Drums and Stones

Building with recycled materials: Pitfalls and Successes

Lessons from Architect Nina Maritz, at Twyfelfontein,

Namibia, 2003 - 2004

Twyfelfontein National Heritage Site for the Preservation of Ancient Rock Art, Namibia,

author’s photo 2005, 

Building on the landscape calls for a sensitivity that respects the site t the extent

the site should be the most visible thing on the area, not the structure.Twyfelfontein National Heritage Site, Namibia

A landscapes teaming with wildlife at Twyfelfontein National Heritage Site, Namibia, photo by the

author, 2005.

The landscape is an accurate record of what the people who dwelled in this area

were experiencing more than 3000 years ago as shown by the ancient sketches on

the rocks.Twyfelfontein National Heritage Site, Namibia

Twyfelfontein National Heritage Site, Namibia  Rock art under overhang

Drums in the background being prepared for roofing and cladding; Twyfelfontein National Heritage Site, Namibia - Architect Nina Maritz 2003-2004

Twyfelfontein National Heritage Site, Namibia Looping the wire

Manufactured and natural materials can be combined to achieve appropriate

technology in a site or a region and this is the key to sustainability - Architect Nina Maritz 2003-2004

Completed mats prior to delivery and installation Twyfelfontein National Heritage Site, Namibia -Architect Nina Maritz 2003-2004

Twyfelfontein National Heritage Site, Namibia Detail of the cut stones, gabion walls, the wire mesh, and the straw used for cooling

the roofing panels. - Architect Nina Maritz 2003-2004

Architect Nina Maritz 2003-2004 Twyfelfontein National Heritage Site, Namibia A photo of the interior of the museum showing the application of straw for ceiling and

the recycled rods and wire mesh with stones for load bearing wall structures.

Architect Nina Maritz 2003-2004 Twyfelfontein National Heritage Site, Namibia The museum structure built from recycled drum panels, rods, straw for cooling

and wire meshes for holding the structural walls that are made of stones. The round

covers of the drums are still visible at the right hand corner.

Final building position Architect Nina Maritz 2003-2004 Twyfelfontein National Heritage Site, Namibia 

Architect Nina Maritz 2003-2004 Twyfelfontein National Heritage Site, Namibia  Details of the recycled panels of barrels used for roofing. The rust color and the

wavy rings suggest the seliuettes of the surrounding hills

Examples of Ndebele and Tswana Home Stead Layout

Main Lodge, Doro Nawas, in Damaraland, Namibia, was designed in-house by Grant Johnson and Carolee

Louw, and inaugurated in 2004; it is part of owned by Wilderness Safaries, a conglomerate franchise that

owns properties all over South Africa. If we study the map of the lodge and the surrounding huts, we will

discover that it was planned like a traditional homestead.

Entrance to Main Lodge, Doro Nawas, in Damaraland,

Namibia, Grant Johnson and Carolee Louw, 2004

Interior of Main Lodge, Doro Nawas, in Damaraland,

Namibia, Grant Johnson and Carolee Louw, 2004

Porches of Main Lodge, Doro Nawas, in Damaraland,

Namibia, Grant Johnson and Carolee Louw, 2004

Layout of Lodge and huts in the form of a the village,

Doro Nawas, in Damaraland, Namibia, Grant Johnson

and Carolee Louw, 2004

Typical Hut, Doro Nawas, in Damaraland, Namibia, Grant Johnson and Carolee

Louw, 2004

Plinth on which the hut is placed, Doro Nawas, in Damaraland, Namibia,

Grant Johnson and Carolee Louw, 2004

Closer view of Balcony, Doro Nawas, in Damaraland, Namibia, Grant Johnson and

Carolee Louw, 2004

Interior of hut, Doro Nawas, in Damaraland,

Namibia, Grant Johnson and Carolee Louw, 2004

Bathroom and sink,

Doro Nawas, in

Damaraland,

Namibia, Grant

Johnson and Carolee

Louw, 2004

“Push + Pull Tyre, Repair +Tiyres,” homestead which has multiple functions:

it is a residence for a family, a vehicle repair shop, and an entertainment facility

depending on the occasions and the time of the day.

The Porch of the homestead showing the use of local and manufactured

materials such as cement, green tarp, wire mesh, and bottles.

Detail of the porch made out of cement and recycled bottles

Sleeping area made with

traditional adobe material

with cement plaster

Back of the homestead showing the use of metals for construction.

Back of the homestead where wire mesh and sticks are used together

Recycled soft drink cans, wire mesh and sticks used for building animal

pen for the homestead.

Alvar Aalto: Town hall at Saynatsalo

•The plan was derived from that of a Karelian

village. With its U-shaped administration

building and the free standing library

enclosing a court, raised above the street

level.

•The articulation of form is through rhythmic

spacing of fenestration and use of brickwork.

Alvar Aalto: Town hall at Saynatsalo

•The building is set among closely planted

trees, which coupled with its stark and naked

look, helps the building to be absorbed by the

landscape, and appear as an organic part of it.

•This project went down in history as one of

the first “humanized” version of modern

architecture.

Alvar Aalto: Town hall at Saynatsalo

Alvar Aalto: Town hall at Saynatsalo

Alvar Aalto: Town hall at Saynatsalo

Renzo Piano – Jean-Marie Tjibaou Cultural

Center, Nouméa - New Caledonia

•Culture center for the Kanaks, at New

Claedonia

•Program includes galleries, permanent

exhibit of Kanak sculpture, AV, cafeteria,

library, lecture theaters, class rooms,

administration offices and an auditorium

Renzo Piano – Jean-Marie Tjibaou Cultural

Center, Nouméa - New Caledonia

•The tall structures or ‘cases’ are as much a

symbolic gesture as they are climate control

devices.

•They are reminiscent of traditional

Caledonian huts made out of woven

vegetation.

•They are also climate control devices used to

maintain natural light and ventilation through

sensor controlled louvers.

Renzo Piano – Jean-Marie Tjibaou Cultural

Center, Nouméa - New Caledonia

•The built up area is behind the ‘cases’ and is

deliberately kept low and terrain hugging.

Renzo Piano – Jean-Marie Tjibaou Cultural Center,

Nouméa - New Caledonia

•The primary materials of construction are wood

with steel bracing. The wood chosen is termite proof

and is to be allowed to weather naturally. Once

weathered it takes a silver gray tone.

Renzo Piano – Jean-Marie Tjibaou Cultural

Center, Nouméa - New Caledonia

Daniela, Herzprong, Ghali Lodge, Windhoek, Namibia, 2003 - 2004      two bedroom house for her parents... went 3x over budget

"Doric, Ionic, and corinthian greek columns" Roman versions

are altered &

called: Tuscan,

Ionic, Composite

The Ideal Body;

Proportions;

The Doric Column and

Its features—

Reflecting the

Aesthetic values and

World views of the

Greeks.

The column as a stable

Form also reflects

Stability in the society;

Gives a social other

“The center is represented by the navel, which becomes a

metonymic object or “shifter” in relation to gender. It is a

true shifter in that it transforms the body into geometry,

nature into architecture, the “I” of the subject into the “I” of

the discourse. The relationships between the two “I” is

what allows the constant shifting of the genders”

• Two things happen within this context:

• The body is a male body and it excludes the female body.

• Architect later adopts the male body as a metaphor for

giving birth to buildings according to the texts by Filatrete,

one of the Renaissance authors. This is what Agrest

describes as the “transsexuality” of architecture

left: doric, right: corinthian, bottom: ionic

In order for something to be “excluded” you

need the following conditions:

“Something inside”

Some defined entity, &

Something outside.”

The “body of the text” is the inside in our

Western architecture and it was put in place by

the thinkers of the Renaissance

THE VITRUVIAN MAN

• According to Agrest, What is the role

of Logocentrism and

anthropomorphism in Western

architecture?

• The text of the Renaissance which

draws from Vitruvian codes uses

both to establish the male body as the

center of architecture.

• The result is the repression or the

“displacement/repalacement” of the

female body from architecture.

The person who codified this was

Vitruvius in his book “on Symmetry in

Temples and the Human Body,” where

he relates symmetry to proportions:

The key here is how you use the navel

to establish the center of the body and

its relationships to space.

Le Corbusier, the Modular, believed to be created in 1943-45.

• What are the relationships

between what is left out,

what is repressed, and

what is included?

• The appropriation and

establishment of the

analogy regarding “man”

and “nature” is established

through the body.

• The person who codified

this was Vitruvius in his

book “on Symmetry in

Temples and the Human

Body,” where he relates

symmetry to proportions:

Greek vs.

Roman

Murphy Jan Associate, State of Illinois Building, Chicago  New classicism

And symbolism

Where high-tech

Combines with

Tradition to create

New commodities and

Arenas for public

Consumption

Reference is

made to the Roman

Pantheon here without

Respecting the rules

With which the pantheon

Was built.

Explore how technology and time can change precedence

Pop Art 

Richard Hamilton,

Just what is it that

Makes today’s homes

So different, so

Appealing? 1956.

Collage on paper.

101/4 x 93/4in.

Robert Mapplethorpe, Photos of

Arnold Schwarzenegger, 1976

Yayoi Kusama,

Naked Event,

At the New Yor

Stock Exchang

July 14, 1968

Sibusisu Linda Mbhele’s Airplane House; although located

in rural setting, the subject of this house is about modern

life symbolized by airplane, something that travels fast, and

bridges distances in short period.

Sibusisu Linda Mbhele’s Airplane House;View showing detail and different sources of the materials (metal panels) used to

build Mbhele’s Airplane House. He is An artist and he shows there are different

ways of recycling and being sustainable. A case can be made that this is part of

Deconstruction as the materials are drawn from different sources

Karen Smuts, Architects House, 2008 – 2012; Smuts, house

raised a lot of discussions/questions regarding context, form,

Change, class, tradition, etc. You can explore this in many ways.

Caren Smuts Studio, Lainnburg

Caren Smuts Studio, Lainnsburg, master plan follows local settlement patterns

Carin Smuts Studio, using the people’s skills to build a neighborhood;

The construction method reflects what the people know how to do and

Kind of art they practice.

Carin Smuts Studio, using the people’s skills to build a neighborhood;

The construction method reflects what the people know how to do and

Kind of art they practice.

Carin Smuts Studio, using the people’s skills to build a neighborhood;

The construction method reflects what the people know how to do and

Kind of art they practice.

Caren Smuts Studio, Lainnsburg, master plan follows local settlement patterns

Caren Smuts Studio, Lainnsburg

Caren Smuts Studio, Lainnsburg, master plan follows local settlement patterns

Franklin Delano Roosevelt ,

Telling the story of America in a time of crisis,

through the life of a great leader

Lawrence Halprin, Landscape Architect for the memorial

Dedicated on May 2, 1997 by President Bill Clinton, the monument, spread

over 7.5 acres (3.0 ha), traces 12 years of the history of the United States

through a sequence of four outdoor rooms

“In 1987, World War II veteran

Roger Durbin approached

Representative Marcy Kaptur, a

Democrat from Ohio, to ask if a

World War II memorial could be

constructed. Kaptur introduced the

World War II Memorial Act to the

House of Representatives as HR

3742 on December 10” (Source:

Internet, Wikipedia). .

The Location: The Established Power of the WW II Veterans in Government

“A nationwide design competition drew 400 submissions from architects

from around the country. Friedrich St. Florian's initial design was selected

in 1997. Over the next four years, St. Florian's design was altered during

the review and approval process required of proposed memorials in

Washington, D.C. Ambassador Haydn Williams guided the design

development for ABMC.” (Source: Internet, Wikipedia)

“The final design consists of 56 granite pillars, each 17 feet (5 m) tall,

arranged in a semicircle around a plaza with two 43-foot (13 m) triumphal

arches, crafted by Rock of Ages Corporation, on opposite sides. Two-thirds

of the 7.4-acre (30,000 m2) site is landscaping and water.” . (Internet,

Wikipedia)

The Location: The Established Power of the WW II Veterans in Government

National Museum of the American Indian

Re

Changing World

More accommodating

Respectful of other voices

Sense of Justice and

belonging

Project Designer: Douglas Cardinal (Blackfoot) of Ottawa, Canada

Design Architects: GBQC Architects of Philadelphia and Johnpaul Jones

(Cherokee/Choctaw)

Project Architects: Jones & Jones Architects and Landscape Architects Ltd. of

Seattle and SmithGroup of Washington, D.C., with Lou Weller (Caddo) and the

Native American Design Collaborative, and Polshek Partnership Architects of

New York City

National Museum of the American Indian

• Project Designer: Douglas Cardinal (Blackfoot) of Ottawa, Canada

Design Architects: GBQC Architects of Philadelphia and Johnpaul Jones

(Cherokee/Choctaw)

Project Architects: Jones & Jones Architects and Landscape Architects

Ltd. of Seattle and SmithGroup of Washington, D.C., with Lou Weller

(Caddo) and the Native American Design Collaborative, and Polshek

Partnership Architects of New York City

Maya Ying Lin (at 21 years old wins the competition), Vietnam Memorial,

an anti-monument monument which recognizes the Individuals and gives

them identity rather than submerge each individual in a group object.

Architecture and socail discourse in South Africa

Freedom Park, Pretoria Architects: Office of Collaborative Architects consisting of:

(1) GAAP Architects, (2) Urban Design Solutions, (3) Masahabane Rose Architects,

(2) (4) MMA Architects, all South Africa

View of Pretoria, Political Capital of South Africa showing the location of

The Union Building and the Vootrekker Monument

Herbert Baker, Union Building, South Africa, 1911 – 1914, to signify the peace between

the Africans and the British after the Anglo-Dutch Settlers War of 1898-1900; the Union

excludes majority of the people of the country

Herbert Baker, Union Building, South Africa, 1911 – 1914, to signify the peace between

the Africans and the British after the Anglo-Dutch Settlers War of 1898-1900; the Union

excludes majority of the people of the country

Herbert Baker, Union Building, South Africa, 1911 – 1914, to signify the peace between

the Africans and the British after the Anglo-Dutch Settlers War of 1898-1900; the Union

excludes majority of the people of the country

Gerhardt Moerdijk, Voortrekker, Monument, 1931 – 1949; Afrikaans designed

And built it to commemorate The trek from the Cape to inland between 1835 - 1834

Gerhardt Moerdijk, Voortrekker, Monument, 1931 – 1949; Afrikaans designed

And built it to commemorate The trek from the Cape to inland between 1835 - 1834

Gerhardt Moerdijk, Voortrekker, Monument, 1931 – 1949; Afrikaans designed

And built it to commemorate The trek from the Cape to inland between 1835 - 1834

Gerhardt Moerdijk, Voortrekker, Monument, 1931 – 1949; Afrikaans designed

And built it to commemorate The trek from the Cape to inland between 1835 - 1834

Gerhardt Moerdijk, Voortrekker, Monument, 1931 – 1949; Afrikaans designed

And built it to commemorate The trek from the Cape to inland between 1835 - 1834

Architecture & Social Discourse in South Africa

Freedom Park, Pretoria Architects: Office of Collaborative Architects consisting of: (1) GAAP Architects, (2) Urban

Design Solutions, (3) Masahabane Rose Architects, (4) MMA Architects, all South Africa

Freedom Park, Pretoria Architects: Office of Collaborative Architects

consisting of: (1) GAAP Architects, (2) Urban Design Solutions, (3)

Masahabane Rose Architects, (4) MMA Architects, all South Africa

Freedom Park, Pretoria Architects: Office of Collaborative Architects

consisting of: (1) GAAP Architects, (2) Urban Design Solutions, (3)

Masahabane Rose Architects, (4) MMA Architects, all South Africa

Site Plan, Freedom Park, Pretoria

Site Plan, Freedom Park, Pretoria

Model of Peace Hall and Amphitheater

Model of Peace Hall and Amphitheater

Peace Hall and Amphitheater  Light Posts Growing from the Ground

LEARNING FROM LAS VEGAS,

Robert Venturi, Denise Scott

Brown and Steven Izenour,

MIT Press, 1972 & 1977

HOW DO THE PROPOSALS PUT

FORTH IN THIS BOOK HELP US TO

UNDERSTAND THE COMPLEXITIES

OF CONTEMPORARY URBAN

SPACES?

WHAT CAN WE MAKE OF THEIR

PROPOSITION IN LIGHT OF THE

HUGE COLLAPSE OF REAL ESTATE

AND FINANCIAL SECTOR?

Caesars Palace, 2004 Forum Shops Expansion's Grand Opening

Associate (Interior Designer), KGA Architect (Architect) and Perini Building (

General Contractor). Donnell Design & Associates (Interior Designer).

Caesars Palace, 2004 Forum Shops Expansion's Grand Opening

Associate (Interior Designer), KGA Architect (Architect) and Perini Building

(General Contractor). Donnell Design & Associates (Interior Designer).

Caesars Palace, 2004 Forum Shops Expansion's Grand Opening

Associate (Interior Designer), KGA Architect (Architect) and Perini

Building(General Contractor). Donnell Design & Associates (Interior

Designer). This is the main entry gallery

Caesars Palace, 2004 Forum Shops

Expansion's Grand Opening

Associate (Interior Designer), KGA

Architect (Architect) and Perini

Building (

General Contractor). Donnell

Design & Associates (Interior

Designer).

A lot is done to make the interior of

the structure appear like the

exterior by the use painting, and

the lighting changes the social

ambiance in order to encourage

consumption caused by spatial

Familiarity, intimacy, and comfort .

The street feels like an out door

and an indoor mall at the same

time; almost like a bazaar that one

would usually find in the middle

east.

Caesars Palace, 2004 Forum Shops

Expansion's Grand Opening

Associate (Interior Designer), KGA

Architect (Architect) and Perini

Building (

General Contractor). Donnell

Design & Associates (Interior

Designer).

A lot is done to make the interior of

the structure appear like the

exterior by the use painting, and

the lighting changes the social

ambiance in order to encourage

consumption caused by spatial

Familiarity, intimacy, and comfort .

The street feels like an out door

and an indoor mall at the same

time; almost like a bazaar that one

would usually find in the middle

east.

Caesars Palace, 2004 Forum Shops

Expansion's Grand Opening

Associate (Interior Designer), KGA

Architect (Architect) and Perini

Building (

General Contractor). Donnell

Design & Associates (Interior

Designer).

A lot is done to make the interior of

the structure appear like the

exterior by the use painting, and

the lighting changes the social

ambiance in order to encourage

consumption caused by spatial

Familiarity, intimacy, and comfort .

The street feels like an out door

and an indoor mall at the same

time; almost like a bazaar that one

would usually find in the middle

east.

Caesars Palace, 2004 Forum Shops

Expansion's Grand Opening

Associate (Interior Designer), KGA

Architect (Architect) and Perini

Building (

General Contractor). Donnell

Design & Associates (Interior

Designer).

A lot is done to make the interior of

the structure appear like the

exterior by the use painting, and

the lighting changes the social

ambiance in order to encourage

consumption caused by spatial

Familiarity, intimacy, and comfort .

The street feels like an out door

and an indoor mall at the same

time; almost like a bazaar that one

would usually find in the middle

east.

The use of Greek pediment derived from the Parthenon to define the façade of the shop

distorts reality, and often, the members of the structure—columns, pediments, and

art objects are made with plastics.

The use of Greek pediment derived from the Parthenon to define the façade of the shop

distorts reality, and often, the members of the structure—columns, pediments, and

art objects are made with plastics.

Jaume Plensa, Crown Fountain, 2004

Millenium Park, Chicago. Water, Led

Screens, glass blocks, steel, black

Granite, pool 70.71m long, 32cim deep &

And a 15.24 meter high tower.

Jaume Plensa is a conceptual artist

Planning & installation, 1984 - 1991

3,100 specially made umbrellas

1,340 in Japan and 1,760 in USA

Over 12 and 18 miles length

respectively

In Japan, it involved talking to 459

land owners;

In the USA it was 26 land owners

Each umbrella has 470 parts

Weighed 500 pounds

Measured 19ft 8 inches high; and

28ft 6inches wide

Total cost: $26 million US

Inaugurated simultaneously

Jonathan Fineberg, 2000, 364.

Planning & installation, 1984 - 1991

3,100 specially made umbrellas

1,340 in Japan and 1,760 in USA

Over 12 and 18 miles length

respectively

In Japan, it involved talking to 459

land owners;

In the USA it was 26 land owners

Each umbrella has 470 parts

Weighed 500 pounds

Measured 19ft 8 inches high; and

28ft 6inches wide

Total cost: $26 million US

Inaugurated simultaneously

Jonathan Fineberg, 2000, 364.

Planning & installation, 1984 - 1991

3,100 specially made umbrellas

1,340 in Japan and 1,760 in USA

Over 12 and 18 miles length

respectively

In Japan, it involved talking to 459

land owners;

In the USA it was 26 land owners

Each umbrella has 470 parts

Weighed 500 pounds

Measured 19ft 8 inches high; and

28ft 6inches wide

Total cost: $26 million US

Inaugurated simultaneously

Jonathan Fineberg, 2000, 364.

Robert Smithson, Spiral Jetty, 1970; located in abandoned industrial site in Salt Lake,

Utah. 6,650 tons of material; 1,500 ft long and 15 ft wide

Ana Mendieta,

Serie arbor de la vida

(Tree of life series), 197

Do Women have to be naked to get into the Met? 1989:

Possible Exam Question: Name four Veni/Venuses which were

The fore runners of this image. Who were the artists of those

Veni/venuses, although one goes by an entirely different name.

Which one exactly was this images based on and who was the

Creator of that particular venus? Which image do you think is the

Most critical of this image? See pages 456 - 464 of Jonathan Fineberg.

Giorgione, Sleeping Venus, 1509, oil on canvas, staatliche Kunstammlungen,

Dresden, Gemaldegalerie Alter Miester

Titian, Venus of Urbino, 1538

Jean-August-Dominique Ingres, Grande Odalisque, 1814, Oil on canvas.

Eduard Manet, Olympia, was painted in 1963, but exhibited in Paris Salon in 1865;

Caused shock because of the way she gazed at the viewer; the flowers on her head,

her bracelet, and shawl are all signs of lady of the night. Also, her clothed made looke

at her with amazement. It was not her nudity that caused the shock, but her gaze.

The Creation of Adam is arguably the most famous section of

Michelangelo's fresco Sistine Chapel ceiling painted circa

1511–1512.

Barbara Kruger: You Invest in the Divinity of the

Masterpieces, 1982.

Barbara Kruger: Left: We Won’t Play Nature to Your Culture, 1983,

Right: Your Body is a Battleground, designed for the 1989 March

on Washington in support of women's rights and the abortion-rights movement

The Sun: Front Page Asbtract Expresh Style Riddle, 1988; Oil on Canvas 40 x 33 in

The New York Times, 1989. Colored pencil, watercolor, ink, and collage. 30 x 20 in.

Both Photographed by D. James Dee

Conrad Atkinson:

Left: Daily Consumernica (Guardian Poster), 1988. Sketch for newspaper page: felt pen, water

Color, collage, and Indian ink. Asbestos, detail, 1978. Asbestos objects wrapped in plastic, t

ypritten sheets mounted on board, photographs mounted on board, and printed documents

including newspaper clippings and advertisements. Art Journal Summer 2003, page 18 and 13.

Nancy Chunn, August 21 1998 and September 11, 1996, from the series, Front Pages,

1996-1999, Ink and pastel on newspaper, Art Journal Summer 2003, page 26 and 27

The USS Cole bombing was a suicide attack on 12 October 2000, while it was being refueled in the

Yemen port of Aden Seventeen American sailors were killed, and 39 were injured.

Left: Bruno Taut, Glass House, Exhibit, Cologne, 1914; Right: Sir. Norman Foster,

Swizz Re, London, 1997 - 2004

A ready made object reassigned a new function

and value as work of art by Marcel Duchamp, 1917

Assemblage:

Taking an object and reassigning

new values to it. That is what makes

assemblage. It is not the same as the

process of making ordinary object

iconic as we found in pop art. Sometimes

assemblage is achieved through

the new uses of discarded objects.

Marcel Duchamp, 1917 and Claes Oldenburg

There is no doubt here that Clears

Oldenburg is making us think about

Marcel Duchamp’s early creation in

Marcel Duchamp, L.H.O.O.Q, 1919: This is Duchamp’s way of making fun of the

original Mona Lisa by Leonardo da Vinci. He adding a moustache and a goatee to the

original image created by da Vinci. Here, the goal is to interrogate originality and the

meaning of art.

left:Salvador Dali,

Mao/Marilyn, 1972

right: Andy Warhol,

Mao, 1972

middle:

Roy Lichtenstein, Mao, 1971

Warhol and Power of the Mass Media

Andy Warhol was a master in of the

mass media. In 1963, when he saw the

attention Mona Lisa was getting when it was

in a loan exhibit at the Metropolitan Museum,

New York, Warhol decided to parity the loan

by reproducing large scale print images of

the painting. Howeever, one of the mass

reproductions stood out because it consist

of 30 images and he called it Thirty Are Better

Than One. His goal was to critique the

peproduction and the popularization of art by

the mass media. He did it as if he was testing

a printer’s proof sheet. When printers test their

proofs, some turn out in different directions

just like the way he deliberately arranged the

images here. Perhaps, you will also recall his

Coca Cola Bottles and Camble Soup Cans

Andy Warhol, Mao, 1972

Li Shan,

Mao: The

Rouge Series

Li Shan,

Mao: The

Rouge

Series,

1992,

Acrylic on

canvas,

Roy Lichtenste

Art, 1962

Roy Lichtenstein

House Optical

Illusio,

1962

Ed Paschke, Matinee, 1987

Device b y Jasper Johns,

1961-2. The ruler is both

an image and an

instrument for making

the picture.

Minimalism:

Form versus Content

Perception versus Illusion

Optics versus psychology

Symbol versus Meaning

Objects may be one thing,

but the may do something else; Their

meanings may change.

Susan Sontag took this distinction a

step further by advocating an art

and a criticism based on what an

artwork does rather than how it

symbolizes something beyond its own

physical presence.

Richard Serra,

Tilted Arc, 1981. 12 ft H, 120 L , Cor-

Ten self rusting steel. Front of the

Federal Plaza, New York City

Richard Serra,

Tilted Arc, 1981,

Cor-ten Steel,

12ft x 120ft x 21/2in.

Was installed at the Federal

Plaza, NY; General Services Office,

Washington, D.C.

One is aware of one’s own vulnerability

and sense of danger as well as the

fragility of life when one moves close to

this giant steel plate. In this sense,

what is supposed to symbolize strenght

and is traditionally used for building

starts to function in a manner that makes

us more aware of our own lives and

beings. See pages 299 – 312 for

more reading.

Richard Serra,

Tilted Arc, 1981,

Cor-ten Steel,

12ft x 120ft x 21/2in.

Was installed at the Federal

Plaza, NY; General Services Office,

Washington, D.C.

One is aware of one’s own vulnerability

and sense of danger as well as the

fragility of life when one moves close to

this giant steel plate. In this sense,

what is supposed to symbolize strenght

and is traditionally used for building

starts to function in a manner that makes

us more aware of our own lives and

beings. See pages 299 – 312 for

more reading.