknowledge
and accept these influences?
LORIS GRÉAUD : Yes, of course, I don't believe in art as a Ko-taneous creatlor — artists
have never been economical wit respect to for—s and ideas The artists and artworks that
you evoke are Cleary rolls of referencE and zones of influences for these two works,
MARIE-LAURE BERNADAC : Isn't it paradoxical for an artist like yourself who works on
the cosa mentale, invisible energies and disappearance, to present a moula of a
masterpieca by Michelangelo and play on the official character 0/ unveiled sculpture ?
Your approach is haunted bi spectres and apparitions,' is [I] yet another phantom of
freedom or captivity?
LORIS GRÉAUD : This project doesn't see— raradoxifca to —e, It re aces to what I've
been doing in recent years. T-e proceLre re—a1-s t-e same; on y the project remains the
aut-orIty - its durat1on, economy and f n-, „ The goal here, as I —entIoned ear 1eri was to
produce a free-adilsslon exhibition, which al visitors cou d ex er1e• ce, n this respect, the /
1] project gives rise to many —ore stlo s than it does suggested responses relating to the
role of re eu—, access to artworks, access to art, the people art is addressed to, a it e real
affect an artwork has on the world... Or about the production of desire, energy and critical
thinking as the true role of works of art.
MARIE-LAURE BERNADAC : Were you looking for a specific kind of symbolism for the
entrance to the Louvre Museum?
LORIS GRÉAUD : No, I just thought it was interesting that this huge plinth under the
Pyramid acts like a repository for many different ideas. It's almost an object "in waiting". It's
history is quite revealing - I.M. Pei originally contemplated installing the Winged Victory of
Samothrace there, but the space remained vacant for a long time. I also heard that Rodirfs
Thinker and Brancusi's Rooster had been considered for this site, but none of these
sculptures were ever able to be perfectly inserted into the space.
Just like a work that is waiting to be unveiled, the pedestal without an artwork becomes an
object that fuels the imagination. It almost operates like an autononous artwork requiring
completion: there are as many sculptures possible on this pedestal as there are inquisitive
spectators...
MARIE-LAURE BERNADAC : Ghost: "a soul that may be a machine or a fiction and that.
in the meantime, seeks to secure itself to a structure,' Couldn't this definition be applied to
these two works? The soul of the slave attached and fixed on its pedestal, and that of the
bodies of the divers who infinitely climb and fail? One is fixed: the other is mobile?
LORIS GRÉAUD : That is exactly what this is about - with the physical and mental
distances that separate or unite added to the equation.
3. Olivier Michelon, referring to the work of Loris Greaud in his monographic catalogue End Extend, 2006.