View allAll Photos Tagged Relation
And bear this in mind: it isn't that this recognition occurs in relation, for example, to the configuration of the terrain, the distance of the river or the forest: the space that surrounds us is a space that is always different, I know this quite well, I know the Earth is a heavenly body that moves in the midst of other moving heavenly bodies, I know that no sign, on the Earth or in the sky, can serve me as an absolute point of reference, I also remember that the stars turn in the wheel of the galaxy and the galaxies move away from one another at speeds proportional to the distance. But the suspicion that has gripped me is precisely this: that I have come to find myself in a space that is not new to me, that I have returned to a point where we had already passed by. And since it isn't merely a question of me but also of an arrow and a lion, it's no good thinking this is just chance: here time is involved, which continues to cover a trail it has already followed. I could then define as time and not as space that void I felt I recognized as I crossed it.
***
These photos are failures from a strictly technical standpoint: a tripod (which I didn't have at the time) is required for really good photos of fireworks displays; I decided to steady my camera as much as possible, and hope for the best—one or two might turn out. They did turn out, in fact, but not in the way I was hoping. The photographs in this set are as imperfect as they are perfect, and reveal an unexpected beauty in the night sky that is truly captivating in a way that's difficult to describe.
I decided to pair each photo with a passage from one of Calvino's Cosmicomic stories, many of which are recounted by Qfwfq, an omnipresent, timeless, protean narrator. Each Cosmicomic story is fun, compelling, and extremely inventive, while presenting a version of reality that is completely obvious and (un)commonplace.
By Phyllida Barlow
Tate Britain Commission 2014
Inspired by Tate Britain's location in relation to the river Thames, dock is Barlow's most ambitious sculptural installation to date. Obtrusive and invasive, the works in dock block and impede the way, overfilling the 100 metre long barrel-vaulted Duveen Galleries. They project dual and contradictory identities: monumental on the one hand, collapsed on the other. Made of lightweigh materials such as timber, metal, polystyrene, tarpaulin, canvas, cardboard and rope, the works in dock look battered or ravaged and offer an antagonistic counterpart to the austere neoclassical galleries. Suspended , collapsed, stacked, wrapped, folded or jammed, the sculptures have taken over and create a dynamic space that challenges the experience of viewing.
Sculptor Phyllida Barlow
Sculptor Phyllida Barlow will unveil her largest and most ambitious work in London to date for the Tate Britain Commission 2014, supported by Sotheby’s, on 31 March 2014. The annual commission invites artists to make work in response to Tate’s collection of British and international art and to the grand spaces of the Duveen Galleries at the heart of Tate Britain.
For over four decades Phyllida Barlow has made imposing, large scale sculptural installations using inexpensive, everyday materials such as cardboard, fabric, timber, polystyrene, plaster, scrim and cement. Her distinctive work is focused on her experimentation with these materials, to create bold and colourful three-dimensional collages.
Drawing on memories of familiar objects from her surroundings, Barlow’s tactile and seemingly unstable sculptures often contrast with the permanence and traditions of monumental sculpture. In works such as Peninsula at the Baltic Centre for Contemporary Art in 2004 or Stint at Mead Gallery, Warwick Arts Centre in 2008, a cacophony of form, colour and materials filled the spaces. In Barlow’s most recent work TIP for the Carnegie International in Pittsburgh, timber lengths wrapped in mesh, cement and brightly coloured fabric ribbons cascaded en masse across the museum plaza to the entrance.
Phyllida Barlow has had an important influence on younger generations of artists through her work and long teaching career in London art schools. At the Slade School of Fine Art, her students included Turner Prize-winning and nominated artists Rachel Whiteread and Angela de la Cruz.
Having seen the space evolve over several decades, I’m very excited by the opportunity to work in the Duveen Galleries. Considering a body of new work, I was very conscious of two particular contradictory aspects: the tomb-like interior galleries against the ever-present aspect of the river beyond.
Phyllida Barlow
[Tate website]
This three-day conference is offered in the Group Relation tradition which offers a unique opportunity to study the conscious and unconscious dynamics involved in how groups organize themselves and interact with each other. This conference is not a passive learning event that relies upon lectures. Instead, the learning is experiential. Participants study how leadership, followership, authority, task, boundaries, and roles operate in the different group experiences they enter during the conference.
Mr. Wood (no relation to me) stopped by William's house while we were all hanging out on the porch. He charmed us with some stories about the house's history (e.g., at one time it was Miss somebody-or-other's Boarding House). Eventually, however, Mr. Wood's stories started to go south...he began referring to the citizens/natives of Mexico and the like in very unflattering and politically incorrect ways. In other words, he began showing his 'true colors.' He wasn't so charming after that. (By this point I think we were all just smiling at each other and humoring him.)
© Cynthia E. Wood
www.cynthiawoodphoto.com | FoundFolios | facebook | Blurb | Instagram
WORK RECORD
Title - Unidentified
Relation -
relation.type -
relation.notes -
Work, Collection or Image - Work
refid - 100
Work Type - bas-reliefs (sculpture)
Style Period - New Deal
Agent Name - Burdick, John E. (1872-)
Agent Role - sculptor
Cultural Context - American
Material, medium -
Material, support -
Technique -
Measurements -
Date Created -
Date Completed -
Date Collected -
Date Allocated -
Date Rejected -
Location Former Repository -
Description -
Inscription -
Subject - Football (sports); Federal Art Project
IMAGE RECORD
Work, Collection or Image - Image
Work Type - black-and-white photographs
Style Period - New Deal
Agent Name - Skreczko, Henry (1906-1998)
Agent Role - photographer
Material - black-and-white photographs
Technique - black-and-white photography
Measurements - 5 in (H) x 9.75 in (W)
Date Created - ca. 1935-1943
Date Digital - 2009-05-05
Description -
Inscription -
Source - Connecticut State Library, State Archives, RG 033, Works Progress Administration, Box 1.
Filename - wpaart_burdickj_002.jpg
No relation to my family!
Jacob Evenson was born 31 December 1864 and died 9 April 1956.
His parents were Even Jacobsen Stabobakken and his wife, Elene Hansdatter. The family lived in Ostre Toten, Innlandlet, Norway. His brother Ole emigrated to America in 1882, followed by his brother Hans in 1883. His brother Otto followed in 1885.
Jacob came to the U.S. in 1883, settling in Spring Grove, Minnesota. He farmed there for many years. In 1887, he married Johanna Quinnel of Spring Grove. He moved to Arnegard, North Dakota, in 1913 and started another farm. He was one of the town founders.
Tannura Dance
Indian Council for Cultural Relation(ICCR) organized an evening programme of Egyptian artists of Tannura dance and folk music in Delhi.
This Sufi- type of the Tannura Dance(Al Daraweesh) has a very special characteristic as it relies on the dancer’s unlimited moves in circles. This rounded move is a reflection of a special philosophical concept in the Islam Sufi rituals known as the Mulawia sect. Believers of this concept see the universe stems from the same point of rotation. As the universe starts and ends from the same point, the senior dancer (Lafife) who represents the sun, will always start and end his movement from that point. While the junior dancers (Hanatia), representing the stars, move around him. They all move counterclockwise, in a concurrent circles echoing the four seasons and very much like the pilgrims’ movement around Kaba (The Muslims’ holy shrine). Once the senior dancer stretches his right hand upward while the pointing down with his left hand, he would be establishing the connection between the earth and the sky. Moving in circles, the dancer is very much like alleviating his wordily burdens, reaching ecstasy in a symbolical attempt to approach heaven. Once he unties the belt around his waist, the dancer would be rhetorically moving upward to heaven…
Sri Lanka to establish diplomatic ties with Paraguay
Thursday, January 24, 2008,
Diplomatic relations would benefit Sri Lanka in terms of enhancing support for Sri Lankan candidatures in international organizations.
Jan 24, Colombo: Sri Lanka has decided to establish diplomatic relations with the Republic of Paraguay.
The Sri Lankan government announced that although there is no significant political interaction between the two countries, Sri Lanka and Paraguay cooperate in a variety of international organizations. The decision was taken at the latest Cabinet meeting.
Paraguay belongs to the Organization of American States, the Latin American Integration Association (ALADI), the Rio Group, INTERPOL, MERCOSUR (the Southern Cone Common Market), the Community of Democracies, and the G-77 and is also an observer state in the Non-Aligned Movement.
It was pointed out that establishing diplomatic relations would benefit Sri Lanka in terms of enhancing support for Sri Lankan candidatures in international organizations, including those in the United Nations system
This is about allusions in Millais' Christ in the House of His Parents to two other images. The relation between these two other images already has been analyzed by Dr. Margaret Aston in The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait, 1994. I assume, that Millais understood that relation already when he painted Christ in the House of His Parents.
[top]: John Everett Millais: Christ in the House of His Parents aka The Carpenter's Shop (1850).
Location: Tate Britain (N03584), London.
Literature:
• Deborah Mary Kerr (1986): John Everett Millais's Christ in the house of his parents (circle.ubc.ca/handle/2429/26546)
• p.34 in (01) Éva Péteri (2003): Victorian Approaches to Religion as Reflected in the Art of the Pre-Raphaelites, Budapest 2003, ISBN 978-9630580380 (shortlink: www.snrk.de/EvaPeteri.htm)
• Albert Boime (2008): Art in an Age of Civil Struggle, 1848-1871
p. 225-364: The Pre-Raphaelites and the 1848 Revolution (en.wikipedia.org/wiki/Special:BookSources/0226063283)
[middle]: Anonymous: Edward VI and the Pope, An Allegory of Reformation, mirrored view (16th century, NPG 4165). Iconoclasm depicted in the window. Under the "window" 3rd from left is Thomas Cranmer who wrote the 42 Articles in 1552.
Edward VI and the Pope (NPG 4165) was, until 1874, the property of Thomas Green, Esq., of Ipswich and Upper Wimpole Street, a collection 'Formed by himself and his Family during the last Century and early Part of the present Century' (Roy C. Strong: Tudor and Jacobean Portraits, 1969, p.345). Thus, when Millais' Christ in the House of His Parents ('The Carpenter's Shop') was painted in 1849-1850, the 16th century painting was part of a private collection. It was sold by Christie's 20 March 1874 (lot 9) to an anknown buyer.
Location: National Portrait Gallery, London
[bottom]: Philip Galle after Maarten van Heemskerck, Redrawn print Ahasuerus consulting the records (1564). The resemblance to the image above ([middle]) was shown by Dr. Margaret Aston in 1994 in The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait (p. 68). She also compared the bedpost to Heemskerck's Esther Crowned by Ahasuerus.
Location: Rijksmuseum, Amsterdam
I'd read about this shelter in relation to the newly discovered example at Carshalton Park. A further search found mention of a big shelter opposite the hospital. A notable raised area can be found on the open space opposite the hospital, with three exposed concrete areas at corners. The shelter can be easily identified with Google Maps.
Activities in relation to different ongoing ILRI projects that include Innovation Platform mechanisms to improve communication between value chain actors (photo credit: ILRI).
Ballast water management experts gather for R&D forum
Experts at the forefront of research and development in relation to preventing of the spread of potentially harmful species in ballast water have gathered in Montreal, Canada for a key international forum under the banner “Ballast Water Management Convention – moving towards implementation”. IMO’s International Convention for the Control and Management of Ships' Ballast Water and Sediments is very close to reaching entry into force criteria.
Some 140 participants at the 6th Global Environment Facility (GEF)-United Nations Development Program (UNDP)-IMO GloBallast R&D Forum and Exhibition on Ballast Water Management (16-18 March) will share knowledge and experience on treatment technologies and alternative methods and highlight current research. Compliance monitoring and enforcement including sampling and analysis will also be discussed.
The forum, which brings together scientific experts and academia with the maritime industry and leaders in technology development for ships’ ballast water management, was launched by Marc Garneau, Minister of Transport, Canada. IMO’s Stefan Micallef, Director, Marine Environment Division, delivered an opening speech. Mr Micallef stated that the Ballast Water Management Convention needed to enter into force for effective implementation of its provisions. But he highlighted the huge amount of collaborative work which had been undertaken since the first GEF-UNDP-IMO GloBallast R&D forum 15 years ago, leading to a great deal of progress in the BWM field in terms of testing and approval of ballast water management systems, ballast water sampling and analysis, and the availability of ballast water management systems.
Lincoln on a Ritz
I know I said I would try and put up a paragraph a day and then I missed 2 days.
I hastily put up 2 photos today to catch up.
Every election we have office seekers claiming connection to Lincoln, Reagan, Kennedy, TR, FDR, Washington or Jefferson as if they were morsels to be served up on a cracker. Most of them have no idea upon that which they speak.
Today we face a similar adversary and problem as we faced way back in 1860 – and today there are folks that want to say one view is the equivalent morally as the other – to whit: might then makes right. That just aint true. One view is true and the other is wrong.
So here on the 200th centennial of Abraham’s day of birth I submit part of his speech of July 10, 1858 rebutting Douglas’ speech from the day before in which Douglas stated that he “didn’t care” if slavery were voted up or down (as if either result were OK and morally equivalent). Lincoln, who was later called a tyrant and dictator, took the morally high ground and recognized that our forefathers had it right – all men are created equal. He did not believe that there is a religion or group that are superior and all others are subject to dominion, subjugation or elimination if they do not submit or accept others rule:
We are now a mighty nation, we are thirty---or about thirty millions of people, and we own and inhabit about one-fifteenth part of the dry land of the whole earth. We run our memory back over the pages of history for about eighty-two years and we discover that we were then a very small people in point of numbers, vastly inferior to what we are now, with a vastly less extent of country, ---with vastly less of everything we deem desirable among men, ---we look upon the change as exceedingly advantageous to us and to our posterity, and we fix upon something that happened away back, as in some way or other being connected with this rise of prosperity. We find a race of men living in that day whom we claim as our fathers and grandfathers; they were iron men, they fought for the principle that they were contending for; and we understood that by what they then did it has followed that the degree of prosperity that we now enjoy has come to us. We hold this annual celebration to remind ourselves of all the good done in this process of time of how it was done and who did it, and how we are historically connected with it; and we go from these [Independence Day] meetings in better humor with ourselves---we feel more attached the one to the other, and more firmly bound to the country we inhabit. In every way we are better men in the age, and race, and country in which we live for these celebrations. But after we have done all this we have not yet reached the whole. There is something else connected with it. We have besides these men---descended by blood from our ancestors---among us perhaps half our people who are not descendants at all of these men, they are men who have come from Europe---German, Irish, French and Scandinavian---men that have come from Europe themselves, or whose ancestors have come hither and settled here, finding themselves our equals in all things. If they look back through this history to trace their connection with those days by blood, they find they have none, they cannot carry themselves back into that glorious epoch and make themselves feel that they are part of us, but when they look through that old Declaration of Independence they find that those old men say that "We hold these truths to be self-evident, that all men are created equal," and then they feel that that moral sentiment taught in that day evidences their relation to those men, that it is the father of all moral principle in them, and that they have a right to claim it as though they were blood of the blood, and flesh of the flesh of the men who wrote that Declaration [loud and long continued applause], and so they are. That is the electric cord in that Declaration that links the hearts of patriotic and liberty-loving men together, that will link those patriotic hearts as long as the love of freedom exists in the minds of men throughout the world. [Applause.]
Now, sirs, for the purpose of squaring things with this idea of "don't care if slavery is voted up or voted down" [Douglas's "popular sovereignty" position on the extension of slavery to the territories], for sustaining the Dred Scott decision [A voice---"Hit him again"], for holding that the Declaration of Independence did not mean anything at all, we have Judge Douglas giving his exposition of what the Declaration of Independence means, and we have him saying that the people of America are equal to the people of England. According to his construction, you Germans are not connected with it. Now I ask you in all soberness, if all these things, if indulged in, if ratified, if confirmed and endorsed, if taught to our children, and repeated to them, do not tend to rub out the sentiment of liberty in the country, and to transform this Government into a government of some other form. Those arguments that are made, that the inferior race are to be treated with as much allowance as they are capable of enjoying; that as much is to be done for them as their condition will allow. What are these arguments? They are the arguments that kings have made for enslaving the people in all ages of the world. You will find that all the arguments in favor of king-craft were of this class; they always bestrode the necks of the people, not that they wanted to do it, but because the people were better off for being ridden. That is their argument, and this argument of the Judge is the same old serpent that says you work and I eat, you toil and I will enjoy the fruits of it. Turn in whatever way you will---whether it come from the mouth of a King, an excuse for enslaving the people of his country, or from the mouth of men of one race as a reason for enslaving the men of another race, it is all the same old serpent, and I hold if that course of argumentation that is made for the purpose of convincing the public mind that we should not care about this, should be granted, it does not stop with the negro. I should like to know if taking this old Declaration of Independence, which declares that all men are equal upon principle and making exceptions to it where will it stop. If one man says it does not mean a negro, why not another say it does not mean some other man? If that declaration is not the truth, let us get the Statute book, in which we find it and tear it out! Who is so bold as to do it! [Voices---"me" "no one," &c.] If it is not true let us tear it out! [cries of "no, no,"] let us stick to it then [cheers], let us stand firmly by it then. [Applause.]
Relation/Route : Malang-Kepanjen-Blitar-Tulungagung-Kediri-Kertosono-Madiun-Solo Jebres-Semarang Poncol-Pekalongan-Tegal-Cirebon Prujakan-Pegadenbaru-Jakarta Jatinegara-Jakarta Pasarsenen.
Locomotive : CC203 37/CC203 01 07.
Class : Economy Class.
Photo Taken from inside of train. And the train location is in Jatibarang, Indramayu, West Java.
The pictures in ASEAN Secretariat Flickr are for public use with citation / copyright of ASEAN Secretariat. If you need larger size, please send your request to the following email address: afi.wicaksono@asean.org
WORK RECORD
Title - Colonial Industry
Relation -
relation.type -
relation.notes -
Work, Collection or Image - Work
refid - 414
Work Type - mural paintings (visual works)
Style Period - New Deal
Agent Name - Hull, Arthur G. (1881-1941)
Agent Role - muralist (painter)
Cultural Context - American
Material, medium - oil paint (paint)
Material, support -
Technique -
Measurements - 6 ft (H) x 12 ft (W)
Date Created - 1935-03-25
Date Completed - 1936-04-20
Date Collected -
Date Allocated -
Date Rejected -
Location Former Repository - Darien High School, Darien, Connecticut
Description -
Inscription -
Subject - Industry (economic concept); Shipbuilding; Shipbuilders; Federal Art Project
Source -
IMAGE RECORD
Work, Collection or Image - Image
Work Type - black-and-white photographs
Style Period - New Deal
Agent Name - Shaw, Alfred Craig
Agent Role - photographer
Material - black-and-white photographs
Technique - black-and-white photography
Measurements - 8 in (H) x 10 in (W)
Date Created - ca. 1935-1943
Date Digital - 2009-04-30
Description -
Inscription - Inscribed on back: "Stamford High"
Source - Connecticut State Library, State Archives, RG 033, Works Progress Administration, Box 2.
Filename - wpaart_hulla_007.jpg
Used in a lecture presented by JR James at the Department of Town and Regional Planning at The University of Sheffield between 1967 and 1978.
Relation/Route : Surabaya Pasarturi-Bojonegoro-Cepu-Semarang Tawang-Pekalongan-Jakarta Gambir-Jakartakota.
Locomotive : CC203 12/CC203 95 12.
Class : Executive Class.
Photo Taken at : Semarang Tawang Railway Station, Semarang, Middle Java.
I tried to clarify the relation between matter and language, from the original chemical components of life (as self-organisation) to the emergence of species, ethno-linguistic groups, programming languages. This cladogram draft permits me to map clearly the shortest path from matter to language (red line). Of all this complexity, interwoven histories, some simplicity should emerge...
The proximity of 2 elements on this tree also make the compatibility of the elements more obvious : compatibility of human and other mamals organ transfert, compatibility of 2 close-by computing syntaxes.
This cladogram is very simplified regarding the complexity of evolution, just a few branches out of the main path. I might continue this research here, feel free to advise me on this subject, if you know a software that does wonderful graphics of interwoven cladograms, I am interested.
research continues here :
By Phyllida Barlow
Tate Britain Commission 2014
Inspired by Tate Britain's location in relation to the river Thames, dock is Barlow's most ambitious sculptural installation to date. Obtrusive and invasive, the works in dock block and impede the way, overfilling the 100 metre long barrel-vaulted Duveen Galleries. They project dual and contradictory identities: monumental on the one hand, collapsed on the other. Made of lightweigh materials such as timber, metal, polystyrene, tarpaulin, canvas, cardboard and rope, the works in dock look battered or ravaged and offer an antagonistic counterpart to the austere neoclassical galleries. Suspended , collapsed, stacked, wrapped, folded or jammed, the sculptures have taken over and create a dynamic space that challenges the experience of viewing.
Sculptor Phyllida Barlow
Sculptor Phyllida Barlow will unveil her largest and most ambitious work in London to date for the Tate Britain Commission 2014, supported by Sotheby’s, on 31 March 2014. The annual commission invites artists to make work in response to Tate’s collection of British and international art and to the grand spaces of the Duveen Galleries at the heart of Tate Britain.
For over four decades Phyllida Barlow has made imposing, large scale sculptural installations using inexpensive, everyday materials such as cardboard, fabric, timber, polystyrene, plaster, scrim and cement. Her distinctive work is focused on her experimentation with these materials, to create bold and colourful three-dimensional collages.
Drawing on memories of familiar objects from her surroundings, Barlow’s tactile and seemingly unstable sculptures often contrast with the permanence and traditions of monumental sculpture. In works such as Peninsula at the Baltic Centre for Contemporary Art in 2004 or Stint at Mead Gallery, Warwick Arts Centre in 2008, a cacophony of form, colour and materials filled the spaces. In Barlow’s most recent work TIP for the Carnegie International in Pittsburgh, timber lengths wrapped in mesh, cement and brightly coloured fabric ribbons cascaded en masse across the museum plaza to the entrance.
Phyllida Barlow has had an important influence on younger generations of artists through her work and long teaching career in London art schools. At the Slade School of Fine Art, her students included Turner Prize-winning and nominated artists Rachel Whiteread and Angela de la Cruz.
Having seen the space evolve over several decades, I’m very excited by the opportunity to work in the Duveen Galleries. Considering a body of new work, I was very conscious of two particular contradictory aspects: the tomb-like interior galleries against the ever-present aspect of the river beyond.
Phyllida Barlow
[Tate website]
A nice shot showing the C' Level Corridor, Equipment Storage Room and Garage Bay in relation to each other as laid out in the Shepperton Soundstage.
→ 101 →
STANLEY MORISON | TYPOGRAPHIC DESIGN | IN RELATION
TO | PHOTOGRAPHIC COMPOSITION | INTRODUCTION BY
JOHN CARTER | THE BOOK CLUB OF CALIFORNIA : SAN FRANCISCO
: 1959
9 × 6 ¼. 42 pp.—title (i), copyright notice (ii), introduction (iii–vi), foreword
(vii–viii), text 1–32, colophon (33), blank (34).
Type New Times Roman linotype. Paper machine made. Bound in beige, grey,
red and tan boards with parchment back, title in gold on back. 400 copies printed
at the Black Vine Press (Harold Seeger and Albert Sperisen). Price $9.00.
This is the first printing of a paper read before the Art Workers Guild in London
on May 28,1958 by one of the leading experts of the twentieth century on typography.
A Club publication without a California or Western focus was still sufficiently
rare to warrant the defense of this book in the Quarterly News-Letter
(Summer 1959, p. 64).
Included in the Exhibition of Western Books (Rounce & Coffin Club).
Another of the first photos taken for my new uni project looking at portraiture in relation to the family portrait, memory and death.
WORK RECORD
Title - Unidentified
Relation -
relation.type -
relation.notes -
Work, Collection or Image - Work
refid - 128
Work Type - paintings (visual works)
Style Period -
Agent Name - Covelli, Vito (1882-1958)
Agent Role - painter (artist)
Cultural Context - Italian; American
Material, medium -
Material, support -
Technique -
Measurements -
Date Created -
Date Completed -
Date Collected -
Date Allocated -
Date Rejected -
Location Former Repository -
Description -
Inscription -
Subject - Winter; Snow; Farms; Fuelwood; Federal Art Project
IMAGE RECORD
Work, Collection or Image - Image
Work Type - black-and-white photographs
Style Period - New Deal
Agent Name - Skreczko, Henry
Agent Role - photographer
Material - black-and-white photographs
Technique - black-and-white photography
Measurements - 8 in (H) x 10 in (W)
Date Created - ca. 1935-1943
Date Digital - 2009-04-29
Description -
Inscription -
Source - Connecticut State Library, State Archives, RG 033, Works Progress Administration, Box 1.
Filename - wpaart_covelliv_013
The St.Benedictusberg Abbey at Vaals, the Netherlands, is a Benedictine Abbey which was built between 1921 and 1928 by the architects Dominicus Böhm & Martin Weber as a simple quadrilater with two towers marking the corners and left unfinished for several years. The new abbey church and crypt, monastery court and reception hall with consulting rooms by architect Dom. Hans van der Laan (1904-1991), finished in 1968. In 1986 followed a second extension of the monastery with a second patio, a library and a sacristy. It is a pronounced highlight in post-war Catholic architecture, without the lavish decorations that characterized Roman church building for centuries and at the same time were equally awe-inspiring and mysterious.
The architect, who was also a Benedictine monk residing in the abbey until his death in 1991, was a prolific architectural theorist whose main contribution is about the fundamental principles of architecture and the combination of spatial and philosophical concepts with practical design tools. His main invention was a proportional system called “the plastic number“, which he considered an objective response to the fundamentals of perception, space qualities and elements of structure.
The plastic number was not created to reveal any kind of “superior order of the world” and was not derived by nature; instead, it was a method which could be applied to the world, through the means of architecture, to structure our understanding of space. The plastic number is “premised upon that principle that we can understand and quantify the subjective experience of space”. Van der Laan’s built projects become testing grounds for his system: in the abbey, the plastic number defines the relationship among the single elements, the modules and correspondences within the cells, the open spaces, the heights and the openings ,right to the design of each single piece of furniture. The choice of rough and austere materials coupled with a complete lack of decoration underlines Van der Laan’s interest in an architecture completely defined by proportional rules and control of light.
"Architecture is born of this original discrepancy between the two spaces – the horizontally oriented space of our experience and the vertically oriented space of nature; it begins when we add vertical walls to the horizontal surface of the earth. Through architecture a piece of natural space is as it were set on its side so as to correspond to our experience-space. In this new space we live not so much against the earth as against the walls; our space lies not upon the earth but between walls. This space brings a completion to natural space that allows it to be brought into relation with our experience-space; at the same time it allows our specifically human space to be assimilated into the homogenous order of nature." - Hans Van der Laan.
Photo © Greg Staley
Relation to and yet not (homage to Mondrian), Kate Shepherd.
June 10-September 5, 2010
Kate Shepherd is best known for large, vertical, mostly monochrome paintings in hi-gloss enamel on wooden panels. Using intense colors, delicate lines, and multiple perspectives, she suggests structures and patterns—wallpaper, steps, stones, lace—that create illusory three-dimensional space. Her work in the former dining room of the Phillips house incorporates painting and sculpture, and focuses on architectural details, while paying homage to Mondrian's work in the permanent collection.
Kate Shepherd lives and works in New York City. She earned a B.A. from Oberlin College in 1982 and an M.F.A. from the School of Visual Arts in 1992. She has had numerous solo exhibitions in the U.S and abroad and has been awarded residencies at the Chinati and Lannan Foundations. Her work is in the collections of the Los Angeles County Museum of Art, Albright-Knox Art Gallery, the Detroit Institute of Arts, the Museum of Fine Arts, Boston, and the Indianapolis Museum of Art, among others.
www.phillipscollection.org/exhibitions/intersections
www.youtube.com/user/PhillipsArtMuseum#grid/user/F203B3ED...