To compare I have chosen a painting entitled A Bar at the Folies-Bergeres by Edouard Manet and Sir John Soane’s Museum, in Lincoln’s Inn Fields. A Bar at the Folies-Bergère shows a scene from Parisian life at the time: a young barmaid is positioned behind the bar of a crowded night-club. The club, its guests, the barmaid, the male customer, the chandeliers, alcohol bottles, flowers and oranges in the space are reflected in the mirror behind the counter. While relatively inconspicuous at a glance, the divergences between the position and appearance of the actual objects in the ‘real’ space of the bar and their reflections are to a great extent seen as ambiguous. Manet uses the mirror as a tool for playing with the perspective in the painting and the viewpoints and positioning of the people within it. Whilst Sir John Soane’s Museum may also be seen as an artwork, which has been reconstructed throughout his thirty years of living there, in order to create a space suitable for the architect to play with perception, viewpoints, light and ambiance of his home and astound his guests, with the unique positioning and construction of the rooms and their interior. Soane demolished and rebuilt three houses in succession on the north side of Lincoln’s Inn Fields. He began with number 12 (between 1792 and 1794). In 1806, Soane purchased number 13, the house next door, today the museum, and rebuilt it in two phases in 1808–09 and 1812. In 1823 he purchased a third house, number 14, which he rebuilt in 1823–24. This project allowed him to construct a picture gallery, linked to number 13. He established his house as a public museum according to an Act of Parliament in 1833, which announced that the three buildings that were a part of it to be kept...
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...he ‘actual’ objects. In comparison, the museum acts as a reminiscing snapshot of what was an unending change. This change was not the result of expansion but was rather a continual reframing of Soane’s perception of the world, which resulted in a continuous change in the positioning of the spaces within the house. The peculiar organization of the spaces and its objects is an imitation or rather mirroring of Soane’s mind, which was not orderly organized and catalogued but endlessly intricate. The house and his mind were filled with never-ending routes and labyrinth like viewpoints ranging throughout, which acted in conglomerate ways. The use of perspective and play with viewpoints in both works in relation to the division between social class, makes us as viewers realize the complexity of a human mind, its thoughts and perception on the spaces and people around it.
Carol Armstrong begins her essay by pointing out the two main points that come about when discussing A Bar at the Folies-Bergere. These two points are the social context of the painting and its representation of 19th century Paris, and the internal structure of the painting itself with the use of space. She then goes on and addresses what she will be analyzing throughout her essay. She focuses on three main points, the still life of the counter and its commodities, the mirror and its “paintedness”, and the barmaid and her “infra-thin hinge” between the countertop and the mirror.
These assemblages of work mirrror a reflection of glimpses of landscape beauty, a particular solace found in the nature surrounding us during her time in the outback, elegance, simplicity and the lifestyle of the physical world around us. Gascoigne has an essential curiousity displayed in her work exploring the physical word that is captured in an essence of this rural home which brings evocate depictions, subject to the arrangement of these simple remnants that offer so much more. The assemblages focus us on viewing the universe from a unique turnpoint, compromising of corrugated iron, feathers, worn linoleum, weathered fence palings, wooden bottle crates, shells and dried plant matter. The art works offer a poetic expression that traces remnants around the world that individually hold meaning to their placement in the
The house Sylvie attempts to "keep" must accommodate change including the peace and threat implied by nothingness. "A house should be built to float cloud high, if need be...A house should have a compass and a keel" (184). Rather than being seduced by the ultimate and final separation of nothingness, Ruth learns (as a transient) that housekeeping can be an expansive and inclusive method of engaging and interpreting the world.
Venturi built a home for his mother Vanna Venturi in 1963. The Venturi home is located in Chestnut Hill, PA. Venturi based the plan on a symbolic conception instead of on spatial abstraction, which he considered to be an aspect of Orthodox Modernism1. This design for his mother had a sloped roof, with the chimney becoming the center of the house. It rises up out of the roof and seems to split the house in two. It has a deliberate deadpan character. But this apparent blandness, hides the many internal complexities and contradictions of the home. This is a house that uses big and small, inside and out to counterbalance the complexity2. Complexity in combination with big scale in a small buildings achieves an appropriate architectural tension. The...
Becoming widely known through the publishing of his book Relational Aesthetics in 1998, Bourriaud defines the concept as ‘a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space. (pg. 113)’ that is to say that relational aesthetic works tended to be a break from the traditional social and physical space of the gallery and the artists secluded workshop or studio. Relational aesthetics uses life as it lived and the social environment in its entirety as the subject, rather than an attempt to represent an object that has been removed from daily life to an independent space, much like a ‘Dutch Baroque still life’, for instance. Differing from earlier aesthetic models that seek to recreate human culture in its entirety, directed by ‘aesthetic ideals’ (a romanticised view seeming to have persisted much in postmodern theory) relational aesthetics refers to ‘learning to inhabit the world in a better way’ in contrast to commonly ‘escaping’ the social structure that shapes our lives, the artists are to work with the ‘given real’ and within ‘the realm of human interaction and its social context’. In Bourriaud’s text he states relational art “strives to achieve modest connections, open up (one or two) obstructed passages, and connect
The eye is kept in constant motion when considering the piece, the mind oscillating between the domestic forms of the appliances in the foreground and the intricate metanarrative taking place behind them. The work is made conceptually dynamic through the liberal use of contrasting elements and ideas. Square tiles come together to create circular forms; floral motifs and depictions of the natural world are incorporated into a deeply manufactured and sanitary environment. Traditional
But these contrived differences give rise to esthetic difficulties too. Because inherent differences—those that come from genuinely differing uses—are lacking among the buildings and their settings, the contrivances repre...
‘the novel developed towards a deeper philosophic analysis of the implications of a situation and rendering experience which was more careful, realistic and ‘poetic’. There was a tendency to lay emphasis on the daily life of the comm...
Comprehending this fact that cinema is an assemblage of images and signs can result in analytic approach to find out how each scene of Stalker corresponds to each type of Deleuze’s definition of movement, and from that how architecture can manipulate real time; and create particular perception of space in dimension of time.
I choose to discuss the limits of the interior, monadic subject for consideration not only its historical and contemporary effects in the politics of representation, but also for the possibility of thinking beyond it. In the spirit of Foucault's ethical project only a special kind of curiosity and a thinking `otherwise' could, if luck and wit permit, allow us as individual subjects to go beyond ourselves.
The creation of the series is restricted to one hundred chairs created from a variety of found objects within the limit of one hundred days. This systematic approach also brings to light the importance of process in artmaking. His Musical Chair (2006) from 15th May takes on the notion of changing an everyday objects use to grant it new meaning. The guitar no longer holds its traditional use, rather it takes on another, becoming necessary to the function of the chair. The chair becomes a key vessel to explore both the historical and modern use of the object and display this ‘remix culture’ - “what can they tell us about their place of origin or their previous sociological context and even their previous owners?” (Gamper 2007). By recontextualising the chair, Gamper creates an assemblage that merges not only a variety of found objects - whose purpose has now become unnecessary - but the contemporary work also acknowledges the poignant role of the chair as a representational object in the history of art and design. It is through these hybrid designs that Gamper creates works that make indistinguishable the difference between the functional and the aesthetic. Like his creative practice as a whole, he
We visited the Museo Nacional De Antropologa in Madrid, and were assigned to analyse the Asian Room, which is focused particularly on the Philippine Islands because of their historical colonisation with Spain. The display of things in a museum are things that we look at as something that is outside of normal. In contrast to the movie or movies, where scenes substantially show how the person felt and dealt with situations and tools from their own perspective, with their own knowledge and experience and through different means such as real images, sounds, language and others produces a different knowledge on the racial discourse. When looking at exhibitions in museums the other culture is unknown, and almost uncomfortable to us, but in movies we can be standing in their shoes.
The finite and infinite nature of choice transcends the Human mind. Humans can only hypothesis and theorize the power of a decision or choice through a general perception of the physical outcome of that particular choice. “The Garden of Forking Paths”, the short story essay by Jorge Luis Borges, attempts to create a spatial metaphor for choices. In other words, Borges is trying to take an abstract, non-visual idea—multiple choices —and make a visual model for it—a labyrinth. “The Garden of Forking Paths” embodies the ideas of a “Postmodern narrative”: the infinite possibilities of the human existence (Fajardo-Acosta). Within the plot of “The Garden of Forking Paths”, Borges introduces a novel The Garden of Forking Paths, which acts also as another visual model of time and acts as a literary labyrinth.
When transitioning between buildings, my mind isn’t busily analyzing the historical romanticization of Ophelia’s silence, nor is it barraged with every conceivable partial derivative in multivariate calculus. Instead, my thoughts quiet down. They turn retrospective. In this open expanse, the concepts I learn eventually process, marinate, reshape, and refine into tangible ideas. Connections form between disciplines as I ponder Prufrock on my way from the English building to the science atrium. I am outside the box; therefore, I
To conclude, the book titled as “way of sight” has a great influence on the society. It has all the aspects of seeing in this book. Today we see the art of the past as no one has ever seen him. We even perceive it differently. This difference can be illustrated by the example of how in different times understood perspective. Perspective is conditionality inherent only art and first appeared in the early Renaissance - all centres in the view of the viewer. It's like a lighthouse beam, only the place of the light coming out, take the images coming inside. These images are to be called reality. Perspective makes eye centre of the visible world