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| Author | : Bruce Jenkins |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2011 |
| Genre | : Conceptual art |
| ISBN | : 9781846380723 |
A landmark work byGordon Matta-Clark, examined as an ldquo;act of communicationrdquo; aboutsustainability and the public role of art.
| Author | : Antonio Sergio Bessa |
| Publisher | : Yale University Press |
| Total Pages | : 185 |
| Release | : 2017-01-01 |
| Genre | : Art |
| ISBN | : 0300230435 |
This revealing book looks at the groundbreaking work of Gordon Matta-Clark (1943-1978), whose socially conscious practice blurred the boundaries between contemporary art and architecture. After completing a degree in architecture at Cornell University, Matta-Clark returned to his home city of New York, where he initiated a series of site-specific works in derelict areas of the South Bronx. The borough's many abandoned buildings, the result of economic decline and middle-class flight, served as Matta-Clark's raw material. His series 'Bronx Floors' dissected these structures, performing an anatomical study of ther ravaged urban landscape. Moving from New York to Paris with 'Conical Interserct', a piece that became emblematic of artistic protest, Matta-Clark applied this same method to a pair of seventeenth-century row houses slatted for demolition as a result of the Centre Pompidou's construction. This compelling volume grounds Matta-Clark's practice against the framework of architectural and urban history, stressing his pioneering activist-inspired approach, as well as his contribution to the nascent fields of social practice and relational aesthetics.
| Author | : Peter Muir |
| Publisher | : Routledge |
| Total Pages | : 199 |
| Release | : 2017-07-05 |
| Genre | : Art |
| ISBN | : 1351565184 |
In this in-depth analysis, Peter Muir argues that Gordon Matta-Clark?s Conical Intersect (1975) is emblematic of Henri Lefebvre?s understanding of art?s function in relation to urban space. By engaging with Lefebvre?s theory in conjunction with the perspectives of other writers, such as Michel de Certeau, Jacques Derrida, and George Bataille, the book elicits a story that presents the artwork?s significance, origins and legacies. Conical Intersect is a multi-media artwork, which involves the intersections of architecture, sculpture, film, and photography, as well as being a three-dimensional model that reflects aspects of urban, art, and architectural theory, along with a number of cultural and historiographic discourses which are still present and active. This book navigates these many complex narratives by using the central ?hole? of Conical Intersect as its focal point: this apparently vacuous circle around which the events, documents, and other historical or theoretical references surrounding Matta-Clark?s project, are perpetually in circulation. Thus, Conical Intersect is imagined as an insatiable absence around which discourses continually form, dissipate and resolve. Muir argues that Conical Intersect is much more than an ?artistic hole.? Due to its location at Plateau Beaubourg in Paris, it is simultaneously an object of art and an instrument of social critique.
| Author | : Pamela M. Lee |
| Publisher | : MIT Press |
| Total Pages | : 308 |
| Release | : 2001-08-24 |
| Genre | : Architecture |
| ISBN | : 9780262621564 |
In this first critical account of Matta-Clark's work, Pamela M. Lee considers it in the context of the art of the 1970s—particularly site-specific, conceptual, and minimalist practices—and its confrontation with issues of community, property, the alienation of urban space, the "right to the city," and the ideologies of progress that have defined modern building programs. Although highly regarded during his short life—and honored by artists and architects today—the American artist Gordon Matta-Clark (1943-78) has been largely ignored within the history of art. Matta-Clark is best remembered for site-specific projects known as "building cuts." Sculptural transformations of architecture produced through direct cuts into buildings scheduled for demolition, these works now exist only as sculptural fragments, photographs, and film and video documentations. Matta-Clark is also remembered as a catalytic force in the creation of SoHo in the early 1970s. Through loft activities, site projects at the exhibition space 112 Greene Street, and his work at the restaurant Food, he participated in the production of a new social and artistic space. Have art historians written so little about Matta-Clark's work because of its ephemerality, or, as Pamela M. Lee argues, because of its historiographic, political, and social dimensions? What did the activity of carving up a building-in anticipation of its destruction—suggest about the conditions of art making, architecture, and urbanism in the 1970s? What was one to make of the paradox attendant on its making—that the production of the object was contingent upon its ruination? How do these projects address the very writing of history, a history that imagines itself building toward an ideal work in the service of progress? In this first critical account of Matta-Clark's work, Lee considers it in the context of the art of the 1970s—particularly site-specific, conceptual, and minimalist practices—and its confrontation with issues of community, property, the alienation of urban space, the "right to the city," and the ideologies of progress that have defined modern building programs.
| Author | : Jeffrey Deitch |
| Publisher | : Skira |
| Total Pages | : 322 |
| Release | : 2011 |
| Genre | : Art |
| ISBN | : 0847836177 |
A catalog of an exhibition that surveys the history of international graffiti and street art.
| Author | : Frances Richard |
| Publisher | : University of California Press |
| Total Pages | : 534 |
| Release | : 2019-03-26 |
| Genre | : Art |
| ISBN | : 0520299094 |
Bringing a poet’s perspective to an artist’s archive, this highly original book examines wordplay in the art and thought of American artist Gordon Matta-Clark (1943–1978). A pivotal figure in the postminimalist generation who was also the son of a prominent Surrealist, Matta-Clark was a leader in the downtown artists' community in New York in the 1970s, and is widely seen as a pioneer of what has come to be known as social practice art. He is celebrated for his “anarchitectural” environments and performances, and the films, photographs, drawings, and sculptural fragments with which his site-specific work was documented. In studies of his career, the artist’s provocative and vivid language is referenced constantly. Yet the verbal aspect of his practice has not previously been examined in its own right. Blending close readings of Matta-Clark’s visual and verbal creations with reception history and critical biography, this extensively researched study engages with the linguistic and semiotic forms in Matta-Clark’s art, forms that activate what he called the “poetics of psycho-locus” and “total (semiotic) system.” Examining notes, statements, titles, letters, and interviews in light of what they reveal about his work at large, Frances Richard unearths archival, biographical, and historical information, linking Matta-Clark to Conceptualist peers and Surrealist and Dada forebears. Gordon Matta-Clark: Physical Poetics explores the paradoxical durability of Matta-Clark’s language, and its role in an aggressively physical oeuvre whose major works have been destroyed.
| Author | : Robert Harbison |
| Publisher | : Reaktion Books |
| Total Pages | : 274 |
| Release | : 2015-08-15 |
| Genre | : Architecture |
| ISBN | : 1780234767 |
What is it about ruins that are so alluring, so puzzling, that they can hold some of us in endless wonder over the half-erased story they tell? In this elegant book, Robert Harbison explores the captivating hold these remains and broken pieces—from architecture, art, and literature—have on us. Why are we, he asks, so suspicious of things that are too smooth, too continuous? What makes us feel, when we look upon a fragment, that its very incompletion has a kind of meaning in itself? Is it that our experience on earth is inherently discontinuous, or that we are simply unable to believe in anything whole? Harbison guides us through ruins and fragments, both ancient and modern, visual and textual, showing us how they are crucial to understanding our current mindset and how we arrived here. First looking at ancient fragments, he examines the ways we have recovered, restored, and exhibited them as artworks. Then he moves on to modernist architecture and the ways that it seeks a fragmentary form, examining modern projects that have been designed into existing ruins, such as the Castelvecchio in Verona, Italy and the reconstruction of the Neues Museum in Berlin. From there he explores literature and the works of T. S. Eliot, Montaigne, Coleridge, Joyce, and Sterne, and how they have used fragments as the foundation for creating new work. Likewise he examines the visual arts, from Schwitters’ collages to Ruskin’s drawings, as well as cinematic works from Sergei Eisenstein to Julien Temple, never shying from more deliberate creators of ruin, from Gordon Matta-Clark to countless graffiti artists. From ancient to modern times and across every imaginable form of art, Harbison takes a poetic look at how ruins have offered us a way of understanding history and how they have enabled us to create the new.
| Author | : Niklas Salmose |
| Publisher | : Routledge |
| Total Pages | : 289 |
| Release | : 2019-11-22 |
| Genre | : Language Arts & Disciplines |
| ISBN | : 1000761304 |
This collection offers a multi-faceted exploration of transmediations, the processes of transfer and transformation that occur when communicative acts in one medium are mediated again through another. While previous research has explored these processes from a broader perspective, Salmose and Elleström argue that a better understanding is needed of the extent to which the outcomes of communicative acts are modified when transferred across multimodal media in order to foster a better understanding of communication more generally. Using this imperative as a point of departure, the book details a variety of transmediations, viewed through four different lenses. The first part of the volume looks at narrative transmediations, building on existing work done by Marie-Laure Ryan on transmedia storytelling. The second section focuses on the spatial dynamics involved in media transformation as well as the role of the human body as a perceptive agent and a medium in its own right. The third part investigates new, radical boundaries and media types in transmediality and hence shows its versatility as a method of analyzing complex and contemporary communicative discourses. The fourth and final part explores the challenges involved in transmediating scientific data into the narrative format in the context of environmental issues. Taken together, these sections highlight a range of case studies of transmediations and, in turn, the complexity and variety of the process, informed by the methodologies of the different disciplines to which they belong. This innovative volume will be of particular interest to students and scholars in multimodality, communication, intermediality, semiotics, and adaptation studies.
| Author | : Douglass Whitfield Bailey |
| Publisher | : Oxford University Press |
| Total Pages | : 355 |
| Release | : 2018 |
| Genre | : Architecture |
| ISBN | : 0190611871 |
In Breaking the Surface, Doug Bailey offers a radical alternative for understanding Neolithic houses, providing much-needed insight not just into prehistoric practice, but into another way of doing archaeology. Using his years of fieldwork experience excavating the early Neolithic pit-houses of southeastern Europe, Bailey exposes and elucidates a previously under-theorized aspect of prehistoric pit construction: the actions and consequences of digging defined as breaking the surface of the ground. Breaking the Surface works through the consequences of this redefinition in order to redirect scholarship on the excavation and interpretation of pit-houses in Neolithic Europe, offering detailed critiques of current interpretations of these earliest European architectural constructions. The work of the book is performed by juxtaposing richly detailed discussions of archaeological sites (Etton and The Wilsford Shaft in the UK, and Magura in Romania), with the work of three artists-who-cut (Ron Athey, Gordon Matta-Clark, Lucio Fontana), with deep and detailed examinations of the philosophy of holes, the perceptual psychology of shapes, and the linguistic anthropology of cutting and breaking words, as well as with cultural diversity in framing spatial reference and through an examination of pre-modern ungrounded ways of living. Breaking the Surface is as much a creative act on its own-in its mixture of work from disparate periods and regions, its use of radical text interruption, and its juxtaposition of text and imagery-as it is an interpretive statement about prehistoric architecture. Unflinching and exhilarating, it is a major development in the growing subdiscipline of art/archaeology.
