Public Intimacy: Architecture and the Visual Arts

Public Intimacy: Architecture and the Visual Arts

In this thoughtful collection of essays on the relationship of architecture and the arts, Giuliana Bruno addresses the crucial role that architecture plays in the production of art and the making of public intimacy. As art melts into spatial construction and architecture mobilizes artistic vision, Bruno argues, a new moving space--a screen of vital cultural memory--has come to shape our visual culture.Taking on the central topic of museum culture, Bruno leads the reader on a series of architectural promenades from modernity to our times. 

Through these "museum walks," she demonstrates how artistic collection has become a culture of recollection, and examines the public space of the pavilion as reinvented in the moving-image art installation of Turner Prize nominees Jane and Louise Wilson. 

Investigating the intersection of science and art, Bruno looks at our cultural obsession with techniques of imaging and its effect on the privacy of bodies and space. She finds in the work of artist Rebecca Horn a notable combination of the artistic and the scientific that creates an architecture of public intimacy. 

Considering the role of architecture in contemporary art that refashions our "lived space"--and the work of contemporary artists including Rachel Whiteread, Mona Hatoum, and Guillermo Kuitca--Bruno argues that architecture is used to define the frame of memory, the border of public and private space, and the permeability of exterior and interior space. Architecture, Bruno contends, is not merely a matter of space, but an art of time.
 

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Origins, Imitation, Conventions

Origins, Imitation, Conventions :

Representation in the Visual Arts.

342 pages | PDF | 17,1 MB

This collection contains studies written by art historian James Ackerman over the past decade.

The "origins" studied here include the earliest art history and criticism; the beginnings of architectural drawing in the Middle Ages and Renaissance; Leonardo Da Vinci's sketches for churches, the first in the Renaissance to propose supporting domes on sculpted walls and piers; and the first architectural photographs.

 "Imitation" refers to artistic achievements that in part depended on the imitation of forms established in practices outside the fine arts, such as ancient Roman rhetoric and print media.

 "Conventions," like language, facilitate communication between the artist and viewer, but are both more universal (understood across cultures) and more fixed (resisting variation that might diminish their clarity). The three categories are closely linked throughout the book, as most acts of representation partake to some degree of all three.

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Public Intimacy: Architecture and the Visual Arts

Public Intimacy: 

Architecture and the Visual Arts

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Origins, Imitation, Conventions: Representation in the Visual Arts

Origins, Imitation, Conventions:

 Representation in the Visual Arts

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Public Intimacy: Architecture and the Visual Arts (Writing Architecture)

Public Intimacy: Architecture and the Visual Arts (Writing Architecture) 

Giuliana Bruno

In this thoughtful collection of essays on the relationship of architecture and the arts, Giuliana Bruno addresses the crucial role that architecture plays in the production of art and the making of public intimacy. As art melts into spatial construction and architecture mobilizes artistic vision, Bruno argues, a new moving space--a screen of vital cultural memory--has come to shape our visual culture.Taking on the central topic of museum culture, Bruno leads the reader on a series of architectural promenades from modernity to our times. Through these "museum walks," she demonstrates how artistic collection has become a culture of recollection, and examines the public space of the pavilion as reinvented in the moving-image art installation of Turner Prize nominees Jane and Louise Wilson. Investigating the intersection of science and art, Bruno looks at our cultural obsession with techniques of imaging and its effect on the privacy of bodies and space. She finds in the work of artist Rebecca Horn a notable combination of the artistic and the scientific that creates an architecture of public intimacy. Considering the role of architecture in contemporary art that refashions our "lived space"--and the work of contemporary artists including Rachel Whiteread, Mona Hatoum, and Guillermo Kuitca--Bruno argues that architecture is used to define the frame of memory, the border of public and private space, and the permeability of exterior and interior space. Architecture, Bruno contends, is not merely a matter of space, but an art of time.

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Origins, Imitation, Conventions: Representation in the Visual Arts

Origins, Imitation, Conventions: Representation in the Visual Arts

James S. Ackerman

This collection contains studies written by art historian James Ackerman over the past decade. Whereas Ackerman's earlier work assumed a development of the arts as they responded to social, economic, political, and cultural change, his recent work reflects the poststructural critique of the presumption of progress that characterized Renaissance and modernist history and criticism. In this book he explores the tension between the authority of the past--which may act not only as a restraint but as a challenge and stimulus--and the potentially liberating gift of invention. He examines the ways in which artists and writers on art have related to ancestors and to established modes of representation, as well as to contemporary experiences.The "origins" studied here include the earliest art history and criticism; the beginnings of architectural drawing in the Middle Ages and Renaissance; Leonardo Da Vinci's sketches for churches, the first in the Renaissance to propose supporting domes on sculpted walls and piers; and the first architectural photographs. "Imitation" refers to artistic achievements that in part depended on the imitation of forms established in practices outside the fine arts, such as ancient Roman rhetoric and print media. "Conventions," like language, facilitate communication between the artist and viewer, but are both more universal (understood across cultures) and more fixed (resisting variation that might diminish their clarity). The three categories are closely linked throughout the book, as most acts of representation partake to some degree of all three.

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