August 11, 2013

CUT ‘n’ PASTE FROM ARCHITECTURAL ASSEMBLAGE TO COLLAGE CITY AT MoMA




CUT ‘n’ PASTE FROM ARCHITECTURAL ASSEMBLAGE TO COLLAGE CITY AT MoMA
Curator Pedro Gadanho
July 10, 2013 – January 05, 2014




CUT ‘n’ PASTE FROM ARCHITECTURAL ASSEMBLAGE TO COLLAGE CITY AT MoMA
Curator Pedro Gadanho
July 10, 2013 – January 05, 2014
The Robert Menschel Architecture and Design Gallery, third floor
Contemporary culture is often described as a relentless rearrangement of multiple historical references, images, and signs. Collage has been referred to as a process that illustrates this specific condition of modernity. Cut ’n’ Paste explores the evolution of collage as both a fundamental yet overlooked technique of architectural representation, and as an extended cultural notion of layering, juxtaposition, and remix that has shaped perceptions of the urban realm over the past century.
This installation pulls from MoMA’s vast collection to revisit the medium’s manifold expressions and to uncover how the visual language of collage has come to dominate contemporary architectural representation. Architectural collages from Mies van der Rohe’s early photomontages to the reprise of the technique in digital rendering are juxtaposed with the cut-and-pasted experiments of artists, photographers, and graphic designers. A concept first theorized by architectural critics Colin Rowe and Fred Koetter in the 1970s, these artistic experiments suggest an immersive “collage city”—a city that comes alive through the superimposition of its many elements.
Considered in this diversity, collage offers more than a continuation of drawing practices. Whether through direct evocations of lifestyle or inventive connections to surrounding cultural conditions, it is an aspirational tool by which architects have drawn reality onto their projects from their earliest conception.
Organized by Pedro Gadanho, Curator, and Phoebe Springstubb, Curatorial Assistant, Department of Architecture and Design.
Architecture and Design Collection Exhibitions are made possible by Hyundai Card.
You may visit MoMA’s Architectural department exhibitions news of Japanese Contellation curated by Pedro Gadanho, Conceptions of Space curated by Pedro Gadanho and Le Corbusier: Atlas of Modern Landscapes to click below links.
http://mymagicalattic.blogspot.com.tr/2016/04/a-japanese-constellation-toyo-ito-sanaa.html

http://mymagicalattic.blogspot.com.tr/2014/09/conception-of-space-at-museum-of-modern.html
http://mymagicalattic.blogspot.com.tr/2013/09/le-corbusier-atlas-of-modern-landscapes.html




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THE MAYPOLE BUILDING ( EMPIRE STATE BUILDING ) 1932. 
Gelatin silver print. The Museum of Modern Art. Gift of the photographer. 
© 2013 The Estate of Edward Steichen.
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GIORGIO DE CHIRICO -  THE EVIL GENIUS of A KING PARIS 1914 – 1915
Oil on canvas. The Museum of Modern Art. Purchase.
© 2013 Artists rights Society (ARS), New York / SIAE, Rome.
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Excerpt from the film Chelovek S. Kino-apparatom 
(The man with the movie camera). 1929. By exchange, Gosfilmofond. 
Photograph: Thomas Griesel


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IVO PANNAGGI COLLAGE 1926 
Parcel post wrapping, stamps, ink, and cut-and-pasted printed paper. 
The Museum of Modern Art.
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PAUL CITROEN METROPOLIS 1923 
Gelatin silver print, 8 1/16 x 6” (20.4 x 15.3 cm). 
Thomas Walther Collection. Gift of Thomas Walther. 
© 2013 Paul Citroën/ Artists Rights Society , New York / PICTORIGHT, Amsterdam
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PAUL CITROEN - METROPOLIS
Paul Citroen joined the Bauhaus in 1922, and this Photomontage was exhibited in the school’s first exhibition, in July–September, 1923. The original Collage was constructed from two hundred images excised with a sharp blade from newspapers and postcards (of which Citroen was an avid collector) and meticulously pasted and arranged on a secondary support. There is not a single gap between the collage pieces. This image was published in 1925 in László Moholy-Nagy’s book Malerei, Fotografie, Film (Painting, Photography, Film), under the title Die Stadt I (The city I), along with two other photomontages. The Thomas Walther Collection print is considerably smaller than the original collage, which is 26 7/16 by 23 inches (67.1 by 58.4 centimeters). The work gives the strong impression of a microworld that can be held in your hand. It is likely that Citroen created the photomontage’s essential internegative by photographing the collage on an easel or pinned to the wall, and then eliminated unwanted background elements by either cropping or trimming in the next stage of production. In the print, details in each building can be detected by the naked eye, but under the microscope Citroen’s fastidious preparation is even clearer, as are the identities of the buildings and other delightful architectural juxtapositions. The photograph’s surface is matte and, at 0.168 millimeters thick, slightly thinner than typical single-weight papers in the Walther Collection. Fiber analysis indicates that the photographic paper was produced between 1915 and 1927. The original Metropolis (City of My Birth) collage was modified by Citroen after 1925, perhaps to rectify damaged edges and corners or other losses. This small, pristine print, however, does not reflect these changes. Instead it captures the iconic but fleeting first state of this work. —Hanako Murata
https://www.moma.org/interactives/objectphoto/objects/83984.html


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FILIP DUJARDIN, UNTITLED FROM THE SERIES FICTIONS 2009 
Pigmented inkjet print, 43 5/16 x 61″ (110 x 154.9 cm). 
Gift of Andre Singer. © 2013 Filip Dujardin/Highlight Gallery
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One of the newest works from the collection on view in the exhibition is Belgian Architect and architectural photographer Filip Dujardin’s, Untitled, where at first glance the structure seems “real,” but which closer inspection reveals to be a fictional reimagining of the modernist concrete-slab apartment complex. The image, like Dujardin’s other  fictional pictures of buildings, was created on a computer with Photoshop and Google SketchUp through digital manipulation of appropriated architectural elements.
If you would like to read whole news The Sublime Imaginings of Architectural Drawings from Moma Ps1 Blog to click above link.
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DILLER + SCOFIDIO, “ SLOW HOUSE, LONG ISLAND, NEW YORK ” 
(1988 - 1990) 
Plan of lower level and sections, computer-generated print on frosted polymer 
sheet with graphite and colored ink mounted on painted wood with metal
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LUDWIG MIES VAN DER ROHE  
CONVENTION HALL PROJECT CHICAGO 1954 
Interior perspective. Cut-and-pasted reproductions, photograph, and paper on composition board, 
33 x 48″ (83.8 x 121.9 cm). Mies van der Rohe Archive, gift of the architect. 
© 2013 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
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MUSEUM OF MODERN ART NEW YORK


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MUSEUM OF MODERN ART NEW YORK
Founded in 1929 as an educational institution, The Museum of Modern Art is dedicated to being the foremost museum of modern art in the world.
Through the leadership of its Trustees and staff, The Museum of Modern Art manifests this commitment by establishing, preserving, and documenting a collection of the highest order that reflects the vitality, complexity and unfolding patterns of modern and contemporary art; by presenting exhibitions and educational programs of unparalleled significance; by sustaining a library, archives, and conservation laboratory that are recognized as international centers of research; and by supporting scholarship and publications of preeminent intellectual merit.
Central to The Museum of Modern Art’s mission is the encouragement of an ever-deeper understanding and enjoyment of modern and contemporary art by the diverse local, national, and international audiences that it serves. You may read more about MoMA’s entire information to click below link.
http://press.moma.org/about/
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MUSEUM OF MODERN ART'S DIRECTOR
GLENN D. LOWRY






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MUSEUM OF MODERN ART'S DIRECTOR
GLENN D. LOWRY




MUSEUM OF MODERN ART NEW YORK




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RALPH SCHRAIVOGEL 1961 – 1974
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LUDWIG MIES VAN DER ROHE 
GEORG SCHAEFE MUSEUM PROJECT - GERMANY
Interior perspective with view of site. 1960 – 1963. Ink and photo collage on illustration board, 
30 x 40″ (76.2 x 101.6 cm). Mies van der Rohe Archive, gift of the architect. 
© 2013 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn
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O.M.A. ( OFFICE FOR METROPOLITAN ARCHITECTURE ) - REM KOOLHAAS
“Charrette Submission for the Museum of Modern Art Expansion, New York” 
(1997), Collage on Paper
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O.M.A., REM KOOLHAAS
Charrette Submission for The Museum of Modern Art Expansion, 
New York, NY. 1997
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RON HERRON -  “ WALKING CITY ON THE OCEAN ” - 1966 
Cut-and-pasted printed and photographic paper and graphite 
covered with polymer sheet


RON HERRON – WALKING CITY ON THE OCEAN
Traversing the ocean, the units of Herron's Walking City represent a kind of technological utopianism—military submarines are combined with insectlike exoskeletons and periscoping legs. Each unit of the city contains a comprehensive set of urban resources. Linked by a superstructure of retractable corridors, they form an instant and itinerant metropolis. Here collage is used both to circulate an idea and to propose a new architecture of circulation: Herron’s work was disseminated through small magazines as image–based virtual architecture; the surreal elements of collage—simultaneous viewpoints, depth, and flatness—are instrumental to proposing a city that not only walks but adapts to endless change.
https://www.moma.org/collection/works/814
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JESSE REISER & NANAKO UMEMOTO 
“Aktion Poliphile: Hypnerotomachia Ero/machia/hypniahouse, Wiesbaden, Germany” (1989), cut-and-pasted electrostatic print, halftone lithograph, and halftone relief with pressure-sensitive printed polymer sheet, gouache, and graphite on paper mounted on board.



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