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Reversible Destiny : Arakawa/Gins
Over the last three decades, Arakawa (Shusaku Arakawa, b. 1936) and Madeline Gins (b. 1941) have created a remarkable body of work that bridges disciplines and seeks to expand the definition of artistic practice. This volume, published on the occasion of a major exhibition at the Guggenheim Museum SoHo, features two important collaborations, The Mechanism of Meaning, 1963-73, 1996, and their "reversible destiny" architecture projects, begun in 1971.
Reversible Destiny : Arakawa/Gins
Over the last three decades, Arakawa (Shusaku Arakawa, b. 1936) and Madeline Gins (b. 1941) have created a remarkable body of work that bridges disciplines and seeks to expand the definition of artistic practice. This volume, published on the occasion of a major exhibition at the Guggenheim Museum SoHo, features two important collaborations, The Mechanism of Meaning, 1963-73, 1996, and their "reversible destiny" architecture projects, begun in 1971.
Architectural Body
A verbal articulation of the authors' visionary theory of how the human body, architecture, and creativity define and sustain one another This revolutionary work by artist-architects Arakawa and Madeline Gins demonstrates the inter-connectedness of innovative architectural design, the poetic process, and philosophical inquiry. Together, they have created an experimental and widely admired body of work--museum installations, landscape and park commissions, home and office designs, avant-garde films, poetry collections--that challenges traditional notions about the built environment. This book promotes a deliberate use of architecture and design in dealing with the blight of the human conditio...
Reversible Destiny: Arakawa/Gins
Over the last three decades, Arakawa (Shusaku Arakawa, b. 1936) and Madeline Gins (b. 1941) have created a remarkable body of work that bridges disciplines and seeks to expand the definition of artistic practice. This volume, published on the occasion of a major exhibition at the Guggenheim Museum SoHo, features two important collaborations, The Mechanism of Meaning, 1963-73, 1996, and their "reversible destiny" architecture projects, begun in 1971.
Arakawa
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The Mechanism of Meaning
A creative and dynamic volume by Arakawa and Gins, who have been called the most philosophical of living artists, which collects their writings and art work from a period of nearly 2 decades. They address the essential art query of our time: How does it all fit together? Art and science happens in fragments. They take fragments, and they try, by making linkages to perceiving tactics immediate, to draw these tactics, these ways of construing a demonstrably conceivable whole that are the perceiver-reader, into a unified field that they refer to as "the perceiving field." They propose to re-create and to rejoin fragments, and would-be fragments, so as to make a new whole.
Arakawa
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Arakawa
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Arakawa and Madeline Gins
Continuing the collaboration of over 30 years between the New York-based artists Arakawa and Madeline Gins, this book is a unique and predominantly visual exploration into architecture and its centrality to the project of human self-knowledge and self-formation, carrying philosophical argument into the realm of construction. It asks what is the nature of perception? and how does the human being relate to surrounding space? Recording and documenting what it is actually like for a person to stand within a piece of architecture, this is the first systematic study of the role the body and bodily movement play in the forming of the world. Through a series of computer-generated images of great beauty and intricacy, the reader is presented with ways of reworking the man-made world that is architecture. Going further, the book suggests a revolutionary re-invention of the planet and, by extension, the universe.
Fragment, Image, and Absence in 1960s Japan
This groundbreaking book examines how the notion of “the object” was transformed in Japanese experimental art during a time of rapid social, economic, and environmental change. Reviving the legacies of the historical avant-garde, Japanese artists and intellectuals of the 1960s formulated an aesthetics of disaffection through which they sought to address the stalemate of political and aesthetic representation. Ignacio A. Adriasola Muñoz draws from psychoanalytic theories of melancholia to examine the implications of such an approach, tracing a genealogy of disaffection within modernist discourse. By examining the discursive practices of artists working across a wide range of media, and t...
