Art and Architecture : a place between Jane Rendell. txt

Por:

Rendell, Jane

Idioma: Español New York : I.B.Tauris, 2008Descripción: xv, 240 p. ill. ; 24 cmTipo de contenido:

text

Tipo de medio:

unmediaded

Tipo de soporte:

volume

ISBN:

9781845112226

Tema(s):

Art and architecture

Clasificación LoC:

N72.A75 R46 2008

Contenidos:

Contents: List of Figures -- Acknowledgements -- 1 Introduction: A place Between -- 13 Section 1: Between Here and There -- 15 Introduction: Space, Place and Site -- 23 Chapter 1: Site, Non-Site, off-Site -- 41 Chapter 2: The Expanded Field -- 57 Chapter 3: Space and Practiced Place -- 73 Section 2: Between Now and Then -- 75 Introduction: Allegory, Montage and Dialectical Image -- 85 Chapter 1: Ruin as Allegory -- 103 Chapter 2: Insetion as Montage -- 121 Chapter 3: The ‘What-has-been’ and the Now -- 145 Section 3: Between One and Another -- 147 Introduction: Listening, Prepositions and Nomadism -- 153 Chapter1: Collaboration -- 163 Chapter2: Social Sculpture -- 181 Chapter 3: Walking -- 191 Conclusion: Criticism as Critical Spatial Practice -- 195 Ednotes -- 215 Bibliography -- 231 Index --

List of Figures: Cover -- 1 ‘A Place Between’, architectural reflections in the pool of Jud Fine, ‘Spine’ (1993) Maguire Gardens, Los Angeles Public Library. Photograph: Jane Rendell (1999) -- Section 1: Chapter 1 -- 2 Robert Smithson, ‘Spiral Jetty’ (1970) Salt Lake, Utah. Photograph: Cornford & cross (2002) 22 -- 3 Walter De Maria, ‘The New York Earth Room’ (1997). Long term installation at Dia Center for the Arts, 141 Wooster Street, New York City. Photograph: Jhon Gliett 28 -- 4 Joseph Beuys, ‘7000 Oasks’ (1982-) New York City. Photograph: Cornford &Cross (2000) 29 -- 5-6 Adam Chodzko, ‘Better Scenery’ (2000) Arizona and London. Photograph: Adam Chodkzo (2000) 32 -- 7 Andrea Zittel, ‘A-Z Cellular Compartment Units’ (2001) Birmingham. Photograph: Courtesy of Sadie Coles 34 -- 8 Enric Miralles and Carmen Pinos, ‘Iqualada Cemetery’ (1988-94) Barcelona. Photograph: Jane Rendell (1999) 38 -- Section 1: Chapter 2 10 Bournville. Photograph: Jane Rendell (1999) 42 -- 11 Cornford & Cross, ‘Utopia (wishful Thimking)’ (1999) 45 -- 12 Katrin Bohm, ‘Canopies’ (1999) Bournville. Photograph: Gavin Wade (1999) 46 -- 13 Nathan Coley, ‘A Manifesto for Bournville’ (1999) Bournville. Photograph: Gavin Wade (1999) 48 -- 14 Darren Lago, ‘Chocolate Garden’ (1999) Bournville. Photograph: Gavin Wade (1999) 51 -- 15 Casagrande & Rintala, ‘1000 Banderas Blancas’ (2000) Finland. Photograph: Niklaus Stauss, Zurich (2002) 53 -- Section 1: Chapter 3 17 Michael Landy, ‘Breakdown’ (2001) London. Photograph: Artangel (2001) 58 -- 18 Jeremy Deller, ‘The Battle of Orgreave’ )2001) Sheffield. Photograph: Cornford & Cross (2001) 63 -- 19 Foreign Office Architects, ‘Yokohama International Port Terminal’ (1995) Japan. Photograph: Satoru Mishima (1995) 70 -- Section 2: Chapter 1 20 Rut Blees Luxembourg, ‘Caliban Toers I and II’ (1997) Photograph: Jane Rendell (1999) 90 -- 21 Demolition of Farnell Point, Hackney, London. Photograph: Jane Rendell (1999) 90 -- 22-3 Lacation + Vasal, ‘Palais de Tokyo’ (2001) Paris. Photograph: Jane Rendell and David Cross (2005) 92 -- 24-5 Jane Propert, ‘Conductor’ (2000) The Wapping Project, London. Photograph: John Spinks (2000) 97 -- 26 Anya Gallaccio, ‘Intensities and Surfaces’ (1996) The Boiler Room, Wapping Pumping Stantion, London. Anya Gallacio. Courtesy of the artist and Lehman Maupin Gallery, New York City 99 -- 27 Diller + Scofidio, ‘blur’ (2002) Swiss Expo.02, Lake Neuchatel, Switzerland. Photograph: Beat Widmer (2002) 100 -- Section 2: Chapter 2 -- 28 Cornford & Cross, ‘New Holland’ (1997), Sainsbury Centre for Visual Arts, Norwich. Photograph: Cornford & Cross (1997) 106 -- 29 Sarah Wigglesworth Architects, ‘Straw Bale House’ (2001-) London. Photograph: Paul Smoothy 109 -- 30 Janet Hodgson, ‘The Pits’ (2005) Canterbury. Photograph: Paul Smoothy 110 -- 31 FAT, ‘Picnic’ (1995) London. Photograph: Josh Pullman (1995) 114 -- 32 FAT ‘Roadworks’ (1997) London. Photograph: FAT (1997) 115 -- 33 Bernard Tschumi, ‘Parc de la Villete’ (1983- 98) Paris. Photograph: Jane Rendell (1999) 118 -- 34 Bernard Tschumi, Columbia University (2000) New York. Photograph: Jane Rendell (1999) 119 -- Section 2: Chapter 3 -- 35 Sophie Calle, ‘Appointment with Sigmund Freud’ (1999) Actes Sud 2005 122 -- 36-9 Mario Petrucci, ‘Search and Create’ Poetry Places (1999) Photograph: Jane Rendell (1999) 126 -- 40 Stephen Greenburg, DEGW, Bob Baxter at Large, Gerry Judah, artist sculptor, ‘The Holocaust Exhibition’ (2000) Photograph: Nick Hufton (2000) 128 -- 41 Rachel Whiteread, ‘Water Tower’ (1998) New York. Photograph: Jane Rendell (1999) 130 -- 42 Rachel Whiteread, Holocaust Memorial’, (1995) Judenplarz, Vienna. Photograph: Felicitas Konecny (2001) 131 -- 43-5 Daniel Libeskind, ‘The Jewish Museum’ (1992-9) Berlin. Photograph: Jane Rendell (1999) 134 -- 46 Janet Laurence and Fionna Foley, ‘Edge of the Trees’ (1994) Sydney. Photograph: Greg Buchberger 137 -- 47 Paul Carter, ‘Nearamnew’ (1999-2001) Federation Square, elbourne. Photograph: Paul Carter (2005) 140 -- 48 Sue Hubbard, ‘Eurydice’ (1999) Waterloo, London. Photograph: Edward Woodman (1999) 142 -- Section 3: Chapter 1 -- 49 muf architecture/art, The Pleasure Garden of the Utilities’ (1998) Stoke-on-Trent (Casting the bench in the Armitage Shanks Factory), Photograph: Cathy Hawley (1998) 158 -- 50 muf architecture/art, ‘The Pleasure Garden of the Utilities’ (1998) Stoke-on-Trent (in situ after completion). Photograph: Cathy Hawley (1998) 159 -- Section 3: Chapter 2 -- 51 Shelley Sacks, ‘Exchange Values: Images of Invisible Lives’ (1996-9) (Exchange Values sheet of skin linked to grower vitas Emanuelle) 164 -- 52 Pamela Wells, ‘Tea for 2000’ (detail), (1993) 166 -- 53 Mierle Laderman Ukeles, ‘Handshake Ritual’ (1978-9) New York City Photograph: Courtesy Ronald Fieldman Fine Artes, New York City 168 -- 54 Suzanne Lacy and Leslie Labowitz, with Bia Lowe AND women from the Los Angeles Woman’s Building, ‘In Mourning and in Rage’ (1997) Los Angeles. Photograph: Maria Karras 169 -- 55 Shigeru Ban, ‘Paper Log House’ (1994) Kobe. Photograph: Takanobu Sakuma (1994) 172 -- 56-7 public works, ‘Park Products’ (2004) The Serpentine Gallery, London. Photograph: public works (2004) 176 -- 58 public works, ‘Park Products’ (2004) The Serpentine Gallery London. Photograph: David Bebber (2004) 177 -- Section 3: Chapter 3 -- 59 PLATFORM, ‘Walking the fleet’ (2001) London. Photograph: Jane Rendell (2001) 180 -- 60-1 Marysia Lewandowska, ‘Detour’ (1999) London. Photograph: Jane Rendell (1999) 186 -- 62-3 UN-Studio (Ben van Berkel with Aad Krom, Jen- Alkem, Mathias Blass, Renco Bruggink, Marc Dijkman, Casper le Fevre, Rob Hootsmans, Tycho Soffree, Giovanny Tedesco, Harm Wassink). ‘Mobius House’ (1993-98)’ t Gooi, The Netherlands, UN Studio Photograph: Christian Richters (1998) 189 --

Existencias
Imagen de cubierta	Tipo de ítem	Biblioteca actual	Biblioteca de origen	Colección	Ubicación en estantería	Signatura topográfica	Materiales especificados	Info Vol	URL	Copia número	Estado	Notas	Fecha de vencimiento	Código de barras	Reserva de ítems	Prioridad de la cola de reserva de ejemplar	Reservas para cursos
	Libro Col. General CARIBET	CARIBET Biblioteca Arquitectura Colección General CARIBET				General N72.A75 R46 2008 (Navegar estantería(Abre debajo))				1	Disponible			91000000014555

Total de reservas: 0

Descripciones mejoradas de Syndetics:

The last twenty years have seen fascinating developments in the nature of collaboration between artists and architects and in the approaches taken by artists making work intended for public spaces. These sophisticated projects go far beyond the standard 'art for architecture' remit, limited as it is to the addition of 'artworks' to already designed buildings, the work described here invites us to rethink the reputation that public art has acquired over the years amongst both the public and the artists themselves. Timely and wide-ranging, "Art and Architecture" explores the proliferation of recent pioneering work by both artists and architects that seeks to blur traditional boundaries between the two fields. Looking back to precedents in land and community art by artists from Robert Smithson and Walter de Maria to Mierle Laderman Ukeles and Joseph Beuys, Rendell discusses international projects by artists including Tacita Dean, Krzysztof Wodiczko, Paul Pfeiffer and Rachel Whiteread and architects as varied as Rem Koolhaas, Daniel Libeskind, Diller + Scofidio and Shigeru Ban.
She visits 'site-specific' artworks, interventions into existing buildings, galleries operating outside their physical limits and the best of collaborations between the fields. More than a survey, however, "Art and Architecture" also draws on the work of thinkers from Walter Benjamin to Michel de Certeau to probe the meanings of place, space and site.

Includes Index

Include Bibliography

Contents:
List of Figures --
Acknowledgements --
1 Introduction: A place Between --
13 Section 1: Between Here and There --
15 Introduction: Space, Place and Site --
23 Chapter 1: Site, Non-Site, off-Site --
41 Chapter 2: The Expanded Field --
57 Chapter 3: Space and Practiced Place --
73 Section 2: Between Now and Then --
75 Introduction: Allegory, Montage and Dialectical Image --
85 Chapter 1: Ruin as Allegory --
103 Chapter 2: Insetion as Montage --
121 Chapter 3: The ‘What-has-been’ and the Now --
145 Section 3: Between One and Another --
147 Introduction: Listening, Prepositions and Nomadism --
153 Chapter1: Collaboration --
163 Chapter2: Social Sculpture --
181 Chapter 3: Walking --
191 Conclusion: Criticism as Critical Spatial Practice --
195 Ednotes --
215 Bibliography --
231 Index --

List of Figures:
Cover --
1 ‘A Place Between’, architectural reflections in the pool of Jud Fine, ‘Spine’ (1993) Maguire Gardens, Los Angeles Public Library. Photograph: Jane Rendell (1999) --
Section 1: Chapter 1 --
2 Robert Smithson, ‘Spiral Jetty’ (1970) Salt Lake, Utah. Photograph: Cornford & cross (2002) 22 --
3 Walter De Maria, ‘The New York Earth Room’ (1997). Long term installation at Dia Center for the Arts, 141 Wooster Street, New York City. Photograph: Jhon Gliett 28 --
4 Joseph Beuys, ‘7000 Oasks’ (1982-) New York City. Photograph: Cornford &Cross (2000) 29 --
5-6 Adam Chodzko, ‘Better Scenery’ (2000) Arizona and London. Photograph: Adam Chodkzo (2000) 32 --
7 Andrea Zittel, ‘A-Z Cellular Compartment Units’ (2001) Birmingham. Photograph: Courtesy of Sadie Coles 34 --
8 Enric Miralles and Carmen Pinos, ‘Iqualada Cemetery’ (1988-94) Barcelona. Photograph: Jane Rendell (1999) 38 --
Section 1: Chapter 2
10 Bournville. Photograph: Jane Rendell (1999) 42 --
11 Cornford & Cross, ‘Utopia (wishful Thimking)’ (1999) 45 --
12 Katrin Bohm, ‘Canopies’ (1999) Bournville. Photograph: Gavin Wade (1999) 46 --
13 Nathan Coley, ‘A Manifesto for Bournville’ (1999) Bournville. Photograph: Gavin Wade (1999) 48 --
14 Darren Lago, ‘Chocolate Garden’ (1999) Bournville. Photograph: Gavin Wade (1999) 51 --
15 Casagrande & Rintala, ‘1000 Banderas Blancas’ (2000) Finland. Photograph: Niklaus Stauss, Zurich (2002) 53 --
Section 1: Chapter 3
17 Michael Landy, ‘Breakdown’ (2001) London. Photograph: Artangel (2001) 58 --
18 Jeremy Deller, ‘The Battle of Orgreave’ )2001) Sheffield. Photograph: Cornford & Cross (2001) 63 --
19 Foreign Office Architects, ‘Yokohama International Port Terminal’ (1995) Japan. Photograph: Satoru Mishima (1995) 70 --
Section 2: Chapter 1
20 Rut Blees Luxembourg, ‘Caliban Toers I and II’ (1997) Photograph: Jane Rendell (1999) 90 --
21 Demolition of Farnell Point, Hackney, London. Photograph: Jane Rendell (1999) 90 --
22-3 Lacation + Vasal, ‘Palais de Tokyo’ (2001) Paris. Photograph: Jane Rendell and David Cross (2005) 92 --
24-5 Jane Propert, ‘Conductor’ (2000) The Wapping Project, London. Photograph: John Spinks (2000) 97 --
26 Anya Gallaccio, ‘Intensities and Surfaces’ (1996) The Boiler Room, Wapping Pumping Stantion, London. Anya Gallacio. Courtesy of the artist and Lehman Maupin Gallery, New York City 99 --
27 Diller + Scofidio, ‘blur’ (2002) Swiss Expo.02, Lake Neuchatel, Switzerland. Photograph: Beat Widmer (2002) 100 --
Section 2: Chapter 2 --
28 Cornford & Cross, ‘New Holland’ (1997), Sainsbury Centre for Visual Arts, Norwich. Photograph: Cornford & Cross (1997) 106 --
29 Sarah Wigglesworth Architects, ‘Straw Bale House’ (2001-) London. Photograph: Paul Smoothy 109 --
30 Janet Hodgson, ‘The Pits’ (2005) Canterbury. Photograph: Paul Smoothy 110 --
31 FAT, ‘Picnic’ (1995) London. Photograph: Josh Pullman (1995) 114 --
32 FAT ‘Roadworks’ (1997) London. Photograph: FAT (1997) 115 --
33 Bernard Tschumi, ‘Parc de la Villete’ (1983- 98) Paris. Photograph: Jane Rendell (1999) 118 --
34 Bernard Tschumi, Columbia University (2000) New York. Photograph: Jane Rendell (1999) 119 --
Section 2: Chapter 3 --
35 Sophie Calle, ‘Appointment with Sigmund Freud’ (1999) Actes Sud 2005 122 --
36-9 Mario Petrucci, ‘Search and Create’ Poetry Places (1999) Photograph: Jane Rendell (1999) 126 --
40 Stephen Greenburg, DEGW, Bob Baxter at Large, Gerry Judah, artist sculptor, ‘The Holocaust Exhibition’ (2000) Photograph: Nick Hufton (2000) 128 --
41 Rachel Whiteread, ‘Water Tower’ (1998) New York. Photograph: Jane Rendell (1999) 130 --
42 Rachel Whiteread, Holocaust Memorial’, (1995) Judenplarz, Vienna. Photograph: Felicitas Konecny (2001) 131 --
43-5 Daniel Libeskind, ‘The Jewish Museum’ (1992-9) Berlin. Photograph: Jane Rendell (1999) 134 --
46 Janet Laurence and Fionna Foley, ‘Edge of the Trees’ (1994) Sydney. Photograph: Greg Buchberger 137 --
47 Paul Carter, ‘Nearamnew’ (1999-2001) Federation Square, elbourne. Photograph: Paul Carter (2005) 140 --
48 Sue Hubbard, ‘Eurydice’ (1999) Waterloo, London. Photograph: Edward Woodman (1999) 142 --
Section 3: Chapter 1 --
49 muf architecture/art, The Pleasure Garden of the Utilities’ (1998) Stoke-on-Trent (Casting the bench in the Armitage Shanks Factory), Photograph: Cathy Hawley (1998) 158 --
50 muf architecture/art, ‘The Pleasure Garden of the Utilities’ (1998) Stoke-on-Trent (in situ after completion). Photograph: Cathy Hawley (1998) 159 --
Section 3: Chapter 2 --
51 Shelley Sacks, ‘Exchange Values: Images of Invisible Lives’ (1996-9) (Exchange Values sheet of skin linked to grower vitas Emanuelle) 164 --
52 Pamela Wells, ‘Tea for 2000’ (detail), (1993) 166 --
53 Mierle Laderman Ukeles, ‘Handshake Ritual’ (1978-9) New York City Photograph: Courtesy Ronald Fieldman Fine Artes, New York City 168 --
54 Suzanne Lacy and Leslie Labowitz, with Bia Lowe AND women from the Los Angeles Woman’s Building, ‘In Mourning and in Rage’ (1997) Los Angeles. Photograph: Maria Karras 169 --
55 Shigeru Ban, ‘Paper Log House’ (1994) Kobe. Photograph: Takanobu Sakuma (1994) 172 --
56-7 public works, ‘Park Products’ (2004) The Serpentine Gallery, London. Photograph: public works (2004) 176 --
58 public works, ‘Park Products’ (2004) The Serpentine Gallery London. Photograph: David Bebber (2004) 177 --
Section 3: Chapter 3 --
59 PLATFORM, ‘Walking the fleet’ (2001) London. Photograph: Jane Rendell (2001) 180 --
60-1 Marysia Lewandowska, ‘Detour’ (1999) London. Photograph: Jane Rendell (1999) 186 --
62-3 UN-Studio (Ben van Berkel with Aad Krom, Jen- Alkem, Mathias Blass, Renco Bruggink, Marc Dijkman, Casper le Fevre, Rob Hootsmans, Tycho Soffree, Giovanny Tedesco, Harm Wassink). ‘Mobius House’ (1993-98)’ t Gooi, The Netherlands, UN Studio Photograph: Christian Richters (1998) 189 --

Tabla de contenidos provista por Syndetics

List of Figures(p. vii)
Acknowledgements(p. xiii)
Introduction: A Place Between(p. 1)
Section 1 Between Here and There(p. 13)
Introduction: Space, Place and Site(p. 15)
Chapter 1 Site, Non-Site, Off-Site(p. 23)
Chapter 2 The Expanded Field(p. 41)
Chapter 3 Space as Practised Place(p. 57)
Section 2 Between Now and Then(p. 73)
Introduction: Allegory, Montage and Dialectical Image(p. 75)
Chapter 1 Ruin as Allegory(p. 85)
Chapter 2 Insertion as Montage(p. 103)
Chapter 3 The 'What-has-been' and the Now(p. 121)
Section 3 Between One and Another(p. 145)
Introduction: Listening, Prepositions and Nomadism(p. 147)
Chapter 1 Collaboration(p. 153)
Chapter 2 Social Sculpture(p. 163)
Chapter 3 Walking(p. 181)
Conclusion: Criticism as Critical Spatial Practice(p. 191)
Endnotes(p. 195)
Bibliography(p. 215)
Index(p. 231)

Notas de autor provistas por Syndetics

Jane Rendell is Reader in Architecture and Art and Director of Architectural Research at the Bartlett School of Architecture, University College London.

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