Sculpture Artists

Total Page:16

File Type:pdf, Size:1020Kb

Sculpture Artists Sculpture Artists 3RD QUARTER STUDY GUIDE (10) Multiple Choice Questions (circled bullets in Artist Fun Facts/Bio) (15) Multiple Choice Questions (Slides with Artists’ last names) Michelangelo Buonarroti #3: Michelangelo Buonarroti (Italian) Time period: The Renaissance (1400- 1600 AD) Style: (Representational) Fun Facts: Considered himself foremost a sculptor; however, the Pope convinced him to paint the Sistine Chapel. Sculptor, painter, architect, poet, and engineer. In his lifetime he was also often called Il Divino ("the divine one") Michelangelo Buonarroti David 1501-1504 Gian Lorenzo Bernini #4: Gian Lorenzo Bernini (Italian) Time period: Baroque (1600- 1700 AD) Style: Representational Dramatic use of light, strong colors, theatrical, and movement. Fun Facts: He was the leading sculptor of his age, credited with creating the Baroque style of sculpture. Gian Lorenzo Bernini David, 1623-1624 Gian Lorenzo Bernini The Ecstasy of St. Tersea, 1647-1652 Auguste Rodin #5: Auguste Rodin (French) Style: Modern sculpture (worked during the same time as the impressionists. Time Period: Late 1800’s Fun facts: Rodin's most original work departed from traditional themes of mythology and allegory modeled the human body with realism, and celebrated individual character and physicality. Auguste Rodin The Thinker, 1879–1889 Auguste Rodin Gates of Hell, 1880-1917 Marcel Duchamp #7: Marcel Duchamp (French) • Born: 1887 Died: 1968 • Time Period: Late 1800’s - Early 1900’s • Styles: Conceptual art, Surrealism, and Dada • Dada- an art movement which emerged during WWI that was anti-art, poked fun at established traditions and was deliberately shocking. • Fun Fact: • Marcel Duchamp was a French-American painter, sculptor, chess player, and writer whose work is associated with Dadaism and conceptual art, although not directly associated with Dada groups. • The ready-mades of Marcel Duchamp are ordinary manufactured objects that Duchamp bought in 1914 as "already made" sculptures. Marcel Duchamp Bicycle Wheel, 1913 Marcel Duchamp Bottle Rack,1914 Marcel Duchamp Fountain, 1917 Meret Oppenheim #8: Meret Oppenheim (German) • Born: 1913 Died: 1985 • Field: Painting, Sculpture, Poetry • Movements: Surrealism Fun Facts: • Her originality and audacity established her as a leading figure in the Surrealist movement. • Contributed to Surrealist exhibitions until 1960. Many of her pieces consisted of everyday objects arranged as such that they allude to female sexuality and feminine exploitation by the opposite sex. Meret Oppenheim Object (Fur Cup with Saucer and Spoon), 1936 Man Ray #9: Emmanuel Radnitzky “Man Ray”, (American) • Born: 1890 Died: 1976 • Field: Painting, Photography, and Sculpture • Movements: Surrealism and Dada Fun Facts: • He was best known in the art world for his avant- garde photography • a renowned fashion and portrait photographer. Ray is also noted for his work with photograms, which he called "rayographs" in reference to himself. Man Ray The Gift, 1921 Constantin Brancusi #10: Brancusi (Romanian) • Born: 1876 Died: 1957 (aged 81) • Field: Sculpture • Movement: Modernism Fun Facts: • was invited to enter the workshop of Auguste Rodin. Even though he admired the eminent Rodin he left the Rodin studio after only two months, saying, "Nothing can grow under big trees.“ • he held a large spectrum of interests, from science to music. He was a good violinist and he would sing old Romanian folk songs. Constantin Brancusi The Kiss, 1912 Alberto Giacometti # 11: Alberto Giacometti (Swiss) • Born: 1901 Died: 1966 (aged 64) • Field: Sculpture, Painting, Drawing • Movement: Surrealism, Expressionism, Cubism, Formalism Fun Facts: • His father was the painter, Giovanni Giacometti. • Giacometti went to the Geneva School of Fine Arts. Alberto Giacometti Walking Man, 1960 Barbara Hepworth #12: Barbara Hepworth • Born January 10, 1903. Died in May 20, 1975 • Style: Sculpting, Modernism Fun Facts: • By the time she attained 16 years of age, she was modelling life portraits using clay, which led her to win a scholarship to Leeds School of Art. • Besides her studies, Hepworth found time for marriage to John Rattenbury Skeaping, also a sculptor from Britain. Barbara Hepworth Infant, 1929 Jacques Lipchitz #13: Jacques Lipchitz (French American) • Born in August 22, 1891. Died in 16 May 1973 (aged 81) • Style: Sculpting, Cubism Fun Facts: • His father, a Jewish building contractor, came from a rich banking family. As a boy, Lipchitz was encouraged to draw. • After he graduated from high school, his father expected him to go to engineering school, but Lipchitz opposed him and went to Paris in 1909 to study sculpture. Jacques Lipchitz Figure, 1926-30 David Smith #14: David Smith • Born: March 9, 1906. Died: May 23, 1965 • Style: Modernism, Modern art, Abstract expressionism Fun Facts: • Worked as a riveter and welder at automotive factories before devoting himself to art. • Interested in the painterly potential of sculpture, he built his works by welding together found objects, machine parts, and forged metal. David Smith Cubi, 1960s Alexander Calder #15: Alexander Calder • Born: July 22, 1898,Died: November 11, 1976 • Style: Surrealism, Section d'Or, Modern art Fun Facts: • His Gran-Dad Alexander Milne Calder was also a sculptor. Born in Aberdeen, Scotland, he emigrated to America aged 18. • Calder is best known for his creation of kinetic sculptures (mobiles) Alexander Calder Red Triumphant, 1963 Jasper Johns #16: Jasper Johns • Born: 1930 (still alive) • Style: Neo-dada • Fun facts: • Johns and Rauschenberg were the first artists to utilize “junk” as a fine arts material. • Johns makes his sculptures in wax first, working the surfaces in a complex pattern of textures, often layering collaged elements such as impressions of newsprint, or of a key, He then casts the waxes in bronze, and, finally, works over the surface again, applying the patina. Jasper Johns Target with Plaster Casts, 1950s Robert Rauschenberg #17:Robert Rauschenberg Born: October 22, 1925 Died: May 12, 2008 (age 93) Style: Neo-Dada Fun facts: • American artist Robert Rauschenberg is best known for paving the way for pop art of the 1960's with fellow artist Jasper Johns. • He worked as a costume and stage designer in New York City before moving to painting, sculpture, music and collage to produce his work. Robert Rauschenberg Monogram, 1955- 1959 Edward Kienholz #18: Edward Kienholz Born: October 23, 1927 Died: June 10, 1994 Style: Funk art/Neodada Fun Facts: • By 1950 Kienholz broke free from the two-dimensional surface altogether and began to create three- dimensional "constructions" through the assembly and combination of everyday objects. Edward Kienholz The State Hospital, 1966 .
Recommended publications
  • Modernism 1 Modernism
    Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking.
    [Show full text]
  • “Rewriting History: Artistic Collaboration Since 1960.” in Cynthia Jafee Mccabe
    “Rewriting History: Artistic Collaboration Since 1960.” In Cynthia Jafee McCabe. Artistic Collaboration in the Twentieth Century. Washington, D.C.: Smithsonian Institution Press, 1984; pp. 64-87. Text © Smithsonian Institution. Used with permission. accords with a desire to see human beings change world history as attrition rather than as a whim, and we are more order. When we see a subscriber to the great person theory and more attuned to how large numbers of people in the present, such as Barbara Tuchman, we are all participate in world events rather than how the few are intrigued, I think, because we so desperately want to believe motivated and affected. Napoleon is beginning to appear that individuals do control the world and that history is not more the creation of the people, the nexus of their desires, mindless attrition, some effect caused by innumerable than a willful individual: he may act but he is also very people unsuspectingly reacting to a sequence of events. We definitely acted upon. like logic and the force of human emotions, and we want to Even though historians have generally accepted social be convinced that Napoleon was important, because, history as a legitimate approach and are finding it a fruitful lurking under that conviction, is the assumption that if he means for sifting through past events, art historians have can initiate world events, then, perhaps, we too can have an been reticent to give up their beliefs in individual genius. effect, t1owever small, on the world around us. For all intents and purposes, art history is still locked into The great person theory has enjoyed a wide following, the great person theory, whict1 is more appropriate to the but this approach is historically rooted in the Romantic Romantic era and the nineteenth century than the Post­ period.
    [Show full text]
  • Calder and Abstraction April 8, 2014
    Calder and Abstraction April 8, 2014 4:00–5:00 Registration Ahmanson Building, Level 2 Sign-In LAUSD Salary Point & University Credit • Ahmanson Building, Level 2 ________________________________________________________________________________________________________________________________ 5:00–5:50 Lecture Calder and Abstraction • Lauren Bergman • Bing Theater ________________________________________________________________________________________________________________________________ 6:00–6:50 Exhibition in Focus Calder and Abstraction: From Avant-Garde to Iconic • Resnick Pavilion Art Workshops Shaping Space • Grades K–2 • Peggy Hasegawa • Plaza Studio** Contour Constructs • Grades K–5 • Brooke Sauer • Pavilion for Japanese Art Lobby* Paper Sculptures • Grades SPED K–5 • Judy Blake • Bing Theater Lobby* Motion Machines • Grades 6–12 • Jia Gu • Art + Technology Lab, Bing Center, Level 1* Gallery Activity Monumental Artworks • Grades 6–12 • Brandy Vause • Resnick Pavilion* Dance Workshop Balance and Motion • Shana Habel • Bing Theater ________________________________________________________________________________________________________________________________ 7:00–7:25 Reception Dinner catered by The Patina Group • BP Grand Entrance ________________________________________________________________________________________________________________________________ 7:30–8:20 Exhibition in Focus Calder and Abstraction: From Avant-Garde to Iconic • Resnick Pavilion Art Workshops Shaping Space • Grades K–2 • Peggy Hasegawa • Plaza Studio**
    [Show full text]
  • Edward & Nancy Kienholz Solo
    EDWARD & NANCY KIENHOLZ Edward Kienholz Born in 1927, Fairfield (Washington), USA Dead in 1994, Sandpoint, Idaho, USA Nancy Reddin Kienholz Born in 1943, Los Angeles, USA Dead in 2019, Houston, USA Artworks and exhibitions prior to 1972 are by Edward Kienholz. From 1972 onward, all artworks are coauthored by and exhibitions are collaborations of Edward Kienholz and Nancy Reddin Kienholz. SOLO EXHIBITIONS (SELECTION) 2020 Edward Kienholz, Galerie Templon, Paris, France 2019-2020 Edward and Nancy Kienholz: The Merry-Go-World or Begat by Chance and the Wonder Horse Trigger, L.A. Louver, Venice, CA, USA 2018 Edward Kienholz: America My Hometown, Blain | Southern, London, UK 2017-2018 Edward and Nancy Kienholz: A selection of works from 1982-1992, ICA Miami, Miami, FL, USA 2016 Kienholz: Five Car Stud, curated by Germano Celant, Fondazione Prada, Milan, Italy Kienholz Televisions, L.A. Louver, Venice, CA, USA Edward & Nancy Kienholz: A Selection of Works from the Betty and Monte Factor Family Collection, Sprüth Magers, London, UK 2014 Ed and Nancy Kienholz: BERLIN/HOPE, L.A. Louver, Venice, USA Septet - Un Kienholz d’exception, Galerie de France, Paris, France 2013 The Jesus Corner, Missoula Art Museum, Missoula, MT, USA 2012 Kienholz: The Ozymandias Parade / Concept Tableaux, Pace Gallery, New York, NY, USA Kienholz before LACMA, L.A. Louver, Venice, CA, USA 2011 Kienholz Die Zeichen Der Zeit, Schirn Kunsthalle, Frankfurt, Germany; traveled to Museum Tinguely, Basel Switzerland Edward Kienholz: Five Car Stud 1969-1972, Revisited, Los Angeles
    [Show full text]
  • Rise of Modernism
    AP History of Art Unit Ten: RISE OF MODERNISM Prepared by: D. Darracott Plano West Senior High School 1 Unit TEN: Rise of Modernism STUDENT NOTES IMPRESSIONISM Edouard Manet. Luncheon on the Grass, 1863, oil on canvas Edouard Manet shocking display of Realism rejection of academic principles development of the avant garde at the Salon des Refuses inclusion of a still life a “vulgar” nude for the bourgeois public Edouard Manet. Olympia, 1863, oil on canvas Victorine Meurent Manet’s ties to tradition attributes of a prostitute Emile Zola a servant with flowers strong, emphatic outlines Manet’s use of black Edouard Manet. Bar at the Folies Bergere, 1882, oil on canvas a barmaid named Suzon Gaston Latouche Folies Bergere love of illusion and reflections champagne and beer Gustave Caillebotte. A Rainy Day, 1877, oil on canvas Gustave Caillebotte great avenues of a modern Paris 2 Unit TEN: Rise of Modernism STUDENT NOTES informal and asymmetrical composition with cropped figures Edgar Degas. The Bellelli Family, 1858-60, oil on canvas Edgar Degas admiration for Ingres cold, austere atmosphere beheaded dog vertical line as a physical and psychological division Edgar Degas. Rehearsal in the Foyer of the Opera, 1872, oil on canvas Degas’ fascination with the ballet use of empty (negative) space informal poses along diagonal lines influence of Japanese woodblock prints strong verticals of the architecture and the dancing master chair in the foreground Edgar Degas. The Morning Bath, c. 1883, pastel on paper advantages of pastels voyeurism Mary Cassatt. The Bath, c. 1892, oil on canvas Mary Cassatt mother and child in flattened space genre scene lacking sentimentality 3 Unit TEN: Rise of Modernism STUDENT NOTES Claude Monet.
    [Show full text]
  • Marcel Duchamp, French Dada Artist, Whose Small but Controversial Output Exerted a Strong Influence on the Development of 20Th-Century Avant-Garde Art
    Marcel Duchamp, French Dada artist, whose small but controversial output exerted a strong influence on the development of 20th-century avant-garde art. Born on July 28, 1887, in Blainville, brother of the artist Raymond Duchamp-Villon and half brother of the painter Jacques Villon, Duchamp began to paint in 1908. After producing several canvases in the current mode of Fauvism, he turned toward experimentation and the avant-garde, producing his most famous work, Nude Descending a Staircase, No. 2 (Philadelphia Museum of Art) in 1912; portraying continuous movement through a chain of overlapping cubistic figures, the painting caused a furor at New York City's famous Armory Show in 1913. He painted very little after 1915, although he continued until 1923 to work on his masterpiece, The Bride Stripped Bare by Her Bachelors, Even (1923, Philadelphia Museum of Art), an abstract work, also known as The Large Glass, composed in oil and wire on glass, that was enthusiastically received by the surrealists. In sculpture, Duchamp pioneered two of the main innovations of the 20th century kinetic art and ready-made art. His "ready-mades" consisted simply of everyday objects, such as a urinal and a bottle rack. His Bicycle Wheel (1913, original lost; 3rd version, 1951, Museum of Modern Art, New York City), an early example of kinetic art, was mounted on a kitchen stool. After his short creative period, Duchamp was content to let others develop the themes he had originated; his pervasive influence was crucial to the development of surrealism, Dada, and pop art. Duchamp became an American citizen in 1955.
    [Show full text]
  • A Critical Reassessment of Duchamp's Readymades and His Antiaesthetic of the Ordinary
    University of Mary Washington Eagle Scholar Student Research Submissions Spring 5-1-2015 A Critical Reassessment of Duchamp's Readymades and his Antiaesthetic of the Ordinary Alexandra M. Parrish Follow this and additional works at: https://scholar.umw.edu/student_research Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Parrish, Alexandra M., "A Critical Reassessment of Duchamp's Readymades and his Antiaesthetic of the Ordinary" (2015). Student Research Submissions. 103. https://scholar.umw.edu/student_research/103 This Honors Project is brought to you for free and open access by Eagle Scholar. It has been accepted for inclusion in Student Research Submissions by an authorized administrator of Eagle Scholar. For more information, please contact [email protected]. A CRITICAL REASSESSMENT OF DUCHAMP'S READYMADES AND HIS ANTIAESTHETIC OF THE ORDINARY An honors paper submitted to the Department of Art and Art History of the University of Mary Washington in partial fulfillment of the requirements for Departmental Honors Alexandria M Parrish May 2015 By signing your name below, you affirm that this work is the complete and final version of your paper submitted in partial fulfillment of a degree from the University of Mary Washington. You affirm the University of Mary Washington honor pledge: "I hereby declare upon my word of honor that I have neither given nor received unauthorized help on this work." Alexandria M. Parrish 05/01/15 (digital signature) University of Mary Washington A Critical Reassessment of Duchamp's Readymades and his Antiaesthetic of the Ordinary By: Alexandria Parrish Faculty Advisor: Professor Joseph Dreiss Spring 2015 2 Marcel Duchamp has been described fittingly by painter Willem de Kooning as a "one-man movement."1 During his lifetime Duchamp created a limited number of works that had a seemingly infinite impact on modern art.
    [Show full text]
  • Exhibition Advisory
    ^ Exhibition advisory Exhibition: Los Angeles to New York: Dwan Gallery, 1959–1971 On View: March 19–September 10, 2017 Location: Resnick Pavilion (Image credits on page 6) (Los Angeles—March 6, 2017) The Los Angeles County Museum of Art (LACMA) presents Los Angeles to New York: Dwan Gallery, 1959–1971, an examination of the storied history of Dwan Gallery, one of the most important galleries of the postwar period in the United States. Virginia Dwan (b. 1931), gallery owner, art patron, and collector, was one of the greatest champions of avant-garde art and artists of the mid-20th century. During her more than 11 years as a gallerist, Dwan’s Los Angeles and New York galleries were among the first bicoastal spaces dedicated to showcasing contemporary art in America. As an arts patron, Dwan was a pivotal figure in the Los Angeles art scene, often providing artists with stipends, studio space, and housing, in addition to giving many artists their first solo shows. At the time, the exhibitions presented at Dwan Gallery were at the forefront of postwar avant-garde art. Dwan organized one of the first Pop art exhibitions in the United States, My Country ’Tis of Thee (1962), and she was one of the earliest and most ardent supporters of Minimal Art and Earthworks. Founded in 1959, Dwan Gallery first opened in a storefront in Westwood, Los Angeles. The gallery presented groundbreaking exhibitions of New York artists such as Philip Guston, Franz Kline, Claes Oldenburg, Robert Rauschenberg, Ad Reinhardt, and Larry Rivers as well as the Los Angeles-based artist Edward Kienholz.
    [Show full text]
  • FOR IMMEDIATE RELEASE Ed Moses: Diamond Jim Albertz Benda
    FOR IMMEDIATE RELEASE Ed Moses: Diamond Jim albertz benda, New York April 30 – June 16, 2018 “Actually I love to paint. I’m the Hungry Ghost. There’s a glow as if the painting is imbued with some energy field, something primordial that is responsive to my obsession – the obsession of the Hungry Ghost.” - Ed Moses, Venice Beach, CA. (2013) March 26, 2018, New York, NY - albertz benda is honored to present Ed Moses: Diamond Jim focusing on the artist’s work on canvas of the past three decades. This exhibit follows Moses’s first ever East Coast survey, Painting as Process 1951-1999, at albertz benda, New York (2016) and California Dreaming: Ed Moses, Billy Al Bengston, & Ed Ruscha curated by Thomas Krens for the New Britain Museum of American Art, CT (2017). Diamond Jim comprises key series from this period including Whiplines, Crackle, Scrapers, and Magma. Moses continually expressed the importance of process over the finished object. His efforts to embody physical motion and his emphasis on mark making lead him to experiment with a wide range of techniques and nontraditional tools - such as mops and squeegees. Moses was simultaneously open- ended in his style and highly focused in his attention to material, gesture, and pictorial space; shifting between techniques and processes enabled the artist to generate a large and diverse oeuvre. An intuitive and inquiring approach has guided Moses since the beginning of his artistic career. A longtime student of Buddhism, which since the 1970’s increasingly influenced his practice, he stated the goal is not the thing; the path is the thing...the process, this meandering.” For Moses, painting’s identity was multiple and changing – working with canvases stretched on the floor, the dynamic abstract compositions in Diamond Jim (2008), Ignon (2006), and Bronco (2002) are the result of of the artist’s rejection of conventional brushes in favor of mixing paints on the surface of the canvas itself.
    [Show full text]
  • Talia Kwartler
    HTTPS://DOI.ORG/10.14324/111.2396-9008.052 SUZANNE DUCHAMP’S READYMADE PAINTINGS Talia Kwartler uzanne Duchamp pushed the boundaries of painting by incorporating unorthodox, machine-made materials within interconnected pictorial Sgeometries. This article focuses on her distinct way of combining modern elements with traditional mediums and situates her within dialogues on the readymade taking place between New York, Zurich and Paris during the 1910s and 1920s. These exchanges involved an international group of artists, including Jean Crotti, the artist’s older brother Marcel Duchamp, Elsa von Freytag-Loringhoven, Francis Picabia, Man Ray, Sophie Taeuber- Arp and Beatrice Wood. While Duchamp has been summarily treated in the literature on Dada, there has been little concentrated attention focused on her specific involvement with the movement. Her engagement ranged from correspondences with her older brother Marcel while he was based in New York to in-person collaborations when many of these artists returned to Paris after World War I, particularly Picabia and Crotti, whom she would marry in 1919. This article explores Duchamp’s readymade paintings both in relationship to other artists and as a body of work in its own right. A better understanding of her individual approach will shed greater light on ideas she shared with other Dadaists. This is because the particular way she integrated readymades within the mediums of painting, drawing and poetry arguably had an effect on the broader group. Picabia wrote in ‘Carnet du Doctor Serner’ in 391: ‘Suzanne Duchamp does more intelligent things than paint’.1 By turning Picabia’s assertion into a question, this article asks: What exactly was Duchamp doing that was ‘more intelligent’ than painting? Testing Picabia’s claim against her artworks, I will examine how the complex materials of Un et une menacés (1916, figure 1), Radiation de deux seuls éloignés (1916–20, figure 2), and Le Readymade malheureux de Marcel (1920, figure 3) function in relationship to each other.
    [Show full text]
  • Chapter 3 the Conceptual Poetics of Marcel Duchamp the River Bears No
    Chapter 3 The Conceptual Poetics of Marcel Duchamp The river bears no empty bottles, sandwich papers, Silk handkerchiefs, cardboard boxes, cigarette ends Or other testimony of summer nights. --T. S. Eliot, “The Fire Sermon,” The Waste Land Duchamp: . .I had no position. I’ve been a little like Gertrude Stein. To a certain group, she was considered an interesting writer, with very original things. Cabanne: I admit I never would have thought of comparing you to Gertrude Stein . Duchamp: It’s a form of comparison between people of that period. By that, I mean that there are people in every period who aren’t ‘in’. --Pierre Cabanne, Dialogues with Marcel Duchamp 78 Empty bottles and cardboard boxes: for the Eliot of The Waste Land these are the very emblem of twentieth-century refuse, the detritus of an Age of Mechanical Reproduction antithetical to the individual talent and, in Pound’s stinging words about Usury, ‘CONTRA NATURAM’. In Tender Buttons, by contrast, those expendable bottles and boxes become the object of intense concentration: Consider the first of two prose poems entitled ‘A Box’: Out of kindness comes redness and out of rudeness comes rapid same question, out of an eye comes research, out of selection comes painful cattle. So then the order is that a white way of being round is something suggesting a pin and is it disappointing, it is not, it is so rudimentary to be analysed and see a fine substance strangely, it is so earnest to have a green point not to red but to point again.
    [Show full text]
  • The Surreal Museum: an Intervention for the Cincinnati Art Museum
    The Surreal Museum: An Intervention for the Cincinnati Art Museum A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Architecture in the School of Architecture and Interior Design of the College of Design, Art, Architecture, and Planning 2007 Andreas Lange B.A. Fine Art, Berea College Prof. Elizabeth Riorden, Thesis Chair Prof. Jay Chatterjee, Second Chair iii Abstract The comprehensive public art museum may be considered a surreal space. A reinterpretation of surrealism as an aesthetic methodology based in the cultivation of the unheimlich can help inform and direct an approach to museum planning and design so that modernization highlights and emphasizes the multiplicitous nature of the museum. As a staged environment that surpasses direct functionality and rationality, the surreal museum is a scripted space for the performance of cultural identity. The amalgamative development of museum buildings, the embedded typological forms, the strange relationship between displaced objects and display space, and the anxious overlaps in program make the comprehensive art museum a very complex and incredibly rich architectural space. The Cincinnati Art Museum is an exquisite corpse of a building illustrating all the qualities of the surreal museum. A strategic architectural intervention into the Cincinnati Art Museum can expose and emphasize this surreality. iii v Table of Contents Abstract ii Introduction 1 1 Museum as Surreal Building Type 11 2 Museum as Surreal Space 29 3 The Cincinnati Art Museum as Surreal Building 57 4 Site Analysis 79 5 Program 93 6 Design 107 Afterword 118 Acknowledgements 120 Image Sources 122 Quote Sources 126 Bibliography 128 v Introduction “The exquisite/ corpse/ will drink/ the new/ wine” - First sentence created in surrealists’ exquisite corpse writing game composed by André Breton and others.
    [Show full text]