5.15.2012
3.27.2012
3.24.2012
Hans Hollein
Highrise Building, Sparkplug, project, Exterior perspective
Hans Hollein (Austrian, born 1934)
1964. Cut-and-pasted printed paper on gelatin silver photograph, 4 3/4 x 7 1/4" (12.1 x 18.4 cm). Philip Johnson Fund. © 2012 Hans Hollein
The Museum of Modern Art , MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 248
The surreal juxtaposition of a giant sparkplug and a rural landscape is a deliberately provocative gesture. This fantastic collage registers Hollein's dissatisfaction with the architectural status quo of the early 1960s and invites speculations about the future of architecture. Declaring all forms of architecture, even the vocabulary of modernism, to be inadequate, Hollein drew upon the consumer products of science and technology to create images he believed appropriate to the times.
While Hollein's transformations of commonplace objects and the landscape in a number of photomontages have certain parallels with Pop art, he shared the larger concerns of polemical architects, such as his countryman Walter Pichler and members of the British group Archigram. The imaginary proposals for buildings, cities, and services made in the early 1960s by Hollein and other visionary architects anticipated the radical, often utopian, statements of the Italian groups Archizoom Associati and Superstudio toward the end of the 1960s, a decade that culminated in cultural upheavals throughout much of the world. By this time, however, Hollein was redirecting his focus. In interiors and buildings of the late 1960s and the 1970s, he included references to historical Viennese architecture while continuing to juxtapose the built and the natural landscape.
John Stezaker
Old Mask I 2006 Collage 24.5 x 19.5 cm
Old Mask II 2006 Collage 24.5 x 19.5 cm
Blind I 2006 Collage 23.2x18.7 cm
She (Film Portrait Collage) III 2008 Collage 26.1 x 27.5 cm
She (Film Portrait Collage) III 2008 Collage 26.1 x 27.5 cm
Imperative
1976 Collage on canvas 50” x 50”
National Gallery of Art, Washington, D.C.
1976 Collage on canvas 50” x 50”
National Gallery of Art, Washington, D.C.
Krasner's development was interrupted in late 1962 when she suffered a near-fatal brain aneurysm; this and subsequent bouts of ill health hampered her work for nearly two years. By this time she had established a residence in Manhattan, but continued to spend several months a year in The Springs, where she had moved into Pollock's former studio. In the 1960s and '70s Krasner continued to refine the nature-derived imagery she had first explored in the gestural arabesques of the "Earth Green" paintings, emphasizing their calligraphic qualities and later sharpening their edges to resemble cutout collage elements. Following major solo exhibitions, including a retrospective at the Whitechapel Gallery in London (1965) and "Lee Krasner: Large Paintings," at the Whitney Museum of American Art, New York (1973), together with important exposure in commercial galleries, she emerged from her sometimes stifling role as Mrs. Jackson Pollock and achieved recognition for her own contributions to modern American art. Chief among them is her singular collage aesthetic, which includes compositions as large and ambitious as paintings. In 1976 she made another collage series, this time incorporating figure and still life drawings made during her days as a Hofmann student nearly 40 years earlier. With titles based on conjugations of the verb "to see," the series alludes to vision and revision, forcefully affirming the cyclic nature of Krasner's art and life.
Ron Herron. Walking City on the Ocean, project, Exterior perspective.
1966. Cut-and-pasted printed and photographic papers and graphite covered with polymer sheet, 11 1/2 x 17” (29.2 x 43.2cm).
| Japanese Metabolists | |||||
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| Living in a capsule (Akira Shibuya 1966, Youji Watanabe 1967, Kisho Kurokawa 1970-72). The Nakagin Capsule Tower | Kenzo Tange's classic (and unrealized) Metabolist planning scheme for Tokyo Bay. 1960. | Kiyonoiri Kikutake, Marine City (1958-63). | |||
| Western Emulators | |||||
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| Habitat, Montreal Expo, 1967 World's Fair, Montreal, Quebec (Moshe Safdie, 1967) | Funnel city 'Intrapolis' (Walter Jonas 1960) | Space city (Yona Friedman 1959-63) | |||
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| Yona Friedman | Yona Friedman- proposed building a suspended city in a huge space frame. | Akro-Polis leisure city (Justus Dahinden 1974) | |||
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| "Urban structures for the future" Justus Dahinden (1971) | |||||
 | |||||
| Leisure city Kiryat Ono near Tel Aviv (Justus Dahinden 1984) | Overbuilding the city of Ragnitz (Günther Domenig 1963-69) Überbauung Ragnitz-Graz | Swimming Hotel Kairo (Justus Dahinden 1972) | |||
| The unity of pop and machine: Archigram | |||||
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| Plug-in-City, Living Pod and Capsule Tower (Peter Cook 1964-66) | Walking City and Instant City (Ron Herron 1964-70) | Trickling Towers and Layer City (Peter Cook 1978-82) | |||
| Archigram | |||||
In a combination of technological belief, architectural extremity, love of pop inspired culture and vision of a technocratic future and desire for social change, archigram dominated the architectural avant garde in the 1960s and early 1970s  The group collaborative efforts produced hilarious, provocative challenges to bauhaus models of architecture, exploding our notion of architectural practice and the limits of reality. It was formated in 1961 by a group of young London architects – Warren Chalk, Peter Cook, Dennis Crompton, David Greene, Ron Herron and Michael Webb. The unique strength of the working group that became the fulcrum of Archigram was that it was six people with a range of greatly differing perspectives, tastes, skills, age, politics and backgrounds. Walking City in New York, 1964 one more sketch by architect Ron Herron, Archigram, of the walking city:  Archigram, was also the name of their famous broadsheet whose title sheet proclaimed that it 'was founded as an occasional journal/manifesto of dynamic ideas for new architecture.' The first issue in May 1961 was priced ninepence. By issue 9, in 1970 it was selling over 5000 copies, in many countries. The power of the manifesto, especially in its drawn form, to promote concepts and advance their own and others' thinking, was crucial in Archigram's attack on conventional thinking. There are connotations here of the Futurists, the Italian Urbanists, and the Metabolists, of whose work Archigram were aware, as they were of many other architectural influences in the USA, Europe and Japan - notably Buckminster Fuller, Louis Kahn and the Vienna circle. Read more  
 PLUG-IN CITY, © Peter Cook, Archigram A 3 dimentional model of the PLUG-IN CITY:   Instant City Airships, 1968, Archigram  INSTANT CITY, 1970 © Ron Herron, Archigram | |||||
VALIE EXPORT
http://blog.naver.com/abramovic?Redirect=Log&logNo=120121093089
VALIE EXPORT
01-12-2007
black and white photograph
20 x 25 in
50.8 x 63.5 cm
black and white photograph
20 x 25 in
50.8 x 63.5 cm
http://www.valieexport.at/en/werke/vaetimeline/
VALIE EXPORT, Landscape Knife, Allentsteig, 1999 © Christian Wachter
A monument was installed in co-operation with the town council of Allentsteig in memory of residents from the area, who between 1938 and 1941 were disloged by the national socialist regime and forced to leave their homes.
The 'landscape knife' created by VALIE EXPORT virtually cuts into the lake, its metal blades reflecting both sun and water. Next to the object a glass pane has been erected, depicting the names of the vacated villages and farmhouses, an area now being used as a military training field. Just as the expulsion all these years ago left a dramatic incision in everyone's lives. VALIE EXPORT too wants to express how painfully struck she was by fate of those people. With this monument she has created a centre of communication, but also a symbol of the dramatic events both of the past and present. For today, the inhabitants of the small town are forced to listen to the shots fired by the military on exercise, a kind of war in peacetime waged in their heads. Konrad Rennert composed a musical piece on this theme '... And bid his ears a little while be deaf ...'. It is performed with live musicians (and/or tape) and deals with 'unheared of' but everyday life events. The writer Rudi Palla compiled the catalogue 'Memorial Allentsteig' (see page 85) on this theme.
(Katharina Blaas-Pratscher)
Architect: Walter Kirpicsenko
Source: http://www.publicart.at/e/e_home.html
http://www.valieexport.at/en/werke/vaetimeline/
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