By Therese Tierney
This visually wonderful, conceptually wealthy and resourceful booklet investigates the cultural connection among new media and architectural imaging. via a variety of fabric, from theoretical texts to experimental layout initiatives, Tierney explores notions of what the architectural photograph skill today.
Within the book’s visually imaginitive layout framework, summary house engages discourses from structure, visible and cultural reports to computing device technological know-how and communications expertise to offer an in-depth multi-media case learn. Tracing a provisional heritage of the subject, the ebook additionally lends a provocative and multivalent knowing to the advanced family members affecting the architectural photo this day.
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Additional resources for Abstract Space: Beneath the Media Surface
5 Bruce Nauman: Live/Taped Video Corridor (1969–1970) Wallboard, video camera, videotape player and two video monitors; dimensions vary with installation. Gordon Madda Clarke’s Splitting: Four Corners appears on the left. Page 53 Formulating abstraction By mid-century, with few exceptions, the architectural discourse lagged behind the internal art debate as a result of the post-World War II expansion. Much of it was due to the fact that the architectural discipline had to contend with a severe housing shortage and new construction methods.
Therefore, it may be confusing that, concurrently with Arte Povera, American artists Bruce Nauman, Walter de Maria, and Michael Heizer were linked with what was termed process art. This differed from conceptual art in that an artist would set a process in motion and await unpredictable results, exemplifying a radical shift from artist as primogenitor to artist as one who sets up an autonomous and random process. In Hans Haacke’s Plexiglas cubes, or “weather boxes,” water condensed and evaporated according to the changing levels of light and temperature in the gallery.
Concurrently, art-and-technology questioned what type of media is inherent to artistic expression: only normative inert media? Instead, conceptual artists believed that art expressions could be gestured, spoken, written, acted, filmed, industrially produced, or conceptualized. The work of art might exist as a momentary, time-based action, such as performance, as in the example of Arte Povera artist Michelangelo Pistoletto’s Ball of Newspapers (Minus Objects) (1966–1968). As event and performance, the immense papier mâché ball was rolled through the streets of Turin and filmed.
Abstract Space: Beneath the Media Surface by Therese Tierney