DOCSLIB.ORG

Biculturalism

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Biculturalism BICULTURALISM IN ARCHITECTURAL PRACTICE Instigating change in social and professional environments as a way of creating situations for architectural practice James McAdam Doctor of Philosophy RMIT 2014 1 BICULTURALISM IN ARCHITECTURAL PRACTICE Instigating change in social and professional environments as a way of creating situations for architectural practice James McAdam A Dissertation submitted in fulfi lment of the requirements for the degree of Doctor of Philosophy School of Architecture & Design RMIT University August 2014 Acknowledgements I would like to thank Tanya Kalinina who for over 20 years has been a dedicated partner in life and in work, and has shared with me the experience of our practice together since our meeting in 1990. Th ese thanks extend to this research in which Tanya played a part as co-author of the works and on the common elements of this dissertation. I express gratitude to all those who have been involved with the practice, past and present, who have contributed to the architecture and resultant body of works. Particular thanks go to my children, Polina and Misha, for their patience during this concentrated process of research, and to my mother, Dr. Gloria McAdam who has advised on the writing of the dissertation. Finally I would express thanks to my doctoral supervisor, Professor Leon van Schaik who encouraged this process and was a source of great insight. Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the offi cial commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. James McAdam 15 August 2014 Contents 1. Intoduction / JM 710. The Black Spot / JM, TK 102 What is the essence of the design process? 2. The Bicultural Practice / JM, TK 10 11. Coalition Government and the How can two opposing cultures and places Importance of the Relay / JM 116 be linked through architecture, and what were the key bicultural moments in this process? How can a partnership operate without specifi c guidelines or manifesto? 3. The Practice Map / JM, TK 22 12. The Art of Elasticity / JM, TK 120 How can we begin to understand the complex What does the body of work comprise and what are the reasons behind it? workings of 20 years of practice? 13. What Architect? / JM, TK 124 4. The Endeavours of Practice / JM, TK 32 How can the practice be categorized and positioned What are the practice’s activities and aspirations and how in the architectural profession? do they combine to create the essence of the practice? 14. Project Imagination / JM, TK 134 5. Trubnaya, Larch House and Univermag / JM, TK 44 How can one single event create the basis of practice for years to come? What are the practice’s seminal key projects and what are the drivers behind the approaches engaged? 15. Dark Satanic Mills / JM 146 How important is the life background to the 6. Tinker, Tailor, Soldier, Spy / JM, TK 70 mental space of the future practitioner? Who are the practice mentors and what enchainments are apparent in its work? 16. Bring on The Mega Projects / JM 154 How can an architectural practice infl uence the direction 7. The Accumulation of Skills / JM, TK 76 of urbanism and development strategies? How did the practice develop professionally to become what it is today? 17. The Rise of Kubanism / JM 168 8. Happy Families / JM, TK 84 How can we instigate change through teaching and educational programs? What are the prevalent architectural components in the practice’s work? 18. A Summary of Research and Findings / JM 174 9. Belonging to the Emperor / JM 90 What did the research entail, what did we discover, and Are there specifi c patterns and formulas at how might this be applicable to other practices? work in the architecture produced? Bibliography / JM 180 Essays marked (JM, TK) are common essays and those marked (JM) are individual essays. TK - Tanya Kalinina, JM - James McAdam 1. Intoduction1. Intoduction 1. Intoduction Introduction Th is dissertation is a record of research undertaken on the Practice Research Program at RMIT University, over a period of three and a half years (April 2011–August 2014), which included participation in Practice Research Symposia (PRS) in Ghent and Barcelona. Th e title of this research is ‘Biculturalism in Architectural Practice: Instigating change in social and professional environments’, as a way of creating situations for architectural practice’. Th e work is a refl ection of 20 years of architectural practice between two countries (Britain and Russia) by two architects, James McAdam and Tanya Kalinina. It seeks to understand the workings of the bicultural practice McAdam Architects. Th rough our research, we explored our practice’s realisation of a diverse body of work, teaching and educational programs, and strategic activities to promote the architectural profession. A large part of the dissertation relates to our actual practice and is common to both partners, thus demonstrating the joint underpinnings of our work. Other chapters relate specifi cally to areas of individual interest and research. Th ese chapters are identifi ed as common or individual in the contents page. McAdam Architects, Diagram of PhD Dissertation Structure, Practice Research Symposium Five, in Ghent, Th e research is organised into chapters, which can in turn be grouped under four April, 2013. This diagram shows the individual general headings: chapters of the partners, Tanya Kalinina to the left, James McAdam to the right, meshing • Th e bicultural practice: how two cultures can be linked through architectural with common chapters in the centre. practice These chapters are identified in the • A refl ection on the body of works and practice activities Contents, marked (TK, JM) for common ones, and (JM) for individual ones. • Th e process of practice: essence of design, collaboration and role in the profession • Instigating change in social and professional environments Th e bicultural practice In these chapters we investigate the workings of biculturalism within the specifi c context of our practice. We imaginethe practice as a microcosm of biculturalism where two individuals (Tanya and James) from two countries (Britain and Russia), The dissertation comprises a series of chapters have learned and adapted to each other’s cultures to practice architecture for many covering both the research and context. years, as one entity. For McAdam the research chapters are situated at the beginning of the dissertation, with a We refl ect on how this interaction began with a student exchange at the time of reflective study of context following. Perestroika, and how this developed into a scenario we referred to as ‘the stranger For Kalinina the contextual chapters and the host’. We describe specifi c bicultural events – the Project Imagination are deliberately situated at the seminar, the Time for Change exhibition, and a number of collaborative projects beginning of the dissertation, to set the scene for the actual research. 7 6 1. Intoduction 1. Intoduction in architecture and education, and examine how these initiatives contributed to process of practice takes place. We examine why the practice operates in this way and the development of the bicultural practice. how it relates to the inbuilt characteristics of the partners. As a continuation of this introspective study, I have looked further into my partnership with Tanya Kalinina As part of this refl ection, we consider the traits and benefi ts of biculturalism as a and how this collaboration operates without specifi c guidelines or a manifesto. form of international exchange with local context. We argue that the bicultural practice can overcome both the banality of global practice and the restraints of In attempt to understand the underpinnings of these characteristics we have local context, by being able to view from a distance and focus in close, combining considered our upbringings and mentors. We have identifi ed the practice’s key cross-cultural knowledge with specifi c constraints of location and cultural context. peripheral mentors, investigating their roles and infl uence on the practice. Th is part of the research also looks into how the partners accumulated their professional Refl ection on the body of work skills and have learned to eff ectively research, adapt, and respond to a variety of situations in the fast changing environment of Moscow in the 1990s. Structured analysis of the practice’s work itself was essential for drawing broader conclusions. In our research, the refl ection on 20 years of work began by mapping Instigating change in social and professional environments practice activities against time, political contexts, and social events. We used and developed this Practice Map throughout the research program as a tool for A substantial section of the research looks at the position of the practice in the overview – to give clarity in complexities through identifying key moments, links, profession and its role in society. We consider how the practice strives to be a and developments. Th is overview revealed distinct streams of practice: strategic conventional architect operating in unconventional circumstances. We categorise initiatives, competitions, and built projects. its activities as mainly collaborative. Our role is as lead consultant, similar to that of a ‘19th century architect’. Th ese discoveries lead us to devise the Diagram of Endeavours, a tool for gauging works and activities in terms of intellectual satisfaction. We use this tool to measure Th is study leads to the revelation that the partners endeavour to create situations our enjoyment of specifi c projects and to understand their position in the endeavours in which to practice.
Load more

Recommended publications
  • LAWRENCE ALLOWAY Pedagogy, Practice, and the Recognition of Audience, 1948-1959
    LAWRENCE ALLOWAY Pedagogy, Practice, and the Recognition of Audience, 1948-1959 In the annals of art history, and within canonical accounts of the Independent Group (IG), Lawrence Alloway's importance as a writer and art critic is generally attributed to two achievements: his role in identifying the emergence of pop art and his conceptualization of and advocacy for cultural pluralism under the banner of a "popular-art-fine-art continuum:' While the phrase "cultural continuum" first appeared in print in 1955 in an article by Alloway's close friend and collaborator the artist John McHale, Alloway himself had introduced it the year before during a lecture called "The Human Image" in one of the IG's sessions titled ''.Aesthetic Problems of Contemporary Art:' 1 Using Francis Bacon's synthesis of imagery from both fine art and pop art (by which Alloway meant popular culture) sources as evidence that a "fine art-popular art continuum now eXists;' Alloway continued to develop and refine his thinking about the nature and condition of this continuum in three subsequent teXts: "The Arts and the Mass Media" (1958), "The Long Front of Culture" (1959), and "Notes on Abstract Art and the Mass Media" (1960). In 1957, in a professionally early and strikingly confident account of his own aesthetic interests and motivations, Alloway highlighted two particular factors that led to the overlapping of his "consumption of popular art (industrialized, mass produced)" with his "consumption of fine art (unique, luXurious):' 3 First, for people of his generation who grew up interested in the visual arts, popular forms of mass media (newspapers, magazines, cinema, television) were part of everyday living rather than something eXceptional.
    [Show full text]
  • Introduction
    Introduction ALEX KITNICK “New Brutalism” remains a tricky term for the student of postwar art and architecture, both too specific and too general. On the one hand, it is associated with a small number of writings and projects carried out by a group of archi - tects, artists, and critics in 1950s London. Alison and Peter Smithson first used the term to describe a residential project in Soho that was to be characterized by a “warehouse” aesthetic and unfinished surfaces, and, in a famous 1955 essay, Reyner Banham wrote that the movement’s three primary characteristics were “Memorability as an Image,” “Clear exhibition of Structure,” and “Valuation of Material ‘as found.’” 1 Despite having been granted these attributes, however, or perhaps because of the way they lend themselves to both oversimplification (unfinished surfaces) and open-ended abstraction (“Memorability as an Image”), Brutalism is often employed today as nothing more than a vague epi - thet lobbed at vast expanses of postwar institutional building; its associations with art practice are, more frequently than not, left out entirely. The purpose of dedicating this issue to New Brutalism, then, is both to reconsider its theses and to reevaluate its work and writings, while at the same time amending and sup - plementing earlier histories of the moment, which have emphasized the pop aspects of the work. 2 In doing so, we hope to recapture something of New Brutalism’s latent critical potential. As Theo Crosby wrote in the January 1955 issue of Architectural Design , New Brutalism positioned itself against the “contemporary”—“its veneer of ‘modern’ 1.
    [Show full text]
  • The Arts Council of Great Britain
    A-YUAAt J`2 101" The Arts Council Twenty-ninth of Great Britain annual report and accounts year ended 31 March 1974 ARTS COUNCIL OF GREAT BR(fAMm REFERENCE ONLY DO NOT REAAOVE I j,FROM THE LIBRARY ISBN 0 7287 0036 0 Published by the Arts Council of Great Britai n 105 Piccadilly, London wIV oAu Designed and printed at Shenval Press, Englan d Text set in `Monotype' Times New Roman 327 and 334 Membership of the Council , Committees and Panels Council Committees of the Art Pane l Patrick Gibson (Chairman ) Exhibitions Sub-Committee Sir John Witt (Vice-Chairman ) Photography Committee The Marchioness of Anglesey Serpentine Gallery Committee Professor Harold C . Baldry Performance Art Committee The Lord Balfour of Burleigh Alan Bowness The following co-opted members serve on the Lady Casson Photography Committee : Colonel Sir William Crawshay, DSO, TD Michael Elliott Bill Gaskins The Viscount Esher, CBE Ron McCormic k The Lord Feather, CBE Professor Aaron Scharf Sir William Glock, CBE Pete Turner Stuart Hampshire Jeremy Hutchinson, Q c and the Performance Art Committee : J. W. Lambert, CBE, DsC Dr A. H. Marshall, CB E Gavin Henderso n James Morris Adrian Henri Neil Paterson Ted Littl e Professor Roy Shaw Roland Miller Peter Williams, OBE Drama Panel Art Panel J. W. Lambert, CBE, DsC (Chairman) The Viscount Esher, CBE (Chairman) Dr A. H. Marshall, CBE (Deputy Chairman) Alan Bowness (Deputy Chairman ) Ian B. Albery Miss Nancy Balfour, OBE Alfred Bradley Victor Burgi n Miss Susanna Capo n Michael Compton Peter Cheeseman Theo Crosby Professor Philip Collins Hubert Dalwood Miss Jane Edgeworth, MBE The Marquess of Dufferin and Av a Richard Findlater Dennis Farr Ian Giles William Feaver Bernard Gos s Patrick George Len Graham David Hockney G.
    [Show full text]
  • Richard Hamilton's Tabular Image
    112 OCTOBER Richard Hamilton's Tabular Image of artificial environments to provoke an experience from the spectator, yet, though perhaps more visceral, the Science exhibition sought to have both an emotional and an intellectual effect: it strove to make science appear "friendly" but at the same time emphasize its objective quality and free it from tainted asso­ ciations. For this purpose the Science exhibition, like the Festival overall, used not only an overt narrative but much verbal commentary to accompany the images and models. Unlike Hamilton, who did not include explanatory labels, the orga­ nizers of the Science exhibit were not entirely relying on the power of their imagery; as they hint in their text, they used the images to "prepare" the visitor for WILLIAM R. KAIZEN a more measured intake. Their assumption is that vision cannot be refused, and that the identification and formal familiarity created by the immersion in scien­ tific imagery will create a "natural" interest in understanding this experience on a The efforts of poets to come to terms with industry in the nine­ cognitive level as well. The images, and visual perception itself, then, are under­ teenth century ... are unmemorable, that is to say, hard-to-learn, stood to have an unmediated impact and to condition the spectator for the next uninfluential in image forming. The media, however, whether step in which audience participation is needed: reading. dealing with war or the home, Mars or the suburbs, are an Hamilton's assumptions are very similar in his reliance on visual immediacy inventory of pop technology ..
    [Show full text]
  • John Latham Born 1921 Livingstone, Northern Rhodesia, Now Zambia Died 2006 London, UK
    John Latham Born 1921 Livingstone, Northern Rhodesia, now Zambia Died 2006 London, UK Biography and Education: 1970 "ART & CULTURE", second purchase from MoMA, New York 1967 "ART & CULTURE" completed. Exit St Martins 1965-67 Taught at St Martin's School of Art, London 1965 Co-founded the Artist Placement Group (APG) with Barbara Steveni 1962 Worked in New York 1961 Visited New York and Washington "Shem" placed in MoMA, New York adjacent Rauschenberg this decade 1958 Discovery of the Book as Sculpture 1954 Quantum of Mark approach to form as art discovered in the presence of scientific team Gregory & Kohsen; formation of the Institute for Study of Mental Images (ISMI) 1951 Wed Barbara Steveni. Lived in Hampshire 1946-51 Studied at Art Colleges, London 1940-46 Royal Navy service. CO of HM Ship 1944-46 1934-39 Winchester College, England Solo Exhibitions 2010 “John Latham: Anarchive”, Whitechapel Art Gallery, London, UK “John Latham: The Lisson Gallery Does Not Exist For 100 Years/ 29 Bell St”, Lisson Gallery, London, UK “John Latham: Works 1958-1995”, Richard Saltoun and Karsten Shubert, London, UK “The Story of the RIO (abridged)”, Flat Time House, London, UK “Into the Noit”, Castillo/Corrales, Paris 2008 “The Spray Gun and the Cosmos”, Richard Saltoun, London, UK “The Spray Gun and the Cosmos”, Laurent Delaye Gallery, London, UK 2006 “John Latham: Time Base and the Universe”, John Hansard Gallery, Southampton, England “John Latham in Focus” – Tate Britain, London, UK “John Latham: Time Base and the Universe”, P.S.1 Contemporary Art Centre, New York 2005 “John Latham in focus” Tate Britain, London 2004/5 ‘God is Great’, Lisson Gallery, London, UK 1996 “John Latham”, Mattress Factory, Pittsburgh 1992 "OHO", Lisson Gallery, London 1991 "John Latham: Art after Physics", Staatsgalerie, Stuttgart (exh cat) (travelling to Museum of Modern Art, Oxford) 1989 Josh Baer Gallery, New York 1988 "John Latham, Works 1983 - 1988", Lisson Gallery,London "An Idea of State 0.
    [Show full text]
  • In Beyond Archigram
    R THE STRUCTURE OF CIRCULATION HADAS A. STEINER I~ ~~o~;!~n~~;up NBNYO RKAND LON DON Frontispiece: MiKe Webb, Sin Poloce Escafators, 1959-62 Fim publishro 2009 by Routledge 270 Madison Avenue , New YorK, NY10016 Simultaneously published i.n the UK by Routledge 2 Par, Square. Milton Par~ Abingdon. O.on. OX14 4RN Rout/~dge is on imprint of the Tayfor & Froncis Group, on informa business c 2009 HadasA. Ste iner Dl5igned and typeset by Sutchinda Rangsi Thompson/Crown4to Printed and bound in Great Britain by The Cromwell Press. Trowbridge, Wiltshire All rights reserved. No part of this book may be reprinted or reproduced or uti lised in any form or by any electronic, mechdniC'il. or other means , now known or hereafter invented, including photoropying and recording. or in any information storage or retrieval system, without permission in writing from the publishers. Brirish librory Caro/oguing in Publication Data A 03!<1logue record for this boo, is availabl, from th' British library Librory of Congress CoroJaging- in-Publicarion Daro A catalog m:ord for this book has been requl5ted ISBN10 0-415-39476-7 (hbk] ISBN10 0-415-39477-5 (pbk] ISBN13 978-0-415-39476-5 (hbk) ISBN13 978-0-415-39477-2 (pbk) PREfACE xvii CONTENTS PART ONE THE ARCHIGRAM NETWORK V Introduction: The Image of Change 1 Modern Architecture in England 38 City Synthesis 70 PART TWO BATHROOMS, BUBBLES AND SYSTEMS Bathrooms 118 Bubbles 149 Systems 182 The Technological Picturesque 222 NU 245 lUIS11IATION CR8IfTS 251 Not all [arch itectural] revelations have to be buildings. They could be a paragraph from Ruskin's Stones ofVenice, or Geoffrey Scott's Architecture ofHumanism, or even Asimov's Caves ofSteel.
    [Show full text]
  • This Is Tomorrow This Is Tomorrow
    The History of E Exhibitions:xhibitions: Beyond the Ideology of the White Cube ((partpart one) Course in art and contemporary culture Autumn 2009 This is Tomorrow Presented by James Lingwood 19/10/2009 --- MACBA AuditoriumAuditorium–––– 7 pm Spontaneously and democratically organised, THIS IS TOMORROW is an exhibition to prove a point. Leading British artists and architects of the younger generation have pooled their talents to prove that the ability of painters, sculptors, architects and designers to work harmoniously together did not die out with the cathedral builders or the Georgian interior decorators – as older critics and Royal Academicians maintain – but is flourishing still. Banded together in groups of three or more, they have taken over areas of the Whitechapel Gallery’s empty floor space, on which to create whatever structure they please.. Lawrence Alloway 1 This is Tomorrow, installation view, Group n. 2 This is Tomorrow, Whitechapel Art Gallery, 8080----8282 Whitechapel High StreetStreet,, London August 9 to September 9, 1956 12 groups and 37 artists : Robert Adams, Lawrence Alloway, Peter Carter, J.D.H. Catleugh, Theo Crosby, John Ernest, Germano Facetti, Ernö Goldfinger, Richard Hamilton, Adrian Heath, Nigel Henderson, Anthony Hill, Geoffrey Holroyd, James Hull, Anthony Jackson, Sarah Jackson, Kenneth Martin, Mary Martin, Richard Matthews, John McHale, Frank Newby, Eduardo Paolozzi, Victor Pasmore, Helen Phillips, Michael Pine, Toni del Renzio, Emilio Scanavino, Alison Smithson, Peter 1 Lawrence Alloway. ‘This is Tomorrow : At the Whitechapel Art Gallery, 9 August-9 September 1956’ (press release of the exhibition), in ALTSHULER, Bruce (ed.). Salon to Biennial - Exhibitions That Made Art History, vol.
    [Show full text]
  • New Brutalism and the Myth of Japan
    242 Mass Media and the International Spread of Post-War Architecture 4 | 2019 | 2 New Brutalism and the Myth of Japan Yat Shun Juliana Kei University of Liverpool [email protected] Yat Shun Juliana Kei is lecturer in architecture at The University of Liverpool. Her PhD research in History of Design, at the Royal College of Art, examines the intersections between preservation advocacies and Postmodern architecture in late 20th century Britain. Her other research interests include late/post-colonial architecture and exhibitions. ABSTRACT This paper seeks to shed new lights on the New Brutalism through re-orienting attention to the repeated evocations of Japan in Alison and Peter Smithson’s writings since the 1950s. In these articles, the Smithsons did not only present Japanese architectural tradi- tion as a yardstick of the Modern Movement and hence New Brutalism, but also took pride in the fact that their understandings of Japanese culture were based on the mass media. This study examines how New Brutalism was simultaneously shaped by mass media’s post-war media boom and their portrayal of Japan. It suggests that Japan had several efficacies for New Brutalism, including as an inspiration for mass-produced architecture and mass-produced culture. The problems associated with their references to Japan will also be considered. https://doi.org/10.6092/issn.2611-0075/9633 ISSN 2611-0075 Copyright © 2019 Yat Shun Juliana Kei 4.0 KEYWORDS: New Brutalism; Japan; Architectural Design magazine; Standardised Architecture Yat Shun Juliana Kei New Brutalism and the Myth of Japan 243 Introduction In January 1955, the Architectural Design (AD) printed a one-page editor 1 note on New Brutalism.
    [Show full text]
  • Architecture of Edwin Maxwell Fry and Jane Drew Ashgate Studies in Architecture Series
    THE ARCHITECTURE OF EDWIN MAXWELL FRY AND JANE DREW Ashgate Studies in Architecture Series SERIES EDITOR: EAMONN CANNIFFE, MANCHESTER SCHOOL OF ARCHITECTURE, MANCHESTER METROPOLITAN UNIVERSITY, UK The discipline of Architecture is undergoing subtle transformation as design awareness permeates our visually dominated culture. Technological change, the search for sustainability and debates around the value of place and meaning of the architectural gesture are aspects which will affect the cities we inhabit. This series seeks to address such topics, both theoretically and in practice, through the publication of high quality original research, written and visual. Other titles in this series The Architectural Capriccio Memory, Fantasy and Invention Lucien Steil ISBN 978 1 4094 3191 6 The Architecture of Pleasure British Amusement Parks 1900–1939 Josephine Kane ISBN 978 1 4094 1074 4 No Matter: Theories and Practices of the Ephemeral in Architecture Anastasia Karandinou ISBN 978 1 4094 6628 4 The Challenge of Emulation in Art and Architecture Between Imitation and Invention David Mayernik ISBN 978 1 4094 5767 1 Building Transatlantic Italy Architectural Dialogues with Postwar America Paolo Scrivano ISBN 978 1 4724 1483 0 Forthcoming titles in this series The Architecture of Edwin Maxwell Fry and Jane Drew Twentieth Century Architecture, Pioneer Modernism and the Tropics Iain Jackson and Jessica Holland ISBN 978 1 4094 5198 3 The Architecture of Edwin Maxwell Fry and Jane Drew Twentieth Century Architecture, Pioneer Modernism and the Tropics Iain Jackson Liverpool School of Architecture, University of Liverpool Jessica Holland Liverpool School of Architecture, University of Liverpool © Iain Jackson and Jessica Holland 2014 All rights reserved.
    [Show full text]
  • Alison and Peter Smithson
    The Independent Group~ Postwar Britain and the Aesthetics of Plenty I I Edited by David Robbtris I Exhibition Organized by Introduction by Essays by Hood Museum ofArt, Dartmouth College . Jacquelynn Baas Lawrence Alloway Wstitute ofContemporary Arts, London lbeo Crosby The Museum ofContemporary Art, Lo~ Angeles Chronology by Barr-r, Curtis University Art Museum, University ofCalifomia at Berkeley . Graham Whitham Diane Kirkpatrick . David Mellor I I David Robbins Denise Scott Brown Alison and Peter Smithson I! David Thistlewood ! Retrospective Statements by ·1 Lawrence Alloway ! MaryBanham Richard Haniilton Geoffrey Holroyd I ~ Magda Cordell McHale ·1 Dorothy Morl~d Eduardo Paolom Toni del Renzi~ Alison and Peter Smithson \ James Stirling William Turnbull Colin St. John Wilson I i I ! ' I I Jhe MIT·Press. Cambridge. Massochusetts,\a~d London, Enaland This publication accompanies the exhibition, The Independent Group: Postwar Britain and the Aesthetics of Plenty February 1-April 1. 1990 Institute of Contemporary Arts. London May 16 - September 16, 1990 Instituto Valenciano de Arte Moderno (IVAM), Centro Julio Gonzalez, Valencia November 4, 1990 - January 13, 1991 The Museum of Contemporary Art, Los Angeles. February 6 - April 21, 1991 University Art Museum, University of Cali forriia at Berkeley June 8 - August 18, 1991 Hood Museum of Art, Dartmouth College. Hanover, New Hampshire Organize~. by the Hood Museum of Art, Dartmouth College, Hanover, New Hampshire; the Institute of Contemporary Arts, London; The Museum of Contemporary Art, Los Angeles; the University Art Museum, University of California at Berkeley. Organizing commi t tee for the catalog\le and exhibition: Jacquelynn Baas (Director. UAM. Berkeley) , Mary Jane Jacob, James Lingwood (Adjunct Curator.
    [Show full text]
  • British Art Studies Pdfs British Art Studies Is a Digital Publication And
    British Art Studies PDFs British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. PDFs are preformatted and the content may not correspond exactly with that of the current article, which may have been updated. Please do not reference the PDF, use the DOIs (digital object identifiers) provided with the online article. Referencing British Art Studies British Art Studies can be identified by its International Standard Serial Number (ISSN), 2058-5462 Additionally, every issue, article, chapter, paragraph and figure published in the journal has been assigned a Digital Object Identifier (DOI). This unique alphanumeric string identifies content and provides a persistent link to its location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents in academic citations with confidence. Every DOI published by British Art Studies will begin with the prefixhttp://dx.doi.org/10.17658. Painting that Grows Back: Futures Past and the Ur-feminist Art of Magda Cordell McHale, 1955–1961 Giulia Smith Magda Cordell’s paintings from the 1950s are monumental and monumentally lurid. Reviewers have compared them to monsters and fertility idols, likening their texture to blood, amniotic liquid, and, on one occasion, “neon-lit pleura”.1 Born in 1921 into a Hungarian-Jewish family before the outbreak of the Second World War, Cordell fled Hungary to escape Nazism and eventually migrated to Great Britain with
    [Show full text]
  • 288389725.Pdf
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Loughborough University Institutional Repository This item was submitted to Loughborough University as an MPhil thesis by the author and is made available in the Institutional Repository (https://dspace.lboro.ac.uk/) under the following Creative Commons Licence conditions. For the full text of this licence, please go to: http://creativecommons.org/licenses/by-nc-nd/2.5/ Loughborough University School of the Arts Richard Hamilton a “multi-elusive” artist of the modern world? By Andrew Kim Tyler - A379598 A Masters Thesis Submitted in partial fulfilment of the requirements for the award of Master of Philosophy of Loughborough University 2011 by Andrew Kim Tyler 2011 Volume I Thesis & Bibliography 1 Richard Hamilton a “multi-elusive“1 artist of the modern world? Richard Hamilton was born on the 24th February 1922, throughout his adult life he has been an artist, who has taught, who has made exhibitions, who has sought to engage with the most up to date technology, who has studied the theories and works of Marcel Duchamp and most importantly has accurately reflected the world in which he has lived. Hamilton has been broadly categorised throughout his career by two images, the small poster he designed for the This is Tomorrow2 exhibition and the spectre of Marcel Duchamp as the epitome of the avant-garde artist. The first secured the myth that Hamilton is the ‗founding father‘ of Pop Art and the second that Hamilton would provide, for many, a gateway to an understanding of Duchamp.
    [Show full text]