“schinkel entwarf den pavillon im stil einer italienischen villa als streng symmetrischen weißen kubus, dessen fassade lediglich durch eine säulenloggia und dunkelgrüne fensterläden aufgelockert wird. das erste obergeschoss erhielt einen umlaufenden balkon, was der könig als anregung von chiatamone mitgebracht hatte. dieser ist aus eisen, dunkelblau lackiert und wurde auf der unterseite gleichmäßig mit goldenen sternen bemalt.

23/08/2012 § Leave a comment

google earth imagery of karl friedrich schinkel’s neuer pavilion (1825)


speaking of introverted buildings.  across from hans kollhoff’s iba project, is the neuer pavilion by schinkel.  its a square structure that sits well behaved at the eastern end of the charlottenburg palace, which happens to be the largest palace in berlin.

since i was virtually touring  the neighborhood surrounding the kollhoff project (you know, as we do now a days), i figured i would take a peak at schinkel’s pavilion.  it happens to be just across the street.  i started by heading south down luisenplatz.  hoping to get a better view of the schinkel’s pavilion i crossed the street and wham, the building was completely shrouded in scaffolding.

it seems kind of appropriate for this small wallflower of a building to hide behind a gauzy white sheath.  in fact, i kind of like it more.  thanks google.


a couple steps back

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[title]     comes from a german wiki entry on the neuer pavilion.

[images]     are screen grabs from google earth.

“a distancing is employed to speak of something deeply personal in a universal way, placing a screen between the subject and the viewer as a psychological apparatus. these images are also largely about photography itself, an attempt at deconstructing abstraction in an art historical context and painterly manner via the camera.”

21/08/2012 § Leave a comment

marisa baumgartner, visible city (facades II) (2005)

great works by maris baumgartner.  check out her site for more.


cities without nature

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[title]     description of marisa’s show at domo gallery.

[image]     for more images by marisa…

“well, in any case you’ll agree that this ape skull is an artwork. not made by a human being, true, but still an art work, don’t you agree? yes, here we have reached a certain point. this is an artwork made by a human being and this is an artwork that’s not made by a human being. so who made this work of art?” – joseph beuys

21/08/2012 § Leave a comment

mansilla y tunon, competition entry for cantabria musuem (2008)


i still can’t believe mansilla y tunon regularly use joseph bueys as there scale figure.


objects from nature

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[title]     Beuys, Joseph, Volker Harlan, Matthew Barton, and Shelley Sacks. What Is Art?: Conversation with Joseph Beuys. London: Clairview, 2004. 70. Print.

[image]     comes from somewhere out there in the internet.

[more landform building]     this 2008 design by mansilla y tunon reminds me a lot of a museum proposal by stan allen in 2010.

“but this close relationship has been changing fast in the last ten years, from the biological to the geological; the desire to make a responsive architecture is now fulfilled with references to landscape. as stan allen points, now a parallel trend looks not to the biology of individual species but to the collective behaviour of ecological systems as a model for cities, buildings and landscapes: ‘architecture is situated between the biological and the geological—slower than living but faster than the underlying geology.'”

21/08/2012 § 1 Comment

stan allen architects, competition entry for maribor art gallery (2010)

our project negotiates that apparent contradiction with an architectural solution that synthesizes two distinct yet complementary spatial systems: an open, flowing public platform at ground level smoothly connected to adjacent places of gathering and the banks of the river drava; and a modulated gallery sequence, developed as an assemblage of parts, scaled to the dimension of the historical parcels.

– stan allen architects


building landform

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[title]     excerpt from domus magazine’s review of stan allen and marc mcquade’s book landform building.

[image + text]     all come from the archdaily post on stan allen’s competition entry.

“my work throws into question the relationship of memory faded by speed, resistance from it, and the relationship between human beings and nature inside the city. this rapidly changing environment erases our memories and we have to prepare ourselves to let go of the memories without making them.”

20/08/2012 § Leave a comment

minouk lim, the weight of hands (film still) (2010)


playing on the popular experience of taking a sightseeing bus tour in so-called destination cities, ‘the weight of hands’ offers an alternative perspective on seoul’s urban landscape.  in this case, its usual heritage sites and tourist traps are shunned for a pilgrimage to secured construction zones.  this staged action, which commemorates the lss of place and memory, firmly channels funerary rituals through its haunting soundtrack of a lone drummer’s solemn beat set against a singer’s personal lament.

for lim, the work is a means to reclaim locations that have become privatized and ultimately inaccessible to the city’s inhabitants because of pervasive proprty development.  at the same time, it attempts to purposefully reinsert the body into these vacant spaces.  through the use of thermal imagery, captured with infrared technology that is often used in surveillance systems, lim maps the literal and immediate environmental shift that occurs as a consequence of human presence.  the heat emitted by the trespassers tangibly articulates the incompatibility of living, breathing subjects with a physcial void that waits to be filled by inanimate, “cold” and ahistorical buildings.


the heat of shadows

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[title + text]     the above text and title are taken from the gallery pamphlet accompanying minouk lim’s exhibition at the walker.


“stills from any film give a very incomplete picture of what the actual viewing experience, and this is particularly true of brakhage films. the perceived imagery in brakhage’s work depends very much on movement and montage, to the extent that some things a viewer is convinced are contained in a single image are in fact only the product of movements within a shot, or/and of juxtapositions from shot to shot. still, i’ve attempted to select strips and individual frames that suggest the aesthetic of each film.” – fred camper

20/08/2012 § Leave a comment

fred camper’s collage of stan brakhage filmstrips from the film mothlight (1963)


one of brakhage’s best-known films, mothlight was created without the use of a camera by simply pressing moth wings, leaves, and other organic objects between two strips of mylar tape and then rephotographing it by running it through an optical printer. 1963, 16mm, 4 minutes.

– via wac


strong impressions

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[title]     the title comes from fred camper’s webpage full of stan brakhage film stills.

[image]     i originally came across the above image on the walker art center’s website announcing an evening of stan brakhage films.  though this morning i can attribute this beautiful image to the efforts of fred camper.  please visit his site for more information.

[more brakhage inspired work]     this morning’s post covered the work of cameron gainer, whose work has been influenced by stan brakhage.

“letting go of conceptual approaches, a series of abstract monochromatic images, shows the effect of a photochemical reaction of sunlight with hydrocarbons and nitrogen oxides that has been released into the atmosphere mostly by automotive emissions and industrial plants. a paradoxical image as we find beauty in polluted skyscapes.”

07/08/2012 § Leave a comment

jason mena, letting go of conceptual approaches (2003)


i wish i could see jason mena’s letting go of conceptual approaches in person.  haunting concept.


paradoxical images

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[title + images]     not sure exactly where i first came across these images, but i found the title and some others from the series on triangulation blog.

[more invisible made visible]     this reminds me of an old ayh post on mario reis’ works which consist of dipping a canvas into a stream and allowing the minerals and flowing water to paint a picture.

“in his most recent series, transmission, holdsworth has created images of iconic western american landscapes — yosemite, the grand canyon, mount st. helens, etc. — using topographical data from the u.s. geological survey. in collaboration with geologist stuart dunning, holdsworth translated data from laser and radar scans of the earth’s surface into a virtual 3d model…”

07/08/2012 § Leave a comment

dan holdsworth, salt lake city plan view (2012)


very excited to see what comes out of aaron rothman’s design observer series on landscape photography.  though maybe the name should be changed to landscape depictions, since the majority of the work shown in the first post are more mixed media pieces than photography.


virtually real

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[title]     the title is an excerpt from aaron rothman’s article.  check it out in full here.

[image]     the above image comes from dan holdsworth’s website.  definitely page through his photography.   he has produced some truly haunting and beautiful work over the years.

“all the artistic preparations of the photographer and the design of in the positioning of the model to the contrary, the viewer feels an irresistible compulsion to seek the tiny spark of accident, the here and now. in such a picture, that spark has, as it were, burned through the person in the image with reality, finding the indiscernible place in the condition of that long past minute where the future is nesting, even today, so eloquently that we looking back can discover it.” – walter benjamin [1]

20/07/2012 § Leave a comment

photography by joann verburg
top to bottom:
secrets: iraq (1991)
petty rivalries (1991)
secrets: south bronx (1991)


this approach, this diverse investigation of different series over long periods of time, defines a way of working that, while uncommon, is consonant with verburg’s ultimate subject: the creation of nontheatrical space that functions as a threshold to experience.  as john szarkowski wrote in 1990, “her pictures describe spaces and moments suspended in the reverie that precedes action.  like a leyden jar, they are containers of potential.” [2]

verburg learned this balancing act in the 1970’s an exciting time for photographers with artistic ambitions.  in 1976 she graduated with a master’s degree from the rochester institute of technology, a school known for its brilliant technical training in photography, and entered an art world rife with energy and promise, bursting with new forms.  at long last the institution of the traditional fine arts – the museums, galleries, and private collectors that had been flirting with photography as a collectible art since its invention but had been deterred by the promiscuity of the machine-made medium – were embracing photography with fervor.

the uncollectible and unsalable nature of then-contemporary practices of performance, installation art, and conceptual art had led galleries and collectors and soon after, museums to prints and photographs.  from the 1960s onward many of the artists making work that challenged the traditional modes of production and reception of art began to rely on photography to document their performances; site-specific piece-they took pictures of themselves or employed photographers to document their performances and installations according to specific instructions.  others, including william wegman, vito acconci, robert cumming, and dan graham, used photography to investigate the meanings of the medium, often calling into question the veracity of the photograph as a document; john baldessari’s ‘choosing: green beans’ (1972) is one such work, an unnecessary photographic documentation of a ridiculous game involving fresh green beans, as is william anastasi’s ‘nine polaroid photographs of a mirror’ (1967), in which photography is reduced to its most basic operations, recording and embodying its own processes.

the publication, in 1977, of susan sontag’s ‘on photography’, previously published in serial form in the new york review of books, clinched an audience of american intellectuals for the medium and instigated a vein of photographic criticism rooted in the critical writings of roland barthes and walter benjamin, who regarded the medium less as an art form or medium of individual expression than as a purveyor of cultural values.  this brand of critique prevailed in american academic circles for the next twenty years, throughly integrating itself into contemporary photographic practice and thought, and has only recently receded as the dominant critical mode.  the other highly influential voice was that of szarkowski, at the time the director of the department of photography at the museum of modern art, whose beautifully written and utterly accessible ‘looking at photographs’ (1977), a selection of one hundred photographs from the museum’s collection, each picture accompanied by a short analysis and appreciation, stimulated interest in photography outside academic circles and commanded a review by sontag in the january 20, 1977 issue of the new york review of books.  in opposition to benjamin and barthes, szarkowski regarded photography primarily as an expressive picture-making process based on the act of selection.  although these two positions represented differences of emphasis rather than opposite poles, since neither completely denied the ideas in the other.  sontag and szarkowski became for the american photographic audience the figureheads for these two views of photography.  proponents of each camp regarded each other with mutual suspicion, if not hostility, generating a dichotomy of thought that stimulated more debate about the varieties of creative photographic work than had happened at any time in the medium’s history since its invention.

present tense by susan kismaric [3]


the image contains time

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[1]     today’s walter benjamin quote comes from the always inspirational and informative american suburban x post of alan trachtenberg’s essay ‘through a glass, darkly: photography and cultural memory’.

[2]     susan’s footnote reads: John Szarkowski, wall text for New Photography 6: Paul D’Amato, Carl Pope, JoAnn Verburg at The Musuem of Modern Art, New York, October 18, 1990 – January 8, 1991.

[3]     Kismaric, Susan, and JoAnn Verburg. Present Tense: Photographs by JoAnn Verburg. New York: Museum of Modern Art, 2007. P: 12 – 14. Print.

[more present tenses]     today’s post was inspired by recent ayh posts namely one on paola di pietri and michael wesely.

“…la trace humaine constitue à elle seule une unité de temps et de lieu, indissociable de ces corps en transport, aussi mouvante et variable que leur trajectoire, leur apparence et leur identité. la diffraction née de la césure entre deux regards crée les conditions d’une expérience qui se réfléchit dans l’observation de l’œuvre offerte au visiteur: l’unique réalité ne serait-elle pas celle perçue par la conscience, dans la reconnaissance intuitive d’une présence à laquelle répond, dans son propre espace de vision, celle du spectateur?” – nathalie leleu

19/07/2012 § 1 Comment

photographs from paola de pietri series titled dittici (1997-98)


more photography addressing topics of place and time and presence and absence.  unlike michael wesely’s photographs, which negates human presence in a space over the course of two years, paola de pietri captures the human figure in space despite shifts in time.


the break between two gazes

a young hare




[title]     today’s title is an excerpt of nathalie leleu’s 2001 introduction to the work of paola de pietri which is available online here (in french only).

[images]     today’s images are from galerie les filles du calvaire’s website.  click here for more of paola’s work.

[more place and time]     as mentioned above, ayh recently covered this topic with regards to michael wesely’s photographs.

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