Philip Johnson was the focus of one of the questions on my written comps when I was studying art history. Out of sentiment as well as historical delight, I always treat his Glass House and related works when I teach the survey of American Art & Architecture. So I was especially interested to see Glenn Adamson's latest post at his always fascinating blog, From Sketch to Product.
Glenn offers a behind-the-scenes look at one of the V&A's recent, cool acquisitions: a 2.3 meter high presentation drawing of the AT&T tower. In doing so, he also offers a quick overview of Johnson's role as an avatar of modernism and an innovator of post-modernism. Glenn also reveals a fortuitous and surprising intervention.
Check it out!
In the first post in this series, I discussed ways in which the space around a single figural sculpture becomes a tacit part of the artwork by virtue of the moving viewer's interpretive act. In the second post, I considered how the spatial relationships among multiple figures in a more complex figural sculpture can provide interpretive clues and cues that lead to a rich understanding not only of the fiction's virtual space, but also of its mental, social, and emotional spaces.
Now I would like to consider immersion, which I will treat as a set of visual, spatial, and kinetic opportunities afforded the viewer of an artwork by virtue of its scale, situation, and referential complexity. I will offer two examples, one which invites the interpreter to go around and upon and another which invites the interpreter to go within and beneath.
Continue reading Immersion