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The Art-Architecture Complex
 
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The Art-Architecture Complex [Format Kindle]

Hal Foster
5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)

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Descriptions du produit

Revue de presse

 “A worldview expansive enough to see dominant tendencies in contemporary architecture and (fairly) recent art as flipsides of the same coin … criticism with vaulting ambitions.” Art Review
“I find it refreshing to encounter a degree of intellectual rigour you don’t find too often on my side of the fence.” Rowan Moore, Observer

“Brimming with ideas and analysis.” Library Journal

“Prepares the ground for a wide-ranging and nuanced discussion of the contemporary links between artistic and architectural practice.” 
Stephen Walker, Times Higher Education

“A timely tome with an urgent message.” Time Out
“Foster is terrific at unearthing the unintended consequences of our consumer-oriented culture on architectural/artistic ideas, in particular on those architects who imagine their work as critiques of consumerism.”
JM Cava, Arcade

The Art-Architecture Complex is a persistently insightful, elliptical account of an ambiguous symbiosis.” Owen Hatherley, Building Design


From the Trade Paperback edition.

Présentation de l'éditeur

A leading art theorist analyses the global style in art and architecture

Hal Foster, author of the acclaimed Design and Crime, argues that a fusion of architecture and art is a defining feature of contemporary culture. He identifies a “global style” of architecture—as practiced by Norman Foster, Richard Rogers and Renzo Piano—analogous to the international style of Le Corbusier, Gropius and Mies. More than any art, today’s global style conveys both the dreams and delusions of modernity. Foster demonstrates that a study of the “art-architecture complex” provides invaluable insight into broader social and economic trajectories in urgent need of analysis.


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Commentaires client les plus utiles
5.0 étoiles sur 5 Art and Architecture are lovers 2 février 2014
Format:Broché|Achat vérifié
This book by acclaimed Princeton scholar Hal Foster is telescopic and microscopic trip into the intrinsenc relationship of art and architecture and specially how art complies ever so often by the influence of architecture. Easy to read. Great for a trip to New York, Paris, Berlin or any art-architecture capital where these two fields merge and collide.
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Amazon.com: 5.0 étoiles sur 5  1 commentaire
8 internautes sur 11 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 imagistic 2 décembre 2012
Par Joong Won Lee - Publié sur Amazon.com
Format:Relié|Achat vérifié
I bought this book to understand some of contemporary architects
(Rogers/Foster/Piano & Hadid/D+S+R/Herzog dM/Nouvel)in relation to
key minimalist artists (Serra/Judd/Flavin/Turrell). I guess I wanted to
learn the similarities and differences of them.

This book is more serious and informative than what I had imagined.
The author, who has a full grip of Modernism and Minimalism, begins with
the Global Architects (Rogers/Foster/Piano) and moves through
Art-Oriented Architects (Hadid/D+S+R/Herzog dM/Nouvel).
He points out both positive and negative sides. But ultimately, his
position is socio-critical, critiquing that the current "Global"
and "Minimal" are both somewhat iconic and imagistic architecture
that inflects the original mission of Modernism and Minimalism.

The author also introduces Dia Beacon and MOMA, as places for
minimal art (Dia) and neo-minimal (this term is my reading of the book) art (MOMA).
In Dia, he talks about how the art of minimalism has changed various conditions of the
art, the viewer, and the art institution. This positive position somewhat bends
as he talks about MOMA's recent expansion. Architectural minimalism here,
though executed with high-level of technlogy and design commitment, to the
critic, it is a super-financing of the look of the minimalism; that is socio-politically
mission absent.

In the third section, the author introduces many artists in
sculpture, film, and painting. (Personally, this part is awesome..)
Writings on the experiments of Richard Serra, Donald Judd, Anthony Mccall, and James Turrell etc
is extremely informative. Particularly, most energy is paid to Serra.
Author's preeminent artwork (architecture included) is Richard Serra's.
Serra's works are, to the author,"embodiment" rather than "imagistic",
thereby making a subject to be reflexive about the conditions of living by experiencing the art.

It seems, mission of the book is to critically survey art-bent architecture in relation to
architecture-bent art in the contemporary society. The book is disturbingly intellectual
executing this job. Yet, I still have a doubt. The perspective of the author is bound to
Serra-solution, or more correctly, critical theory bound solution, leaving less room
to "performative" or "capitalistic". Was it right to measure the "performative" based
on the ruler of "criticality" remains to be asked.

Still, best book of 2012 on the critical review of art-architecture !!
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