DOCSLIB.ORG

Maria Hussakowska-Szyszko, Labyrinth – Fragments. Robert Morris and His Installation for Ms² Łódź 2010, RIHA Journal 0032

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Maria Hussakowska-Szyszko, Labyrinth – Fragments. Robert Morris and His Installation for Ms² Łódź 2010, RIHA Journal 0032 RIHA Journal 0032 | 15 November 2011 Labyrinth – fragments Robert Morris and his installation for ms² Łódź 2010 Maria Hussako ska!"#yszko $eer re%ie and editing organized by& Międzynarodowe Cen rum !ul ury" !ra#$w % In erna ional Cul ural Cen re" !rakow Re%ie ers& Monika Rydi&er" Andrze' (zczer*#i 'bstra(t The installation by Robert Morris called Labyrinth, accompanying his monographic exhibition at the Museum of Art in Łódź, was one of his numerous works based on this theme !esides the labyrinth itself, which belongs to forms most pregnant with meanings, at least two issues seem intriguing The first is the dialogue of Minimalism with art of all eras, of which Morris is a brilliant exponent The other issue is connected to the concept of site"specific art, de#eloped by him in the $%&'s and assuming a comprehensi#e analysis of a place, its history, its social, cultural and political en#ironment, which (ustifies and anchors the work The Łódź context forced the artist to change his strategy, but the work based on the )#ery rare in art history* pattern of a triangular labyrinth may be interpreted as an important element of Morris's Threading through a labyrinth Tracing the changes in the Minimalist discourse of the recent decades I focus on a few interpretati#e lines, connected with the functioning of the -labyrinth- as a structure, I find some analogies between pattern repetitions by writers from the .ulipo group and the acti#ities of Robert Morris. + , + , + , + , + /$0 I #isited 1ucca last summer for the second time, reminding myself of this incredible city+s walls structure and the people who had disappeared inside 2 a little bit like Italo 3al#ino+s characters. Day after day the labyrinth of streets seemed to be getting more and more familiar 1ucca, a medie#al town with Roman roots, can be percei#ed as a kind of labyrinth5 the arena, now piaz6a, as the labyrinth+s centre, and the town walls as the first path It is incredible, but the walls are still fully intact today )as the walls lost their military importance, they became a pedestrian promenade which encircled the old town, although they were used for a number of years in the 7'th century for racing cars) $ 8alking the path on top of the town walls you can take a good look at the city and its maze"like structure During the walk the streets seen from abo#e re#eal a more complicated street layout, a second maze with another centre becomes #isible 8alking there, , begun to think about another labyrinth, prepared by Robert Morris for his exhibition Notes on Sculpture at the exhibition space ms7 of the Museum of Art in Łódź7 some months earlier, realised in 9une 7'$' Asked on the opening night to take part in the session and panel discussion connected with the show+s finisage, I did not choose the sub(ect for my paper until a sunny afternoon in 1ucca, where I decided to concentrate in $ http:;;www luccaterre it;index php<lang=enrris )access: % >o# 7'$$* 7 Robert Morris – Notes on Sculpture. Objects, Installations, Fil s, Museum of Art in Łódź, ms7, 7?th 9une"7?th .ctober 7'$', curated by @uzanne Tit6, 3lemens Arümmel, Aatar6yna @Coboda, co" production Museum Abteiberg, MDnchengladbach. This text is provided under the terms of the Creative Commons License CC-BY+NC-ND 3.06 RIHA Journal 0032 | 15 November 2011 my paper on mazes, and on knowing how to make the most of e#ery opportunity It is presumably not by chance that I had chosen 1ucca for a short #acation 1 Lucca seen with Calvino on my mind (photograph provided by the author) /70 The feeling of mysterious unease came before the labyrinth .n @t Martin+s cathedral façade The 1ucca 3athedral dates from the &th century, but little remains of this phase of the church The cathedral acquired its present appearance after inter#entions in the $7th century, which were completed in $7'?, adding the portico to the façade, with three large arches and the -loggias" with multiform columns. The sculptures of the left portal are the work of >icola Gisano )today a copy is displayed*, but a no less attracti#e element of the façade is a labyrinth on the right marble panel inside the right loggia of the portico, on the outermost pillar, which is characteristically two"coloured )fig 7* The portico is constructed according to laws no less rigorous than those for building a medie#al church The space inside the portico used to ha#e its own hierarchies. >ow its rhetoric collapsed, for us first of all it is a place between the sacred and the profane The intaglio placed on the side wall on the #iewer+s eyes height seemed to ask to be touched Most church #isitors put their hands on the cold, worn marble H to communicate with the +ages', history+s infinity, in a simple gesture of repetition A longer examination, if it is possible in a crowded tourist city,I could gi#e an impression of undifferentiated potency It could I The discourse on tourism, both academic and lay, consists in the criticism of tourism as an inauthentic acti#ity !oth the tourist and a more heroic figure contrasting with him, namely a tra#eller in search for culturally authentic #alues, used to fall into a trap 9onathan 3uller explained the paradox: The parado!, the dile a o" authenticity, is that to be e!perienced as authentic it ust be ar#ed as authentic, but $hen it is ar#ed as authentic it is ediated, a sign o" itsel" and hence not authentic in the sense o" unspoiled )9onathan 3uller, -The @emiotics of Tourism,- in: Framing the Sign. %riticis and its Institutions, The 9ohns Jopkins Kni#ersity Gress, .xford $%LL, $&?* ,n his brilliant essay, 3uller explored not only the processes of seeing e#ery detail of a cultural monument, but also touching ob(ects as crucial for the experience This text is provided under the terms of the Creative Commons License CC-BY+NC-ND 3.06 RIHA Journal 0032 | 15 November 2011 e#en re#eal that the maze, with its twel#e paths, could be classified as a 3hartres type Mery few people try to read the ancient description on the right side of the diagram ? 2 Labyrinth on the portico o1 St. Martin's Cathedral in Lucca (photograph provided by the author) /I0 It is presumably not by chance that #irtually all Nrench labyrinths ha#e $7 concentric circles, possibly alluding to the 6odiac )within those constraints the world only seems to be confusingly labyrinthine*, like in Ga#ia and 3ologne O The attempt to reconstruct 3al#ino+s unreconstructable tracery of patterns gi#es rise to a number of Fuestions. @ometimes you can percei#e a town as #ery close to an impermanent structure of a polyphonic playground or labyrinth, condensation of any space, a#ailable and forbidden 3al#ino H absent and present H with his catalogue of issues could guide us, but instead he has proposed a dilemma: 8hat if e#eryone waits for something to happen< 8hat if e#eryone waits for someone to take o#er< ? A labyrinth at Lucca 3athedral showed Theseus and Minotaur at the center5 the inscription stated that no one could lea#e the labyrinth except Theseus with Ariadne+s aid Though not explicitly 3hristian, in an ecclesiastical context this inscription could well suggest 3hristian truth foreshadowed by pagan myth )Genelope Reed 4oob, The Idea o" the Labyrinth, "ro %lassical &nti'uity through the Middle &ges, 3ornell Kni#ersity Gress, ,thaca and 1ondon $%%7, $7P"$7L*: J,3 QKEM 3RET,3K@ R4,T 4R4A1K@ R@T 1A!ER,>TJK@ 4E QK. >K11K@ MA4ERE QK,M,T QK, NK,T ,>TK@ >, TJR@RK@ SRAT,@ A4R,A>AE /sic<0 @TAM,>E 9KTK@, as my friend"librarian Aleksander @iemas6ko found that description at Gaolo @antarcangeli, (si)ga labiryntu, 8ars6awa $%L7, 7P7 ),talian original: Gaolo @antarcangeli, Il libro dei labirinti, Mallecchi, Nlorence $%&P5 a new edition is a#ailable online at http:;;www scribd com;doc;O7%7'?&L;Gaolo"@antarcangeli",l" libro"dei"labirinti"7''O, access: % >o# 7'$$* O Genelope Reed 4oob identified the reasons for placing labyrinths in medie#al churches as a sign of the enclosing cathedral+s magnificence and the architects genius, and as a sign of hell made extricable through the labors and unicoursal footsteps of 3hrist H Theseus H a sign of redemption as well as a warning of those who will not follow 3hristian doctrine )Reed 4oob, The Idea, $7L* The connection between Lucca, Ga#ia and Giacenza labyrinths was researched by Jermann Aern in his book Labyrinthe. Erscheinungs"or en und +eutungen: -... /ahre 0egenwart eines 1rbilds, Grestel, München $%L7, 7I'"7I? This text is provided under the terms of the Creative Commons License CC-BY+NC-ND 3.06 RIHA Journal 0032 | 15 November 2011 8hat if the system ; boss takes o#er< 8hat if the boss has left for an eternal holiday< 8hat if we no longer know what goes on< 8hat if life (ust sucks and stinks to hell< /?0 8atching 1ucca's treasures ob#iously ga#e me no answers to 3al#ino+s dilemma, but ga#e me, as a tra#eller, some clues to understanding a medie#al labyrinth as a significant form H still acti#e e#en in its tourist edition5 it also suggested to me the concept of a city as a metaphorical labyrinth !oth as it is understood in modern and postmodern times, it reminds us that as uch recent visual art and theory has underlined, the artist 3as the "irst vie$er o" the $or#4 and subse'uent vie$ers 5 interpreters are caught up $ithin the co ple! "raught operation o" representation – entangled in intersubjective spaces o" desire, projection, and identi"ication.
Load more

Recommended publications
  • The Social and Environmental Turn in Late 20Th Century Art
    THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J.
    [Show full text]
  • Alice Aycock: Sculpture and Projects
    Alice Aycock: Sculpture and Projects. Cambridge and London: M.I.T. Press, 2005; pp. 1-8. Text © Robert Hobbs The Beginnings of a Complex The problem seems to be how to connect without connecting, how to group things together in such a way that the overall shape would resemble "the other shape, ifshape it might be called, that shape had none," referred to by Milton in Paradise Lost, how to group things haphazardly in much the way that competition among various interest groups produces a kind ofhaphazardness in the way the world looks and operates. The problem seems to be how to set up the conditions which would generate the beginnings ofa complex. Alice Aycock Project Entitled "The Beginnings ofa Complex . ." (1976-77): Notes, Drawings, Photographs, 1977 In Book 11 of Milton's Paradise Lost, Death assumes the guise of two wildly dissimilar figures near Hell's entrance, each with an extravagantly inconsistent appearance. The first, a trickster, appears as a fair woman from above the waist and a series of demons below, while the second-a "he;' according to Milton-is far more elusive. It assumes "the other shape" that Aycock refers to above. 1 When searching for a poetic image capable of communicating the world's elusiveness and indiscriminate randomness, Aycock remembered this description of Death's incommensurability, which she then incorporated into her artist's book Project Entitled "The Beginnings ofa Complex . ." (1976-77): Notes, Drawings, Photographs. Although viewing death in terms oflife is certainly not an innovation, as anyone familiar with Etruscan and Greco-Roman culture can testify, seeing life's complexity in terms of this shape-shifting allegorical figure signaling its end is a remarkable poetic enlists images from the past and from other inversion.
    [Show full text]
  • Interview Transcript
    STORM KING ART CENTER ORAL HISTORY PROGRAM DAVID COLLENS January 23, 2018 July 18, 2018 July 31, 2018 August 13, 2018 August 22, 2018 Interviewed by Sarah Dziedzic Storm King Oral History 007 © 2018 Storm King Art Center Use of Oral Histories in the Storm King Art Center Archives The Storm King Art Center Archives welcomes non-commercial use of the Oral History Program Special Collection in accordance with the Storm King Archives Use and Reproduction Policy [provide link.] The following transcript is the result of a recorded oral history interview. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the person interviewed and the interviewer. The reader is asked to bear in mind that this is a transcript of the spoken word, rather than written prose. The Archives requires that researchers give proper credit when citing oral histories, including Oral history interview with ___________ (date of interview), pages _____, Oral History Program, Storm King Art Center Archives. Only the transcript may be used for citations. The recordings associated with this interview may be made available upon request. Timestamps corresponding with original audio files are included in the transcript at one-minute intervals. For commercial use of any sort, including reproduction, quotation, publication, and broadcast in any medium, distribution, derivative works, public performance, and public display, prior written permission must be obtained from the Storm King Art Center Archives. Permission will comply with any agreements made with the person interviewed and the interviewer and may be withheld in Storm King’s sole determination. Please contact the Storm King Art Center Archives with any questions or requests at [email protected] Thank you! Support for Storm King Art Center’s Oral History Program and Archival Program is made possible by generous lead support from the Henry Luce Foundation.
    [Show full text]
  • ALICE AYCOCK Biography
    ALICE AYCOCK Biography Alice Aycock has lived in New York City since 1968. She received a B.A. from Douglass College and an M.A. from Hunter College. She was represented by the John Weber Gallery in New York City from 1976 through 2001 and has exhibited in major museums and galleries nationally as well as in Europe and Japan. Currently she is represented by Marlborough Gallery, New York and Galerie Thomas Schulte, Berlin. She had her first solo exhibition of new sculptures with Marlborough in the fall of 2017. Her works can be found in numerous collections including the Museum of Modern Art, the Whitney Museum, the Brooklyn Museum, the LA County Museum, the National Gallery of Art, the Sheldon, Storm King Art Center, the Louis Vuitton Foundation, and the Sprengel Museum in Hannover, Germany. She exhibited at the Venice Biennale, Documenta VI and VIII and the Whitney Biennial. She has had three major retrospectives. The first was organized by the Wurttembergischer Kunstverein in Stuttgart in 1983 and traveled to Kolnischer Kunstverein Koln; Sculpturenmuseum Glaskasten, Marl; Haags Gemeentemuseum, Den Haag; Kunstmuseum Luzern. In 1990, the second retrospective entitled “Complex Visions” was organized by the Storm King Art Center in Mountainville, NY. In 2013, a retrospective of her drawings and small sculptures was exhibited at the Parrish Art Museum in Water Mill, New York coinciding with the Grey Art Gallery in New York City. The retrospective traveled to the Art, Design & Architecture Museum at the University of California, Santa Barbara and the Santa Barbara Museum of Art in 2014. A fully illustrated catalogue, Some Stories are Worth Repeating, with an essay by Jonathan Fineberg accompanied the retrospective.
    [Show full text]
  • Alice Aycock: Swing Over, 2004 Jean Shin: Dress Code, 2008
    Alice Aycock: Swing Over, 2004 Jean Shin: Dress Code, 2008 GEORGE H. FALLON FEDERAL BUILDING, BALTIMORE, MARYLAND Alice Aycock: Swing Over, 2004 ESSAY BY ELEANOR HEARTNEY Traditionally , sculpture is composed of fixed, solid materials that are rooted to the ground. But Alice Aycock designed Swing Over , an undulating addition to the George F. Fallon Federal Building, “to deny gravity and escape the earth.” Composed of two triangulated trusses and two curved forms, it loops across the façade, weaving in, out, and around the pre-existing openings in the overhang of the building’s portico, culminating in a group of crossed , horn-like shapes at the composition’s center. Swing Over incorporates such source materials as an aerial diagram of the flight patterns of hummingbirds and the phenomenon known as the wormhole, which is a conceptual mapping of spacetime. The former can be seen in the way the forms sweep up and then seem to come to a pause before sliding down again, just as hummingbirds, alone of all birds, are able to pause in midair before continuing their progress. The wormholes, meanwhile, are suggested by the central configuration consisting of double horns, each with a mouth at either end. According to theoretical physics, a wormhole offers a shortcut through spacetime, Swing Over, 2004. Aluminum, 40 ft x 400 linear ft x 30 ft. Installed above much like a real worm that burrows through an apple rather entrance portico. George H. Fallon Federal Building, Baltimore, MD. then inching along its exterior. Swing Over escapes the constraints of time in another way as well.
    [Show full text]
  • City College of New York Architecture Library Alice Aycock
    City College of New York Architecture Library Alice Aycock: Selected Bibliography “Alice Aycock: Selected Works” Spitzer School of Architecture Lecture – November 1, 2012 About: Sculptor Alice Aycock earned her MA from Hunter College. Her work is in the permanent collections of major museums including MoMA, The Whitney, the Brooklyn Museum, and the National Gallery. Existing outdoor works of public art include a sculptural roof installation―the East River Roundabout, for The East River Park Pavilion at 60th St. in NYC; The Solar Wind, in Salem, VA; The House Of Stoics, in Lake Biwa, Japan; the Tower Of Babel, in Buhsnami Sculpture Garden near Houston, Texas; and The Island of the Moons and Suns, Robert Orton's sculpture garden in La Jolla, CA. She received the Americans for the Arts Public Art Award in 2008 for Ghost Ballet for the East Bank Machineworks in Nashville. The artist has taught at Yale and other colleges and currently teaches at NYC’s School of Visual Arts. In 2013 there will be a retrospective of her drawings at the new Parrish Art Museum in Southampton, NY and at the Grey Art Gallery in NYC. In spring ` 2014 a series of her sculptures will be installed on the Park Avenue Malls in the city, entitled Park Avenue Paper Chase. Books: “ Indelible marker, palimpsest, thin air / Alice Aycock – Landscape.” in Spatial recall : memory in architecture and landscape. New York ; London : Routledge, 2009. NA2765 .S62 2009. Fox, Howard N.: Metaphor : new projects by contemporary sculptors : Vito Acconci, Siah Armajani, Alice Aycock, Lauren Ewing, Robert Morris, Dennis Oppenheim.
    [Show full text]
  • Michael Rees 318 77Th Street #1, North Bergen, New Jersey, 07047 Tel 6462719898 [email protected]
    michael rees 318 77th street #1, north bergen, new jersey, 07047 tel 6462719898 [email protected] Curriculum Vitae Solo Exhibitions 2018 Pneumatopia, curated by Dan Cameron as part of Open Spaces Kansas City, at the Nerman Museum of Contemporary Art, August 2, 2018-October 21, 2018. Brochure Michael Rees: Synthetic Cells: Site and Para(Site), curated by Tom Moran, Grounds For Sculpture. June 1, 2018 through July 1, 2019. Catalogue. 2017 Trans(forma), a collaborative exhibition with Helena Lukasova atGASK – the Gallery of the Central Bohemian Region. Catalogue. June 27, 2017 to October 1, 2017. Catalogue 2016 Clown Town, Bravin Lee Gallery, New York, NY October 21 – November 23. 2014 Installation of Converge Ghraib Bag at Grounds For Sculpture Hamilton, NJ. 2013 Interactions and Paradoxical Structures: Robert Gero and Michael Rees. collaborative Sculpture and Media. Trois Gallery, Savannah College of Art and Design, Atlanta, Georgia. June6-September 6 2012 Tactical Play Exchange, A collaborative sculpture exhibition with Robert Gero and Michael Rees, Pablo’s Birthday, New York. April 6-May5. Tactical Play Exchange part 2, A collaborative sculpture exhibition with Robert Gero and Michael Rees,Pablo’s Birthday, New York. May 12-June 2. 2010 Michael Rees, Social Object curated by Koan Jeff Baysa and Nina Colosi, Chelsea Art Museum, December 17 - January 23, 2010. 2009 Michael Rees: Model Behavior, Deborah Colton Gallery, Houston, Texas. September 18 November 14, 2009. Putto 4 over 4, Zentrum fur Medien Kunst, (ZKM), Karlsruhe, Germany, curated by Peter Weibel. July 1, 2009 ongoing. 2008 Converge: Ghraib Bag, at Art Omi, Ghent, New York. 2005 Putto 2x2x4 Sculpture and Animation.
    [Show full text]
  • Michael Rees
    Michael Rees Selected Solo Exhibitions 2010 Michael Rees, Social Object, Chelsea Art Museum, Chelsea, New York, United States, curated by Koan Jeff Baysa and Nina Colosi 2009 Michael Rees: Model Behavior, Deborah Colton Gallery, Houston, Texas, United States Putto 4 over 4, Zentrum fur Medien Kunst, Karlsruhe, Germany, curated by Peter Weibel, ongoing 2008 Converge: Ghraib Bag, at Art Omi, Ghent, New York, United States 2007 Converge, Sculpture and Animation, Art Omi, Ghent, New York, United States 2006 Putto 4 over 4 v2, Private collection, Greenwich, Connecticut, United States Converge, Sculpture and Animation, Art Omi, Ghent, New York, United States 2005 Putto 2x2x2x4, Sculpture and Animation, Permanent Installation 12th Street between Broadway and Central, Kansas City, Missouri, United States Acquired by the Kemper Museum of Contemporary Art, Kansas City, Missouri, United States Symbolic Logic, the Sculpture of Michael Rees, Panorama Art, Koln, West Germany Putto 4 over 4 (1/3, MARTa Museum, curated by Jan Hoet. Herford, Germany Putto 4 over 4 (2/3), Decordova Museum, curated by George Fifield, Lincoln, Massachusetts, United States 2004 Large and Moving, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, United States 2003 Sculpture: Large, Small, and Moving, Bitforms Gallery, New York, New York, United States 2002 Project Room Gorney Bravin + Lee, New York, New York, United States ten, Universal Concepts Unlimited, New York, New York, United States 2000 Artificial Sculpture v.5, The Henry Block Art Space, Kansas City,
    [Show full text]
  • The Contemporary Art of Travel
    ©2008 Mary M. Tinti ALL RIGHTS RESERVED THE CONTEMPORARY ART OF TRAVEL: SITING PUBLIC SCULPTURE WITHIN THE CULTURE OF FLIGHT by MARY M. TINTI A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Art History written under the direction of Dr. Joan Marter and approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey May, 2008 ABSTRACT OF THE DISSERTATION The Contemporary Art of Travel: Siting Public Sculpture within the Culture of Flight By MARY M. TINTI Dissertation Director: Dr. Joan Marter The Contemporary Art of Travel: Siting Public Sculpture within the Culture of Flight, situates the notable yet little known airport installations of Vito Acconci, Diller + Scofidio, Alice Aycock, and Keith Sonnier in their appropriate artistic, theoretical and social contexts. Provocative and cutting edge, these recent commissions are exemplary for the ways in which they explore the collisions and cross influences of fine art, architecture, technology, flight and travel with particular sensitivity to the qualities that make the airport a singular contemporary space. More than mere decoration or distraction, these site-responsive artworks are visual representations of exactly how this unique place (or non-place) and this unique culture might coincide in sculptural form. Teeming with turbulent paradoxes, airports are uncanny, impersonal, in-between spaces; spaces in which travelers are forced to relinquish control of their autonomy, privacy, safety, sense of time, connections to the ground and links to the world outside. Unafraid of such air travel truths, the artists profiled in this dissertation use them as a ii source of inspiration.
    [Show full text]
  • Press Release
    ALICE AYCOCK DENNIS OPPENHEIM PRESS RELEASE on view from 10 December 2020 For press inquiries please contact Appointments encouraged, mask required for entry Lukas Hall at (212) 541-4900 or [email protected] NEW YORK. The Directors of Marlborough Gallery are pleased to present a special exhibition featuring several large- scale works by Alice Aycock alongside an installation by Dennis Oppenheim. The exhibition will be viewable on the ground floor of our newly renovated space located at 545 West 25th Street. This two-person exhibition follows Aycock’s highly successful summer exhibition in Stockholm at the Royal Djurgården hosted by the Princess Estelle Cultural Foundation. With memories of the Mudd Club, the Odeon, Debby Harry and ‘Heart of Glass,’ we take a moment to reunite two kindred spirits in a play of synergistic works that have long and deep histories of particular resonance with the downtown scene in New York. ALICE AYCOCK’s works are intriguing because of their resistance to easy explanations. An early influence was Rem Koolhaas’s Delirious New York: A Retroactive Manifesto for Manhattan. She studied with Robert Morris and the art historian Leo Steinberg at Hunter College where she received her MA. Aycock’s first large-scale architectural work Maze (1972) was created upon finishing her studies at Hunter College in 1971. Her subsequent early show at 112 Greene Street and her association with Gordon Matta-Clark put her solidly in touch with many of the prominent downtown artists of the seventies, such as Mary Miss and Jackie Winsor. Aycock entered into an intense relationship with Dennis Oppenheim and remained lifelong friends, and along with Vito Acconci, were frequently associated by their mutual interests and even greater differences, as shown in the 1979 three-person exhibition at the ICA in Philadelphia entitled ‘Machineworks.’ For a brief time, they even shared a common visual repertoire.
    [Show full text]
  • The Anti-Aesthetic ESSAYS on POSTMODERN CULTURE
    The Anti-Aesthetic ESSAYS ON POSTMODERN CULTURE Edited by Hal Foster BAY PRESS Port Townsend, Washington Copyright © 1983 by Bay Press All rights reserved Printed in the United States of America First edition published in 1983 Fifth Printing 1987 Bay Press 914 Alaskan Way Seattle, WA 98104 Library of Congress Cataloging in Publication Data Main entry under title: The Anti-aesthetic. I. Modernism (Aesthetics) -Addresses, essays, lectures. 2. Civilization, Modern-1950-Addresses, essays, lectures. I. Foster, Hal. BH301.M54A57 1983 909.82 83-70650 ISBN 0-941920-02-X ISBN 0-941920-0 I-I (pbk.) Contributors JEAN BAUDRILLARD, Professor of Sociology at the University of Paris, is the author of The Mirror of Production (Telos, 1975) and For a Critique of the Political Economy of the Sign (Telos, 1981). DOUGLAS CRIMP is a critic and Executive Editor of October. HAL FOSTER (Editor) is a critic and Senior Editor at Art in America. KENNETH FRAMPTON, Professor at the Graduate School of Architecture and Planning, Columbia University, is the author of Modern Architecture (Oxford University Press, 1980) . .. JURGEN HABERMAS, present~y associated with the Max Planck Institute in Starnberg, Germany, is the author of Knowledge and Human Interests (Beacon Press, 1971), Theory and Practice (Beacon Press, 1973), Legitima­ tion Crisis (Beacon Press, 1975) and Communication and the Evolution of Society (Beacon Press, 1979). FREDRIC JAMESON, Professor of Literature and History of Conscious­ ness, University of California at Santa Cruz, is the author of Marxism and Form (Princeton University Press, 1971), The Prison-House of Language (Princeton University Press, 1972), Fables of Aggression (University of California Press, 1979) and The Political Unconscious (Cornell University Press, 1981).
    [Show full text]
  • 2008 SECAC Conference Abstracts
    SECAC Abstracts from the Annual Meeting in New Orleans, Louisiana September 24-27, 2008 Conference Chair: A. Lawrence Jenkens Art History Program Chair: A. Lawrence Jenkens Studio Program Chair: Gary Keown Abadie-Fail, Trudy. See Begley, David. Adams, J. Bradley. Berry College. On Gardens “The garden is the smallest parcel of the world and then it is the totality of the world. The garden has been a sort of happy, universalizing heterotopia since the beginning of antiquity.” -- Michel Foucault My work since graduate school is explicitly connected to an operating paradigm of “gardens.” Gardens are classic examples of heterotopic spaces, i.e. “a place with multiple uses” (Michel Foucault), such as libraries, cemeteries, and museums. Through gardens, I have been examining various ordering systems (e.g. gardens as controlled nature) via a range of representations and working methods. Just as gardens are varied, the term provides me with a license to explore a range of ideas (e.g. displacement, sequential time, chance operations) with heterogeneous methods. In addition to theorizing this work through the language of abstraction, it also references art made in a range of cultures and historical styles such as a Southern quilt tradition and tree of life motifs found in carpets (i.e. portable gardens). Recent work is an extension of this research but is marked by revisiting ideas such as camouflage, mapping, and traces that were central to my concerns well before graduate school. Alexander, James Rodger. University of Alabama at Birmingham. Architecture and Sculpture: A Cross Pollination of Attitudes and Intentions The last three decades of the twentieth century saw the disciplines of architecture and sculpture merge in a manner previously unseen.
    [Show full text]