Suchergebnisse

Most definitions describe architecture as "A form of Art." As Dan Rice, an American entertainer said 'There are three forms of visual art: Painting the art to look at; Sculpture the art you can walk around, and Architecture the art you can walk through', we'll be dealing with the 3rd form. Most research papers suggest art as the generator of architecture, this paper unfolds to answer the complex question whether architecture is a form of art or not. It goes about dealing with basic questions like what is architecture and what is art. Then portrays the relationship between art and architecture; their similarities and separation. Elements used to create a structure like mathematics, physics, creativity, etc are stated. A question "Does the creative process outweigh the other elements?" is raised and answered. A study showing how most successful architects are artists is put forth giving examples from history. Finally, a conclusion is made that architecture indeed is a form of art, art being its generator and backbone.

Jeff Koons's installation, Puppy, symbolizes the move from modernism to postmodernism in contemporary Basque culture. It constitutes a break from the modernist aesthetics of artists such as Jorge Oteiza and Eduardo Chillida. The article argues that Puppy can only be understood from
an ironic perspective. The subversive potential of irony in Basque culture is contextualized in this article.

The Culture Factory: Architecture and the Contemporary Art Museum' explores the key battlegrounds in the design of the contemporary-art museum, describing the intersection of art, aesthetics and politics at the highest levels, and the commitment of states, cities and wealthy individuals to the display of art. Global in scope, the book examines key examples from Europe and the Americas to contemporary China. It describes museum building as the projection of political power, but also as a desire to acquire power. So it is a book about ambitious peripheries as much as the traditional centres: Dundee and Bilbao as well as New York and Paris. It is commonplace to assume that the contemporary-art museum has become ever more spectacular, and the place of art ever more subservient within it. This book argues that a tendency to spectacle coexists with another equally powerful tendency, to make art museums that celebrate the artistic process, typically attempting to recreate the feeling of the artist's studio. That tendency is strongly represented in the designs for the Centre Georges Pompidou, completed in 1977, and arguably in the many contemporary art museums which have adapted former industrial buildings. Richard J. Williams's stimulating text includes many historical examples to illustrate how we got to where we are now, from the Centre Pompidou in Paris, to the Guggenheim museums in New York and Bilbao, London's Tate Modern, Oscar Niemeyer's work in Brazil and beyond, and the 798 Art District in Beijing.