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 | |||||
 |  |  | |||
| 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 | |||||
 |  |  | |||
| Habitat, Montreal Expo, 1967 World's Fair, Montreal, Quebec (Moshe Safdie, 1967) | Funnel city 'Intrapolis' (Walter Jonas 1960) | Space city (Yona Friedman 1959-63) | |||
 |  |  | |||
| Yona Friedman | Yona Friedman- proposed building a suspended city in a huge space frame. | Akro-Polis leisure city (Justus Dahinden 1974) | |||
 |  |  | |||
| "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 | |||||
 |  |  | |||
| 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 | |||||
