DOCSLIB.ORG

A Contingent Sense of Grammar

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Contingent Sense of Grammar c. 6Io-}"ìß 2 University of Adelaide A dissertation submitted to the Faculty of Architecture and Urban Design in candidacy for the degree of Doctor of Philosophy by Dean Bruton Adelaide, South Australia November 1997 Contents iv Abstract vi Acknowledgments vii Statement of Originality viii Preface 10 L lntroduction 33 2 Grammars and Contingency 68 3 Grammatical Views of Art Work L09 4 Reflection on Grammars: An Experimental Journal 167 5 A Contingent Sense of Grammar 187 References 2O0 Volume II Appendices 202 Appendix A: Interview Transcripts 203 Bill Barminski 207 Larry Becker 208 Scott Chase 217 Philip Cox 228 Richard Coyne 238 Julie Eizenberg 245 William Fawcett 259 Neil Hanson 273 ]oan and Russell Kirsch 2U Terry Knight 290 John Lansdown; Gregory Moore 302 Raymond Lauzzana 306 Lionel March 327 Philip Pearlstein 336 Alvy Ray-Smith 350 Paul Richens 351 )ohn Rollo 357 Sid Sachs 361. Thomas Seebohm 375 George Stiny 3U Mark Tapia 387 Catherine Teeling 398 Robert Venturi; Denise Scott Brown 415 David Walker 425 Robert Woodbury 4v ]ohn Woods 442 Marco Zanini 452 Appendix B: Grammars and Art: A Contingent Sense of Rules 464 Appendix C: Relating Computers to Designers']udgement of Goocl Design 483 Appendix D: Excess and Distress: Design Principles in Context 491. Appendix E: Design Theory Hypermedia Studio Abstract This thesis investigates the contingenl senses in which concepts of grnmmnrs and grammatical design apply in the practice of form mak- ing in art and design. It uses three complementary research strate- gies: a literature review, the examination through a perspective of grammatical design of some selected bodies of art work, including interviews with artists, theorists and some designers; and the reflec- tive practice of image making with computer media in my own work as an artist. The major hypothesis is that a deaeloped contingent sense of grammar can facilitate the understanding, creation, and discussion of form-møking in art and design. The sub-hypotheses are that (1) An understanding of grammatical design can snhance a reflectiae Qesign actioity, and that (2) Rnealing the contingency of grammars cnn expose moments of inspiration and redirection in a reflectiae design actiaity. Chapter 1 describes the key concerns, background and scope of the thesis. Chapter 2 reviews some ways in which "gtamma{' is used in art and design discourse and posits "contingency" as a key concept in understanding the nature of grammars. Grammars are described as a metaphor, as a computational scheme and as a description of a kind of computer program. The contingent nature of rules and graÍunars in art and design is discussed. Chapter 3 examines work by some selected artists from a perspective of grammars through some writings by and discussions with theorists and artists. Chapter 4 describes some reflective experiments in which senses of gram- mars and grammatical design are traced in image making with com- puter media. These experiments demonstrate how the development of images can be seen to follow from the contingent operation of transformational grammatical ideas in hermeneutical reflective tv action. Chapter 5 draws together these separate studies, discusses how they support the major hypothesis and two sub-hypotheses set out above, and suggests some ways in which a contingent sense of grarunar may empower art and design novices. v Acknowledgments Sincere thanks to all those participants, both nationally and interna- tionally who contributed to this project. Special thanks to Anthony Radford for his kind, patient and persistent supervision and to his colleagues at the University of Adelaide, particularly Robert Woodbury who supported me through a part-time candidature. From the University of Sydney, Adrian Snodgrass and Richard Coyne (now University of Edinburgh) sparked new philosophical directions in the early years. I also wish to thank Royal Melbourne Institute of Technology Íor the 1993 Domus Academy Winter School scholarship that enabled me to establish new friends and colleagues in the design field. I wish to acknowledge the special assistance and advice of those international participants that contributed to my successful study tour of Australia, USA, Britain and ltaly. The list of interviewees included: Lionel March, Mark Tapia, Bill Barminski, Raymond Lauzzana, Tom Seebohm, George Stiny, Terry Knight, Philip Pearlstein, Sid Sachs, Larry Becker, Robert Venturi, Denise Scott Brown, Scott Chase, Joan Kirsch, Russell Kirsch, Marco Zanini, ]ohn Wood, John Rollo, Catherine Teeling, Paul Richens, William Fawcett, John Lansdown, Gregory Moore, David Walker, Paul Margerisory Richard Wentworth, Alvy Ray-Smith, Philip Cox, Richard Coyne, Robert Woodbury, Adrian Snodgrass and Neil Hanson. Thankyou all for stimulating, productive and most pleasant encounters. I am grateful to the Faculty of Art, Architecture and Design, of the University of South Australia who assisted me through the provi- sion of a Cathie Scholarship for study leave. Finally a warm thanks to my family, friends for their support, and, especially to my partner Judith for her understanding and encouragement. vl Statement of Originality This work contains no material which has been accepted for the award of any other degree or diploma in any university or other ter- tiary institution and, to the best of my knowledge and beliel con- tains no material previously published or written by another per- son, except where due reference has been made in the text. I give my consent to this copy of my thesis, when deposited in the University library, being available for loan and photocopying. Signed Date J .ß ,?8 " vil Preface As both a practising artist and design educator within the art, archi- tecture and design fields, my work has been concemed with under- standing and knowledge of the visual world. My experience sug- gests that: o art and design theory needs clear articulation to be effective in education; . philosophy contributes to better understanding of art, design and designing; . systematic, pragmatic and contingent views of design are all rele- vant for scholars and practitioners of art and design. This thesis began in response to the assertion of a colleague that design had rules where art appeared to have none. It attempts in an hermeneutical mode to open a space, to unsettle thinking about rules, grammars, language, vision, design theory and practice, in art and design. It outlines a particular conception of form making in design: the view that while judgments in art and design are variable and contingent, there is considerable force and significant function for a strong sense of graÍunars and grammatical design. Early work was initiated through the observation that patterns of behaviour in the design domain reflected those I had encountered vill during my research into the theoretical foundations of art museums. My previous Masters thesis, Personal Taste and Public Office (Bruton L988) concerned the nature of art and the quality of judgements about art in public institutions. The work researched the nature of decision-making in relation to curatorial judgement of art excel- lence. The criteria for judgement sometimes espoused by experts in the curatorial field was found to often conflict with institutional charters and public policy. The lack of theoretical consistency in the fields of art and curator- ship developed a corresponding curiosity about theoretical dis- course concerning qualities of design excellence. This interest devel- oped to foster strategies for rigorous theoretical discourse in a tradi- tionally pragmatic environment. Grammars appeared to offer a cer- tainty which was attractive in this uncertain world, but it proved to be not as simple as that-in fact any sense of grarrunars appears to operate contextually and contingently. The subject of this research became, then, a contingent sense of grarilnars: the hypothesis that contingency can make the ideas of grafrunars and grammatical design more, not less, interesting and productive as ways of looking at form making in art and design. tx 1 lntroduction This thesis investigates the contingent sense in which grammars and grammatical design apply in the practice of form making in art and design'. Form'making is the definition and modelling of spatial ele- ments and objects in two or three dimensions, as both abstract or representative art, and in a design as some functional object'. The terms gramffiar and grammatical design are used in the literature of art and design in several senses as: I The term art is problematic. For example, Brook (Brook 1983) would argue that a concentration on form-making indi- cates a view that subscribes to the theory of aft as craft or design. It will be argued here that through a grammatical under- standing of art "so-called", one can more readily encounter art "properly so-called". Similar qualifications apply to archi- tecture. 2 Paul Duro and Michael Greenhalgh descrlbe form in a broader sense than that used here: "That part of a painting, sculp- ture or artefact that may be described purely through the configuration of line, mass, volume and colour. In practice, it is almost impossible to separate form from content, even in the works that appear rigorously abstract. Form is best consid- ered as a constituent part of an art work that needs to be considered in relation to a work's iconography, social and histori- cal context" (Duro and Greenhalgh 1992,24). This thesis concentrates on formal issues that are tangibly opaque, thatis, issues of iconography, social and
Load more

Recommended publications
  • Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
    Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis.
    [Show full text]
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu
    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
    [Show full text]
  • Press Release (PDF)
    G A G O S I A N G A L L E R Y August 29, 2016 The critic and curator Philip Rawson, an eloquent guide to the means and methods of drawing over the ages, points out that until the Italian Quattrocento, no European sculptor was supposed to be able to draw. In the medieval period, only those sculptors who also worked in two dimensions drew habitually; any other sculptor who needed, say, to show a client a proposed design hired a draftsman to make one. And when sculptors began to make drawings (for their own use or to guide assistants), they tended to do so without thinking of the format of the paper as a frame to which the image should relate. Instead, the image was generally treated as an independent motif, composed of mutually related units and placed anywhere on the sheet. In this approach, the space of the paper outside the image was not incorporated into the design but functioned like the open, empty space around actual sculptures. ... In contrast, Rawson observes, painters' drawings have tended to treat the usually rectangular format of the paper as a frame to which the image content relates. —John Elderfield Gagosian Gallery is pleased to present “Plane.Site,” a cross-generational exhibition of modern and contemporary artists organized by Sam Orlofsky to inaugurate the San Francisco gallery. (Continue to page2) 6 5 7 H O W A R D S T R E E T S A N F R A N C I S C O C A 9 4 1 0 5 T .
    [Show full text]
  • Copyright by Cary Cordova 2005
    Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez.
    [Show full text]
  • The Visualiser: Intelligence Made Visible
    THE VISUALISER: INTELLIGENCE MADE VISIBLE Graham Howard, Design Director, System Simulation, Bedford Chambers, The Piazza, Covent Garden, London, http://www.ssl.co.uk Sarah Beecham, Director, Art of Memory, Bratch House, Station Road, Chipping Campden, Gloucestershire http://www.artofmemory.co.uk ICHIM 04 - Digital Culture & Heritage / Patrimoine & Culture Numérique Abstract (EN) Typically when we come across something new and complex we try and get a view of the whole, but when we know a field well we look for those particular aspects that concern us. Often to find our way through new territory we need guidance to help us navigate. At present most database driven web sites rely upon searching as a means of access. Accessibility is too often defined by what we cannot do, there is a real need to deliver new methods to make the breadth and depth of our worlds accessible to all. Searching is fine if you know what you are looking for, if you don’t, frustration can quickly set in. Browsing is often poorly served on such sites. This tends to exclude the non-expert. We believe that there is a need for a method of access, which encourages the non-expert to explore and understand the scope and depth of the material available on a site. We call this type of browsing ‘assisted browsing’. We are developing a tool called the Visualizer which enables assisted browsing. It sits on the top of repositories of information, whether of museum objects, learning objects or other data and produces an interactive conceptual map of the objects and their interrelationships.
    [Show full text]
  • 20-A Richard Diebenkorn, Cityscape I, 1963
    RICHARD DIEBENKORN [1922–1993] 20a Cityscape I, 1963 Although often derided by those who embraced the native ten- no human figure in this painting. But like it, Cityscape I compels dency toward realism, abstract painting was avidly pursued by us to think about man’s effect on the natural world. Diebenkorn artists after World War II. In the hands of talented painters such leaves us with an impression of a landscape that has been as Jackson Pollack, Robert Motherwell, and Richard Diebenkorn, civilized — but only in part. abstract art displayed a robust energy and creative dynamism Cityscape I’s large canvas has a composition organized by geo- that was equal to America’s emergence as the new major metric planes of colored rectangles and stripes. Colorful, boxy player on the international stage. Unlike the art produced under houses run along a strip of road that divides the two sides of the fascist or communist regimes, which tended to be ideological painting: a man-made environment to the left, and open, pre- and narrowly didactic, abstract art focused on art itself and the sumably undeveloped, land to the right. This road, which travels pleasure of its creation. Richard Diebenkorn was a painter who almost from the bottom of the picture to the top, should allow moved from abstraction to figurative painting and then back the viewer to scan the painting quickly, but Diebenkorn has used again. If his work has any theme it is the light and atmosphere some artistic devices to make the journey a reflective one. of the West Coast.
    [Show full text]
  • Chaos Theory and Robert Wilson: a Critical Analysis Of
    CHAOS THEORY AND ROBERT WILSON: A CRITICAL ANALYSIS OF WILSON’S VISUAL ARTS AND THEATRICAL PERFORMANCES A dissertation presented to the faculty of the College of Fine Arts Of Ohio University In partial fulfillment Of the requirements for the degree Doctor of Philosophy Shahida Manzoor June 2003 © 2003 Shahida Manzoor All Rights Reserved This dissertation entitled CHAOS THEORY AND ROBERT WILSON: A CRITICAL ANALYSIS OF WILSON’S VISUAL ARTS AND THEATRICAL PERFORMANCES By Shahida Manzoor has been approved for for the School of Interdisciplinary Arts and the College of Fine Arts by Charles S. Buchanan Assistant Professor, School of Interdisciplinary Arts Raymond Tymas-Jones Dean, College of Fine Arts Manzoor, Shahida, Ph.D. June 2003. School of Interdisciplinary Arts Chaos Theory and Robert Wilson: A Critical Analysis of Wilson’s Visual Arts and Theatrical Performances (239) Director of Dissertation: Charles S. Buchanan This dissertation explores the formal elements of Robert Wilson’s art, with a focus on two in particular: time and space, through the methodology of Chaos Theory. Although this theory is widely practiced by physicists and mathematicians, it can be utilized with other disciplines, in this case visual arts and theater. By unfolding the complex layering of space and time in Wilson’s art, it is possible to see the hidden reality behind these artifacts. The study reveals that by applying this scientific method to the visual arts and theater, one can best understand the nonlinear and fragmented forms of Wilson's art. Moreover, the study demonstrates that time and space are Wilson's primary structuring tools and are bound together in a self-renewing process.
    [Show full text]
  • 33 Years FREE but Not Cheap
    faLL 2012 33 Years FREE but not cheap Hay Bale Feeder Diana Suttenfield 2 Issue 134 Vol. XXXIV, No. 3 Established May 1979 Now on the Web! Contents www.shepherdstowngoodnewspaper.org PUBLISHER Shepherdstown Ministerial Association see ARTWORKS in color! Fall 2012 EXECUTIVE EDITOR Randall W. Tremba Essays, Art & Poetry EDITORS 3 Song of Peace for 9/11. By Randall Tremba Nan Broadhurst Libby Howard 9 Freedom’s Defining Moment. By Dan Vermilya and Keith Snyder Sue Kennedy Mark Madison Wendy Mopsik 11–13 ARTWORKS Fran Skiles. By Nan Broadhurst Sarah Soltow Claire Stuart 14 POETRY Shepherdstown 250th Anthology Ed Zahniser 16 Thomas Shepherd Walks at Midnight. By Georgia Lee McElhaney PRE-PRODUCTION EDITOR Libby Howard 17 EARTHBEAT “Earth Beatles.” By Mark Madison SENIOR DESIGNER 20 Hunger and Other Games for Children. By Sarah Soltow Melinda Schmitt DIGITAL IMAGE EDITOR People, Places & Things Nan Doss PHOTOGRAPHER 4 The Making of an Orchestra. By Wendy Mopsik Jessie Schmitt 5 Jay Hurley. By Sue Kennedy TYPISTS Kathy Reid 6 Pronunciator. By Sarah Soltow COPY EDITORS 7 The Joy Line Railroad. By Todd Cotgreave Rie Wilson Claire Stuart 8 Exploring the Spaces Between Fact and Fiction. By Stephen Willingham PROOFREADERS 10 England—Seen Through Raindrops. By Claire Stuart Betty Lou Bryant John Foxen 15 Georgia Lee McElhaney. By Margaret Demer DISTRIBUTION 18 Marker Dedication, Bee Line March. John E. Stealey III Lex Miller TREASURER 19 Driving Marvin Hamlisch. By Mike Henderson Alex Shaw DESIGN & LAYOUT Faith, Hope & Charity Brandon Cornwell, HBP,
    [Show full text]
  • Conflicting Visions of Modernity and the Post-War Modern
    Socialism and Modernity Ljiljana Kolešnik 107 • • LjiLjana KoLešniK Conflicting Visions of Modernity and the Post-war Modern art Socialism and Modernity Ljiljana Kolešnik Conflicting Visions of Modernity and the Post-war Modern art 109 In the political and cultural sense, the period between the end of World War II and the early of the post-war Yugoslav society. In the mid-fifties this heroic role of the collective - seventies was undoubtedly one of the most dynamic and complex episodes in the recent as it was defined in the early post- war period - started to change and at the end of world history. Thanks to the general enthusiasm of the post-war modernisation and the decade it was openly challenged by re-evaluated notion of (creative) individuality. endless faith in science and technology, it generated the modern urban (post)industrial Heroism was now bestowed on the individual artistic gesture and a there emerged a society of the second half of the 20th century. Given the degree and scope of wartime completely different type of abstract art that which proved to be much closer to the destruction, positive impacts of the modernisation process, which truly began only after system of values of the consumer society. Almost mythical projection of individualism as Marshall’s plan was adopted in 1947, were most evident on the European continent. its mainstay and gestural abstraction offered the concept of art as an autonomous field of Due to hard work, creativity and readiness of all classes to contribute to building of reality framing the artist’s everyday 'struggle' to finding means of expression and design a new society in the early post-war period, the strenuous phase of reconstruction in methods that give the possibility of releasing profoundly unconscious, archetypal layers most European countries was over in the mid-fifties.
    [Show full text]
  • Interim Report
    Reviewing Machine Readable Labelling Systems for Collections Management and Access Final report by Julian Tomlin 14 March 2008 1 Reviewing Machine-readable Systems by Julian Tomlin - Final Report Contents 1. Introduction and Brief 3 2. Technological overview 5 3. Review 9 4. Potential for implementation in the partner museums 16 Decision-making aids 20 Appendices A. Case Studies 1. The Ashmolean Museum of Art, Oxford 23 2. The Children‟s Museum of Indianapolis (TCM) 26 3. Fitzwilliam Museum, Cambridge 28 4. Gemeentemuseum, The Hague 30 5. Great North Museum, Newcastle 33 6. MVWISE 37 7. Manchester City Galleries 41 8. National Museum of Malaysia, Kuala Lumpur 43 9. Norfolk Museums and Archives Service 45 10. The Petrie Museum, London 48 B. Database of Past, Present and Future Installations and Suppliers 52 C. Acknowledgements 59 D. Images 62 2 Reviewing Machine-readable Systems by Julian Tomlin - Final Report 1. Introduction and Brief 1.1 Purpose The London Museums Hub has commissioned this review of the use of machine- readable labelling systems across the heritage sector to evaluate the benefits of this technology both as a collections management tool and as a means of providing user access to collections information. The study focuses on the use of machine-readable technologies eg Radio Frequency Identification (RFID) and bar coding as methods to control object movements, update locations, enhance security and facilitate access to information associated with an object or collection of objects. 1.2 Brief The following is extracted from the Invitation to Tender document. Key objectives Research the methodology and practicality of RFID tagging or bar coding objects from different collection types as evidenced by the experience of current user museums and similar institutions.
    [Show full text]
  • Architectsnewspaper 11 6.22.2005
    THE ARCHITECTSNEWSPAPER 11 6.22.2005 NEW YORK ARCHITECTURE AND DESIGN WWW.ARCHPAPER.COM $3.95 GUGGENBUCKS, GUGGENDALES, CO GUGGENSOLES 07 MIAMI NICE LU ARTISTIC Z O GO HOME, LICENSING o DAMN YANKEES 12 Once again, the ever-expanding Guggenheim is moving to new frontiers. TOP OF THE A jury that included politicians, Frank CLASS Gehry and Thomas Krens has awarded 4 the design commission for the newest 17 museum in the Guggenheim orbitto VENTURI AND Enrique Norten for a 50-story structure on a cliff outside Guadalajara, Mexico's sec• SCOTT BROWN ond-largest city. The museum will cost BRITISH TEAM WINS VAN ALEN COMPETITION PROBE THE PAST the city about $250 million to build. 03 EAVESDROP But there is now a far less expensive 18 DIARY range of associations with the Guggenheim 20 PROTEST Coney Island Looks Up brand. The Guggenheim is actively 23 CLASSIFIEDS exploring the market for products that it On May 26 Sherida E. Paulsen, chair of the Fair to Coney Island in 1940, closed in 1968, can license, in the hope of Guggenheim- Van Alen Institute's board of trustees, and but the 250-foot-tall structure was land- ing tableware, jewelry, even paint. An Joshua J. Sirefman, CEO of the Coney marked in 1989. eyewear deal is imminent. Island Development Corporation (CIDC), Brooklyn-based Ramon Knoester and It's not the museum's first effort to announced the winners of the Parachute Eckart Graeve took the second place prize license products but it is its first planned Pavilion Design Competition at an event on of S5,000, and a team of five architects strategy to systematize licensing.
    [Show full text]
  • By Edwcrd Whitechcpel Gcllery London the MIT Press Ccmbridge, Mcrssclchusetts
    by Edwcrd Whitechcpel Gcllery London The MIT Press Ccmbridge, Mcrssclchusetts Edited by Edwcrd A. Shcrnken Documents of Contemporcry Art Co published by WhitechapeL Gallery Series Editor: lwona Blazwicl< and The MIT Press Commissioning Editor: [an Farr Documents of Contemporqry Art Ploject Editor: Francesca Vinter First published 2015 Design by SMITH O 2015 Whitechapel Gallery Ventures Lirrited Allon l(aye, Justine Schuster All texts O the authors or the estates ofthe authors, Printed and bound in China unless otherwise stated Cover, Tomis Saraceno, 14 Billions (workingtitle) Whitechapel Gallery is the imprint of Whitechapel (2010). Black cords, elastic rope, hool(s. Irr recent decades artists have progressively expanded the boundaries o[ art as Gallery Ventures Limited Dimensions/Scale: 1 : 17 Latrodectus mactans web. lnstallation view, Bonniers l(onsthall, Stockholm thcy have sought to engage with an increasingly pluralistic environment. All rights reserved. No part ofthis publication 2010. Photograph O Studio Tomis Saraceno, 2010. of and visual culture are likewise no may be reproduced, stored in a retrieval system li'.rching, curating and understanding art o[ transmitted in any form or by any means, Whitechapel Gallery Ventures Limited longer grounded in traditional aesthetics but centred on significant ideas, topics electronic, mechanical, photocopying or otherwise, 77 82 Whitechapel High Street without the written permission of the publisher London El 7QX .urcl themes ranging from the everyday to the uncanny, the psychoanalytical to whi techapelgal lery.org tlrc political. ISBN 978-0-85488-234 2 (Whitechapel Gallery) To order (UK and Europe) cal I +44 (0)207 522 1888 ISBN 978-0-262-52719-4 (The MIT Press) or email MailOrder@whitechapelgallery org The Documents of Contemporary Art series emerges from this context.
    [Show full text]