Lecture Date: 2012-02-24
AA First Year Lunchtime Lecture introduced by Valentin Bontjes van Beek.
‘… six weeks ago we were in a cab crossing the Thames on our way back to Notting Hill with Brian Eno and Diego Cortez – we’d just seen the Gerhard Richter and Pipilotti Rist shows. Brian was discussing the contents of a book project he has been talking about for a number of years: “… an attempt to answer the huge unanswered question, the dirty secret of the art world: what is art actually for?”
… I think this would make a really inspiring talk for the First Year students …’.
Lecture date: 1976-01-17
Clement Greenberg, the influential twentieth century art critic, gives a lecture at Art Net on the state of contemporary art.
Introduction by Alan Bowness.
The lengthy and lively Q & A session includes questions and comments by Richard Hamilton, RB Kitaj and many others.
NB: Infrequent sound and picture interference.
Clement Greenberg occasionally writing under the pseudonym K. Hardesh (January 16, 1909 – May 7, 1994), was an American essayist known mainly as an influential visual art critic closely associated with American Modern art of the mid-20th century. In particular, he is best remembered for his promotion of the abstract expressionist movement and was among the first published critics to praise the work of painter Jackson Pollock. https://en.wikipedia.org/wiki/Clement...
22nd January 2018 Lunchtime Lecture
After his 2012 lecture titled ‘Perhaps it’s an attempt to answer the huge unanswered question, the dirty secret of the art world: what is art actually for?’ (link: https://youtu.be/XIVfwDJ-kDk), Brian Eno returns to the AA for another lunchtime lecture as part of the Term 2 Public Programme.
Lecture date: 2010-10-13
The Photographer’s Gallery @ the AA
Stephen Shore will discuss the ways in which a three-dimensional world flowing in time is transformed into a photograph, and how cultural forces are made visible and therefore accessible to photography through architecture.
Stephen Shore was the second living photographer to have a solo show at the Metropolitan Museum of Art in New York; his work has been widely published and exhibited for the past 35 years in the US and Europe. He has received fellowships from the Guggenheim Foundation and the National Endowment for the Arts. His series of exhibitions in the early 1970s at Light Gallery, New York sparked new interest in colour photography and in the use of the view camera for documentary work. Among his publications are The Velvet Years, Andy Warhol’s Factory, 1965–1967 and The Nature of Photographs, which explores how photographs function visually. Since 1982 Shore has been the director of the Photography Program at Bard College in New York, where he is the Susan Weber Professor in the Arts.
Lecture date: 2009-02-27
Jane and Louise Wilson have worked together for the last 20 years. Their multi-part video installations are notable for their handling of the viewers relation to the spaces as the artists have experienced them 'Stasi City' (1997), 'Gamma' (1999), 'Erehwon' (2000) among many others.
Their most recent work, 'Unfolding the Aryan Papers' (2009) is currently at the British Film Institutes Southbank Gallery. It is based on an unmade Kubrick film concerning a wartime story of a Jewish woman. The actress who was to have played the lead herself figures large in the Wilsons' film which also includes Kubricks wardrobe stills and wartime newsreel images a complex and stunning work.
Lecture date: 2004-12-07
Over the last twenty years Antony Gormley has revitalised the human image in sculpture through a radical investigation of the body as a place of memory and transformation, using his own body as subject, tool and material. Since 1990 he has expanded his concern with the human condition to explore the collective body and the relationship between self and other in large-scale installations like Allotment, Domain Field, and Inside Australia.
Antony Gormley's work has been exhibited extensively worldwide. He was awarded the Turner Prize in 1994, the South Bank Prize for Visual Art in 1999, and was made an OBE in 1997.
Statement from the artist:
For over 20 years, I have been tinkering with color. Color became an option for me—previously I'd worked mainly in black and white—when I started using with a Macintosh computer and the image management program Adobe Photoshop. Working with color, “hands on” as it were, required a familiarity with trichromacity, the mechanism whereby organisms (and devices) deploy red, green, and blue receptors (or elements in mechanical reproduction) in the eye to mediate the visual world.
As I moved beyond a simple understanding of how the eye and film register color, I became drawn to what Goethe calls, in his Theory of Colors, “pathological color.” This intuition lead me to diverge from normative, one to one reproductive color matching and to look closely at 1960’s multichannel color experiments, ranging from Andy Warhol’s silkscreen paintings to Richard Avedon’s psychedelic portraits of the Beatles.
I began my pathological color images in 2006-2010 using Philip Johnson’s Glass House and Pierre Chareau’s Maison de Verre as armatures for my initial color experiments using colored gels. (I have long been interested in photographing architecture and landscape. In the mid 1980’s I photographed H. H. Richardson buildings and railroad landscapes.) In 2014 I moved to multichannel inkjet prints with layered color channels combining photographs of contemporary dance, landscape, and Brutalist architecture.
Dynamic equilibrium: on developing degrees of freedom. Sarah Oppenheimer’s (SM '05) calculated manipulation of standardized spaces disrupts the embodied experience of spatial continuity, reorienting and clarifying the experience of the built environment. Recent solo projects include S-281913 (Pérez Art Museum Miami 2016), S-337473 (Wexner Center for the Arts 2017), S-399390 (MUDAM Luxembourg 2016), 33-D (Kunsthaus Baselland 2014) and W-120301, an architecturally embedded permanent commission at the Baltimore Museum of Art (2012). Her work has been exhibited at such venues as the Andy Warhol Museum (2012); the Museum of Contemporary Art San Diego (2009); Art Unlimited, Art Basel (2009); Skulpturens Hus (Stockholm); the Saint Louis Art Museum; the Mattress Factory; the Drawing Center; and the Sculpture Center. Ms. Oppenheimer is currently a senior critic at the Yale University School of Art.
Lecture date: 1974-05-04
Introduced by Peter Cook, the sculptor and artist Eduardo Paolozzi gives a talk and slide show as the first major event at the West Central Street location of Art Net. NB: Projected images are often difficult to see clearly. Occasional sound and picture interference.
Caledonia Curry, who works under the name "Swoon," is a classically trained artist and printmaker whose work explores the relationship between people and the built environment. From giant portraits that she wheat-pastes on buildings to large-scale architectural installations, her work is distinguished by its beauty and inventiveness, motivated by a cooperative spirit and compassion for the struggles of people in vulnerable situations. Her practice has been hailed as a model of creative leadership across disciplines. As a response to the problem of global warming, Swoon and her collaborators made fantastical ships out of garbage, which they sailed down the Hudson and Mississippi Rivers and, in Europe, crossed the Adriatic Sea to the Venice Biennale. Her project to build houses in post-earthquake Haiti is titled “Konbit Shelter,” using the Haitian Creole word for cooperative community labor. She is currently collaborating with the arts initiative New Orleans Airlift to construct a musical house, Dithyrambalina. The Loeb Fellowship has an extra reason to hail its anniversary this October: forty-five years of gathering mid-career practitioners for a transformative year at Harvard GSD. From October 22 to 24, 2015, Loeb alumni, representing the broadest spectrum of achievements, will convene from around the world in Cambridge to participate in an exchange of practices and to hear from great thinkers about design and equity in the resilient city.
Luisa Lambri is an artist currently based in Milan. For nearly two decades, Lambri has examined the relationship between space and the human experience through the medium of photography. Her early work expressed a desire to depict constructed spaces in non-figurative ways and to highlight architectural details that in their form suggest abstraction. As a result, many of her photographs are situated in a place between representation and abstraction and can be understood as a perpetual reconsideration of space and its effects on human life. For many years an investigation into the history of Modernist architecture, especially private residencies, was of particular interest to the Lambri.
The photographs from this early period rarely presented a building with the intent of objective representation but rather tried to subvert and deconstruct the authority of many of the 20th century's most iconic buildings through a process of abstraction. In these photographs, Lambri focused on details such as doors, windows or staircases as conduits between the inside and the outside and as possibilities for movement. The concentration on details like ceilings, floors, windows or wall patterns resulted in abstract images that often make it impossible to say where a photograph was taken, which building the artist worked in or what architect designed it.
The artist repeatedly stated that these earlier works could be understood as self-portraits devoid of her physical presence exploring female identity within spaces mostly constructed by men. Over the last decade, Lambri’s interest in structures and spaces has broken from the confines of architecture as she started to look at other practitioners in the field of the visual arts who were similarly intrigued by space and abstraction. Her photographs of works by artists connected to Minimalism and the Light and Space movement as well as Latin American abstraction, particularly Neo-Concretism, have occupied her practice and taken the work away from only exploring architecture to a wider consideration of form, space and abstraction. While minimal and reductive in style the photographs are highly personal and interrogate, in equal parts, our physical and psychological existence as humans.
For this event, Lambri will present an overview of her work, with particular attention to her investigations of geometric and organic abstraction. Mark Lee, principal of Johnston Marklee & Associates and co-Artistic Director of the 2017 Chicago Architecture Biennial, will introduce Lambri–a participant in the Biennial–and they will engage in a conversation following Lambri's lecture. Luisa Lambri was born in 1969 in Como, Italy, and currently lives in Milan. Her solo exhibitions include presentations at the Metropolitan Museum of Art, New York; the Isabella Stewart Gardner Museum, Boston; the Hammer Museum, Los Angeles; the Baltimore Museum of Art, Baltimore; the Menil Collection, Houston and the Carnegie Museum of Art, Pittsburgh among many others. In 1999 she was awarded the Golden Lion at the 48th Venice Art Biennial for her presentation in the Italian Pavilion.
Mark Lee (MArch '95) is a principal and founding partner of the Los Angeles-based architecture firm Johnston Marklee. Since its establishment in 1998, Johnston Marklee has been recognized nationally and internationally with over 30 major awards. A book on the work of the firm, entitled HOUSE IS A HOUSE IS A HOUSE IS A HOUSE IS A HOUSE, was published by Birkhauser in 2016. This followed a monograph on the firm’s work, published in 2014 by 2G. Mark has taught at the Harvard Graduate School of Design, Princeton University, the University of California, Los Angeles, the Technical University of Berlin, and ETH Zurich. He has held the Cullinan Chair at Rice University and the Frank Gehry International Chair at the University of Toronto. The firm’s work is in the permanent collections of the Museum of Modern Art in New York, the Art Institute of Chicago, the Menil Collection, the San Francisco Museum of Modern Art, the Carnegie Museum of Art, and the Architecture Museum of TU Munich. Together with partner Sharon Johnston (MArch '95), Mark Lee is the Artistic Director of the 2017 Chicago Architecture Biennial.