Postmodernism, Spectacle, and Institutional Critique
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Pritzker Architecture Prize Laureate
For publication on or after Monday, March 29, 2010 Media Kit announcing the 2010 PritzKer architecture Prize Laureate This media kit consists of two booklets: one with text providing details of the laureate announcement, and a second booklet of photographs that are linked to downloadable high resolution images that may be used for printing in connection with the announcement of the Pritzker Architecture Prize. The photos of the Laureates and their works provided do not rep- resent a complete catalogue of their work, but rather a small sampling. Contents Previous Laureates of the Pritzker Prize ....................................................2 Media Release Announcing the 2010 Laureate ......................................3-5 Citation from Pritzker Jury ........................................................................6 Members of the Pritzker Jury ....................................................................7 About the Works of SANAA ...............................................................8-10 Fact Summary .....................................................................................11-17 About the Pritzker Medal ........................................................................18 2010 Ceremony Venue ......................................................................19-21 History of the Pritzker Prize ...............................................................22-24 Media contact The Hyatt Foundation phone: 310-273-8696 or Media Information Office 310-278-7372 Attn: Keith H. Walker fax: 310-273-6134 8802 Ashcroft Avenue e-mail: [email protected] Los Angeles, CA 90048-2402 http:/www.pritzkerprize.com 1 P r e v i o u s L a u r e a t e s 1979 1995 Philip Johnson of the United States of America Tadao Ando of Japan presented at Dumbarton Oaks, Washington, D.C. presented at the Grand Trianon and the Palace of Versailles, France 1996 1980 Luis Barragán of Mexico Rafael Moneo of Spain presented at the construction site of The Getty Center, presented at Dumbarton Oaks, Washington, D.C. -
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
Pritzker Prize to Doshi, Designer for Humanity in Search of a Win-Win
03.19.18 GIVING VOICE TO THOSE WHO CREATE WORKPLACE DESIGN & FURNISHINGS Pritzker Prize to Doshi, Designer for Humanity The 2018 Pritzker Prize, universally considered the highest honor for an architect, will be conferred this year on the 90-year- old Balkrishna Doshi, the first Indian so honored. The citation from the Pritzker jury recognizes his particular strengths by stating that he “has always created architecture that is serious, never flashy or a follower of trends.” The never-flashy-or-trendy message is another indication from these arbiters of design that our infatuation with exotic three-dimensional configurations initiated by Frank Gehry and Zaha Hadid – and emulated by numerous others – may have run its course. FULL STORY ON PAGE 3… In Search of a Win-Win: The Value Engineering Process When most design professionals hear the term value engineering, a dreaded sinking feeling deep in the pit of their stomach ensues. Both the design firm and the contractor are at a disadvantage in preserving the look and design intent of the project, keeping construction costs to a minimum, and delivering the entire package on time. officeinsight contributorPeter Carey searches for solutions that make it all possible. FULL STORY ON PAGE 14… Concurrents – Environmental Psychology: Swedish Death Cleaning First, Chunking Second Swedish death cleaning has replaced hygge as the hottest Scandinavian life management tool in the U.S. Margareta CITED: Magnussen’s system for de-cluttering, detailed in her book, The “OUR FATE ONLY SEEMS Gentle Art of Swedish Death Cleaning: How to Make Your Loved HORRIBLE WHEN WE PLACE Ines’ Lives Easier and Your Own Life More Pleasant, is a little IT IN CONTRAST WITH more straightforward than Marie Kondo’s more sentimental tact, SOMETHING THAT WOULD SEEM PREFERABLE.” described in The Life-Changing Magic of Tidying Up. -
6 PREMIOS PRITZKER 1988 Los Premios Pritzker Han
6 por la fami lia Pritzker, con la intención de ALEJANDRO DE LA SOTA Y ALVARO SIZA, recompensar una labor creativa, no reconocida MEDALLAS DE ORO DE LA ARQUITEC por los premios Nobel. TURA 1988 Los galardonados en anteriores ediciones han sido: Philip Johnson (1979), Luis Barragán En la Real Academia de Bellas Artes de San (1980), James Stirling (1981 ), Kevin Roche Fernando de Madrid, tuvo lugar la entrega de (1982), leoh Ming Peí (1983), Richard Meier las Medallas de Oro de la Arquitectura, conce (1984), Hans Hol lein (1985), Gottfri ed Boehm didas por el Consejo Superior de Colegios de (1986) y Kenzo Tange en 1987. Arquitectos de España. Los premios de este año serán presentados En esta ocasión , las medallas fueron conce el 23 de mayo en el Instituto de Arte de Chi didas a Alejandro de la Sota y a Alvaro Siza cago, lllinois. Vieira. El acto fue presidido por el Ministro de Obras Públicas y Urbanismo, Sáenz de Cosculluela, a PRIMER PREMIO EUROPEO DE ARQUI quien acompañaban el Presidente de la Aca TECTURA MIES VAN DER ROHE demia, Federico Sopeña, del Consejo Superior de Colegios de Arquitectos de España, Rafael El pasado mes de Diciembre, fue hecho de la Hoz, el Embajador de Portugal en España, público, por el Ayuntamiento de Barcelona y la Paulouro Neves y numerosas personalidades. PREMIOS PRITZKER 1988 Comisión de Cultura de la Comunidad Europea, Alejandro de la Sota viene a sumar este el nombre del ganador del primer Premio Euro galardón a otros ya recibidos, como son el Pre Los Premios Pritzker han conmemorado su peo de Arquitectura Mies van der Rohe, que mio Nacional de Arquitectura, Premio Nacional décimo aniversario concediendo dos galardo recayó en el arquitecto portugués Alvaro Siza de Artes Plásticas, Medalla de Oro al mérito en nes en su convocatoria de 1988. -
Oral History of Edward Charles Bassett
ORAL HISTORY OF EDWARD CHARLES BASSETT Interviewed by Betty J. Blum Compiled under the auspices of the Chicago Architects Oral History Project The Ernest R. Graham Study Center for Architectural Drawings Department of Architecture The Art Institute of Chicago Copyright © 1992 Revised Edition Copyright © 2006 The Art Institute of Chicago This manuscript is hereby made available to the public for research purposes only. All literary rights in the manuscript, including the right to publication, are reserved to the Ryerson and Burnham Libraries of The Art Institute of Chicago. No part of this manuscript may be quoted for publication without the written permission of The Art Institute of Chicago. ii TABLE OF CONTENTS Preface iv Preface to Revised Edition v Outline of Topics vi Oral History 1 Selected References 149 Curriculum Vitae 150 Index of Names and Buildings 151 iii PREFACE On January 30, 31, and February 1, 1989, I met with Edward Charles Bassett in his home in Mill Valley, California, to record his memoirs. Retired now, "Chuck" has been the head of design of Skidmore, Owings and Merrill's San Francisco office from 1955-1981. Those twenty-six years were a time of unprecedented growth and change to which Chuck not only bore witness but helped shape. Chuck Bassett was one of the SOM triumvirate of the postwar years: he was the West Coast counterpart of Gordon Bunshaft in New York and William Hartmann in Chicago. In 1988 the California Council of the American Institute of Architects awarded SOM, San Francisco, a 42-year award for "...the genuine commitment that the firm has had to its city, to the profession and to both art and the business of architecture." Although Chuck prefers to be known as a team player, his personal contribution to this achievement is unmistakable in the context of urban San Francisco since 1955. -
The Louis I. Kahn Collection
Solomon’s Success: Trenton Bath House to be Saved On Friday, August 11th at 2:54 PM EST, news flashed across the internet and around the world that the Bath House and Day Camp pavilions designed by Louis Kahn in the mid 1950s for the Jewish Community Center (JCC) in Ewing, New Jersey, would be preserved. The message was sent from architectural historian, DOCOMOMO US member, and Kahn scholar Susan Solomon. She is the leader of a ten-year struggle to preserve Kahn’s work in Ewing and literally wrote the book on Kahn and the Bath House (Louis I. Kahn’s Trenton Jewish Community Center, Princeton Architectural Press, 2000). Design of the JCC was the first major project of Kahn’s private practice. He acknowledged this work as inspiring a fundamental and profound shift in his architectural thinking. Kahn “discovered himself” after designing this project, considering the Trenton Bath House as his first opportunity to work out the concept of served and serving spaces. The archi- tectural fundamentals he discovered is Exterior, Trenton Bath House, recognizable in every building he designed subsequently. Trenton, NJ Kahn’s Bath House and pool (1955) and four Day Camp pavilions (photo: Susan Solomon) (1957) have been listed on the National Register of Historic Places and protected by a Ewing preservation ordinance since 1984. Due to extensive deterioration of the Day Camp pavilions, the JCC sought approval for the demolition of two of the four pavilions in 1966 but withdrew the request when the preservation community strongly objected. Although the Day Camp pavilions were not demolished, wooden barricades and wire fencing were erected to prevent access; deterioration accelerated. -
N. 17 Dicembre 2017/Marzo 2018 a Painting by Hans Haacke
n. 17 dicembre 2017/marzo 2018 A Painting by Hans Haacke : Dematerializing Labor di Andreas Petrossiants Artistic activity is a mode – a singular form – of labor power . Antonio Negri, 2008 1 To center an essay concerning the more - than - expansive discursive field denoted by «painting», on just one work by Hans Haacke, might at first glance seem misplaced. However, while Haacke’s work was surely instrumental for the shifts in Western artistic pra ctice comprising the «conceptual turn» of the 1960s and the parallel «dematerialization» of the art object, his painting Taking Stock (unfinished) (1983 - 1984 ) not only brings such broad period generalizations into question, but also examines the labor invo lved in producing (the value of) a painting [fig. 1]. Taking Stock (unfinished) , first exhibited at the Tate Gallery in 1984, depicts Margaret Thatcher in the style of Victorian portraiture, encoded with information concerning the careers and art collectio ns of Charles and Doris Saatchi, as well as their ties to Thatcher and her reactionary government. Referring specifically to the medium and style of the work, Haacke remarks that it was produced to cite and critique how Thatcher «expressly promotes Victori an values, nineteenth century conservative policies at the end of the twentieth century». He continues: « Thatcher would like to rule an imperial Britain. The Falklands War was typical of this mentality». 2 This essay proposes to displace and problematize the traditional discourses applied to historicizing conceptual art, and to describe how Haacke employs both physical «painterly» and immaterial conceptual labor to produce a material object. He fosters a str ategy mirroring the changes in the structure and critical position of the (art) worker 1 during the late 1960s. -
5. the Nine-Square Diagram and Its Contradictions Robert Venturi, Vanna Venturi House, 1959-64
Lecture 6: Robert Venturi, Vanna Venturi House, 1959-64 5. The Nine-Square Diagram and its Contradictions Robert Venturi, Vanna Venturi House, 1959-64 S. Hambright Drawing Canonical Ideas in Architecture UofA Lecture 6: Robert Venturi, Vanna Venturi House, 1959-64 1968 “…it is clear that the period around 1968 represents a generational if not a paradigm shift. These books begin to question the internal conditions of the discipline of architecture, particularly in America, which had, until 1968, been a relatively nontheoretical and professional one, focused primarily on the pragmatics of the architectural practice.“ S. Hambright Drawing Canonical Ideas in Architecture UofA Lecture 6: Robert Venturi, Vanna Venturi House, 1959-64 “…questioned architecture’s capacity for social reform, a thematic of mainstream modern architecture.” “Le Corbusier had stated that the plan is the generator…then these texts initiated a profound critique of the part-to-whole relationship.” “…these books were didactic in their reevaluation of modernist principles.” “No longer was the ethos of CIAM (which held that modern architecture was a vehicle toward a better society), nor its rebirth later in Team Ten, thought to have much currency.” Didactic: designed or intended to teach CIAM – Congres International d’Architecture Moderne (International Congress of Modern Architecture – One of many 20th Century manifestos meant to advance the cause of ‘architecture as a social art’ - Organized by Corbusier and Sigfried Giedion S. Hambright Drawing Canonical Ideas in Architecture UofA Lecture 6: Robert Venturi, Vanna Venturi House, 1959-64 Le Corbusier, Plan Voison, Paris, 1925 “…questioned architecture’s capacity for social reform, a thematic of mainstream modern architecture.” S. -
Newsletter the Society of Architectural Historians
VOL. XXXIII NO. 2 APRIL 1989 liTJ(JTAS RRmrrns UEDU51BS - NEWSLETTER THE SOCIETY OF ARCHITECTURAL HISTORIANS SAH NOTICES the National Council on Public History Special Announcement in cooperation with the Society for 1990 Annual Meeting-Boston, Industrial Archeology, June 23 -30, 1989, Massachusetts (March 28-April 1 ). At the Annual Meeting in Montreal this month, the SAH will Loyola University, Chicago, Illinois. Elisabeth Blair MacDougall, Harvard Industrial history has become an in University (retired), will be general chair kick off its 50th Anniversary Fund Raising Campaign. The Board of creasingly important concern for cultural of the meeting. Keith Morgan, Boston resource professionals. Thirty-eight na University, will serve as local chairman. Directors has approved as a con cept and slogan for this campaign, tional parks and numerous state facilities Headquarters for the meeting will be the are already involved in interpreting tech Park Plaza Hotel. A Call for Papers for "$50 FOR THE 50th." It is our goal that every member (Active catego nological and industrial history to the the Boston meeting appears as a four public. In the wake of Lowell National page insert in this issue. Those who wish ry and higher) contribute at least $50 to one of the campaign pro Historical Park, industrial heritage initia to submit papers for the Boston meeting tives all across the country are being are urged to do so promptly, and in any grams to be announced at the Annual Meeting in Montreal. All linked to economic development and case before the deadline of August 31, tourism projects. The assessment, inter 1989. -
Conceptual Art: a Critical Anthology
Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R. -
AC Nov2012.Indd
Arts Council of Greater New Haven www.newhavenarts.org november 2012 Arts Council of Greater New Haven newhavenarts.org The Arts Council is pleased to recognize The Arts Paper. the generous contributions of our business, In this Issue November 2012 corporate and institutional members. Executive Patrons Business Members 3 Artists Next Door The Arts Paper is published by the Arts Council of The United Illuminating Beers, Hamerman & Company 7 Yale Art Gallery completes project Greater New Haven, and is available by direct mail through Company/Southern P.C. membership with the Arts Council. Connecticut Gas Cheney & Company 9 November calendar For membership information call 203-772-2788. Yale University Duble & O’Hearn, Inc. 10 New Haven Architecture Giampietro Gallery Senior Partners 18 Bulletin Board To advertise in The Arts Paper, call Bobbi Griffi th Griswold Special Care First Niagara Bank at the Arts Council. 19 Member Organizations Knights of Columbus Thank you, also, to 20 Arts Council Programs Arts Council of Greater New Haven L. Suzio York Hill Companies our foundations and 70 Audubon Street, 2nd Floor Odonnell Company government agencies. Webster Bank New Haven, CT 06510 The Community Foundation Phone: 203-772-2788 Corporate Members for Greater New Haven Fax: 203-772-2262 Anthem Blue Cross and Blue Connecticut Arts Endowment Shield Email address: [email protected] Fund Firehouse 12 On the web: www.newhavenarts.org DECD/CT Offi ce of the Arts Fusco Management Company Emily Hall Tremaine The Lighting Quotient Foundation STAFF Director of Development People’s United Bank The Ethel & Abe Lapides & Marketing Executive Director Wiggin and Dana Foundation Julie Trachtenberg Cynthia Clair Yale-New Haven Hospital The George A. -
Press Release Zurich, 3 February 2017 Hans Haacke Receives The
Press release Zurich, 3 February 2017 Hans Haacke receives the Roswitha Haftmann Prize Hans Haacke (b. 1936) receives Europe’s best endowed art award, worth CHF 150,000, from the Roswitha Haftmann Foundation. The Board of the Roswitha Haftmann Foundation has decided to award the Roswitha Haftmann Prize to Hans Haacke in recognition of his life’s work. The jury praised his courageous and unflinching commitment over many decades and his ability to foster debate on social issues through provocative art, but also his intellectual brilliance and the formal quality of his works. Hans Haacke was born in Cologne in 1936 and has lived in New York since 1965. He has aroused particular controversy for the political aspects of his work. CONCEPTUAL ART AND LAND ART Haacke studied at the Staatliche Werkakademie, Kassel, from 1956 to 1960. His early works already revolved around systems and processes and analysed their workings – and failures. The young artist presented interactions between physical and biological systems, animals, plants and states of water and wind; he also made forays into land art. From 1970 onwards, he increasingly turned his attention to political developments and the mechanisms of manipula- tion – of opinions, sensibilities and historical facts. MARKET, POLITICS, MORALITY The abrupt cancellation of his exhibition at New York’s Guggenheim Museum in 1971, which was to include his ‘Shapolsky et al. Manhattan Real Estate Holdings, A Real Time Social System, as of May 1, 1971’, on property ownership and speculation, led to a heated debate on the politics of conceptual art. In Cologne in 1974 he put forward a provocative project on the provenance of a still life by Edouard Manet purchased for the Wallraf Richartz Museum on the initiative of the then chairman of its patron association Hermann Josef Abs, and turned the spotlight on his role in the Third Reich.