Lecture 5 Neo-Modernism Minimalism - the problem of theatricality and absorption

CDT 30/08/13LECTURE #5 : : NEO-‐MODERN & MINIMALISM

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#51 CDT 30/08/13

LECTURE #5 : : NEO-‐MODERN & MINIMALISM .74

NEO-

MODER

NISM

& MINI

MALISM

the problem

of theatricality and

absorption

+ Fo

reru

nner

+ Po

st-Str

uctu

ralism

+ Mini

malism

in Ar

t

+ mod

ern p

ictur

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© Chris Brisbin, 2014 https://unisa-au.academia.edu/ChrisBrisbin/

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i s t h i s M i n i m a l i s m ?

CHURCH OF LIGHT Tadao Ando, 1989

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i s t h i s M i n i m a l i s m ?

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GLENBURN HOUSE Sean Godsell, 2004–7


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M i n i m a l i s m h a s b e c o m e a u b i q u i t o u s

t e r m t o d e s c r i b e a n a e s t h e t i c t r e a t m e n t i n A r c h i t e c t u r e

a r e d u c e d p a l e t t e o f m a t e r i a l s a n d

s i m p l e r u d i m e n t a r y f o r m s a n d s h a p e s

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b u t w h a t i s M i n i m a l i s m

r e a l l y ?


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brave new world in Art which sought

a separation from the conventions

of the past. !

the birth of Modernism

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FOUNTAIN Marcel Duchamp, 1917

n o n - a r t & ‘ o b j e c t h o o d ’


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...meaning is contingent on context, we are left with little more than the assumption that if a thing is in a gallery, then it is an art object. !Barberra Rose

...the paradox of such works, was that they staked everything on the institutional context for their effect, while claiming the density and singularity of things in the real world. !

Robert Hughes


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THE BIRTH OF VENUS painted by Sandro BoFcelli, 1486

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JUDITH BEHEADING HOLOFERNES painted by Carvaggio, 1598—9


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STATIC POSE DYNAMIC POSE — COUNTER POSITION CONTRA POSTE

INANIMATE ANIMATE


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EARLY ONE MORNING Anthony Caro, 1962


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MONOGRAM Robert Rauschenberg, 1959

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gestalt a priori reading

of space

pre-figuring the plan


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SPIRAL JETTY Robert Smithson, 1970


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photography from the air — conventional

aerial viewpoint. !

viewers were orientated to the

work with an a priori experience


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!...the look of non-art was no longer available to painting, since even an unpainted canvas now stated itself as a picture, the borderline between art and non-art had to be sought in the three-dimensional, where sculpture was, and where everything material that was not art also was. !Clement Greenberg

DIE Tony Smith, 1962—8


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!...the meaning of Minimal work exists outside itself. It is part of the work to act as triggers for thought and emotion pre-existing in the viewer and conditioned by the viewer’s knowledge of the style in it’s several forms. !Darby Bannard

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UNTITLED Donald Judd, 1968–88


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t h e a t r i c a l i t y

Michael Fried “Art and Objecthood”

1967


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!...the experience on the road was something

mapped out but not socially recognized...There was no way you could frame it, you just had to

experience it. !

Tony Smith

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ROAD TRIP 2 Chris Brisbin, 2004–5


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!...from the top of the hill, looking back across the valley, images and thoughts remembered which were initiated by the consciousness of having experienced them. !Yve-Alain Bois

CLARA CLARA Richard Serra, 1981


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DYNAMIC POSE — COUNTER POSITION CONTRA POSTE

ANIMATE


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!...the lack of expressive content also includes the outer-directedness of the object, forcing the spectator to locate meaning of the work within the experiencing self rather than within the object. !Frances Colpitt

TORURQED ELLIPSE Richard Serra, 2004

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!...Something is said to have presence

when it demands that the beholder take it into account, that he take it

seriously. !

Michael Fried

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TORURQED ELLIPSE Richard Serra, 2004


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STEEL ZINC PLAIN Carl Andre, 1969

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EQUIVALENT VIII Carl Andre, 1966


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UNTITLED Dan Flavin, 1974

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100 UNTITLED WORKS IN MILL ALUMINUM Donaly Judd, 1982–6


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JEWISH MUSEUM Daniel Libeskind, 1987


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AZUMA HOUSE Tadao Ando, 1975

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Minimalism in Architecture defined by:

!Introversion - no windows

Simple geometry Smooth surfaces

Absence of details Aesthetic simplicity

Looks conceal differences in approach and ambition


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JOHN PAWSON


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PAWSON HOUSE John Pawson, 1995


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GASPAR HOUSE Alberto Campo Baeza, 1995


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PRICE O’RILEY HOUSE Engelen Moore, 1995


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GLENBURN HOUSE Sean Godsell, 2004–7


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“I believe that architecture today needs to reflect on the tasks and possibilities which are inherently its own. Architecture is not a vehicle or a symbol for things that do not belong to its essence. In a society which celebrates the inessential architecture can put up a resistance.” Peter Zumthor


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JACQUES HERZOG + PIERRE DE MEURON


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DOMINUS WINERY Herzog + de Meuron, 1992


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RICOLA FACTORY BUILDING Herzog + de Meuron, 1992–6


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SIGNAL BOX Herzog + de Meuron, 1992


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p i c t u r e s q u e

!...that form of aesthetic pleasure taken at the near at hand, the familiar and things of no value, merely on account of the picture it would make.


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!Humphrey Repton’s theory

for the Picturesque... !

[1] Boundaries as a problem

![2] The field of view

![3] Appropriation

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!!

Architecture’s facilitation of bodily movement,

through/of/in landscape

GARDENS OF VERSAILLES Versailles, France

designed by André Le Nôtre 17th C


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The landscape is highly ordered and structured in terms of the user’s

experience of it.


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...as pre^y as a picture...


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Boundaries as a problem


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The field of view


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Appropriation


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J C Loudon Picturesque Alternative to Repton ; decreased contrast with countryside, blurring of boundary, place house near village, form service building into a hierarchy. mid 18th century


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sublime exceeding representation and confronting transcendent a categories, eg painting of tragic death of a hero, one forgets admiration for the painting in admiration for the act portrayed !

beautiful beautiful representations of beautiful things !

picturesque beautiful representations of things which themselves are banal, disgusting, of no interest (also said at the time to be of things irregular, varied an intricate)

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SUBLIME = exceeding representa_on or beyond the limits of comprehension; eg., pain_ng of tragic death of a hero, one forgets admira_on for the pain_ng in admira_on/fear for the act portrayed; or the grandeur and/or power/danger of Nature (Mountain or Earthquake)

SUBLIME


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DESTRUCTION OF SODOM J.M.W Turner (1805)


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t h e m o d e r n p i c t u r e s q u e

another way to think about Minimalism


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SHIFT Richard Serra, 1970–2


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...the disturbance of the plan by the elevation and by the movement of the stroller creates the richness

and intimacy of the Villa Savoye, and in a certain way you could say that the aim of the free plan

corresponds in Le Corbusier, despite what he says about it, to wish to free his architecture from the

generating tyranny of the plan. !

Yve-Alain Bois

VILLA SAVOYE Le Corbusier, 1929–31


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!!...in threading experiences together, the route is a linear element with a dynamism and sense of continuity which contrasts with the static symmetry of the raised box which is the dominant perceptual image of the villa. !Geoffrey Baker


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!...the experience on the road was something mapped out but not socially

recognized...There was no way you could frame it, you just had to experience it. Tony Smith

ROAD TRIP 16 Chris Brisbin, 2004–5

73#5


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the problem

of theatricality and

absorption

+ Fo

reru

nner

+ Po

st-Str

uctu

ralism

+ Mini

malism

in Ar

t

+ mod

ern p

ictur

esqu

e

74

fin.


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Lecture 5 Neo-Modernism Minimalism - the problem of theatricality and absorption

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