Sayre2e ch40 integrated_lecture_pp_ts-150681

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Frank Gehry and Vlado Milunic. The Rasin Building, also known as the
Dancing House or “Ginger and Fred,” Prague, Czech Republic. 1992-96.

Las Vegas, Nevada.

Postmodern Architecture: Complexity,
Contradiction, and Globalization
What characterizes postmodern architecture?
• Architects and builders exemplify the affluent nomads of the new
postmodern society. Current technologies are “designed for
movement.” One of the key elements of Frank Gehry’s success was
his ability to ensure that the “organization of the artist” prevailed.
Santiago Calatrava is known for the dynamic curves of his buildings
and bridges.
• One of the newest approaches to contemporary architecture takes into
consideration the compatibility of the building with its environment.
• Discussion Question: How does Las Vegas influence postmodern
architecture?

Frank Gehry. Gehry residence, Santa Monica, California. 1977-78.

Frank Gehry. Gehry residence, Santa Monica, California: Axonometric
drawing. 1977-78.

Frank Gehry. Guggenheim Museum, Bilbao, Spain. 1997.

Santiago Calatrava. Design for Port Authority Trans Hudson (PATH)
station, World Trade Center Site, New York. 2004.

Renzo Piano. Jean-Marie Tjibaou Cultural Center, Nouméa, New
Caledonia. 1991-98.

Emilio Ambasz. ACROS Building (Fukuoka Prefecturial International Hall),
Fukuoka, Japan. 1989-95.

Pluralism and Postmodern Theory
How does postmodern theory reflect pluralist thought?
• Structuralism — The roots of this idea lie in French structuralism,
which argues that meaning occurs not through identification but through
difference.
• Deconstruction and Poststructuralism — the chief practitioner
of deconstruction was the French philosopher Jacques Derrida.
Deconstruction is not synonymous with “destruction,” but rather it
suggests that the “text” be analyzed and taken apart in order to show
what has been left out our overlooked.
• Chaos theory — Chaos theorists posit that biological and
mathematical patterns that appear random, unstable, and disorderly are
actually parts of larger, more “difficult wholes.”
• The Human Genome — Chaos theory is being usefully applied to
genome research: the Human Genome Project was initiated in 1990.

Herzog & de Meuron. The Bird’s Nest—Beijing National Stadium. 2004–08.

Zhang Hongtu. Bird’s Nest, in the Style of Cubism. 2008.
36" × 48”.

Benoit Mandelbrot. The Mandelbrot set.

Pluralism and Diversity in the Arts
How are pluralism and diversity reflected in art and literature?
• A Plurality of Style in Painting — By the end of the 19602, artist
felt free to engage in a wide spectrum of experimental approaches to
painting. Richter repaints photographs which create paintings of the
graspable and visible. Steir adapted Pollock’s drip technique to her
own ends, allowing paint to flow by force of gravity down the length of
her canvases to form recognizable waterfalls.
• Multiplicity in Postmodern Literature — The pursuit of meaning
lies at the heart of postmodern literature, but because meaning is
always plural and fleeting, attempting to find any permanent meaning in
the postmodern world can only lead to frustration. A working definition
of postmodern fiction might include any form of writing that defeats the
readers’ expectations of coherence. One of the principal strategies of
postmodern poetry is to take advantage of the indeterminacy of certain
words.

• A Diversity of Cultures: The Cross-Fertilization of the
Present — American English has become the international language
of business, politics, the media, and culture. Japanese artists have
begun to directly engage the West. The British-born Nigerian painter
Chris Ofili uses his West African culture as a source of inspiration for
his art. Latino culture has become increasingly Americanized, and an
influx of Hispanic immigrants helped Latinize American culture. The
American Indian Movement helped to revitalize Native American
cultures and furthered interest in traditional art forms. The tension
between political reality, cultural identity, and personal identity is
especially evident in the work of Middle Eastern women artists.
• A Multiplicity of Media: New Technologies — Just as the
electronic media have revolutionized modern culture, so too have the
arts been revolutionized by these media, particularly through the
medium of video.
• Discussion Question: Discuss the effect of globalization on the
environment and indigenous cultures.

Louise Lawler. Pollock and Tureen. 1984.
28" × 39”.

Gerhard Richter. Meadowland. 1992.
35-5/8" × 37-1/2”.

Gerhard Richter. Ice (2). 1989.
6'8" × 63-7/8”.

Jean-Michel Basquiat. Closer Look: Basquiat's Charles the First. Three
panels. 1982.
78" × 62-1/4”.

 Closer Look: Basquiat, Charles the First
MyArtsLabChapter 40 – Without Boundaries: a Postmodern World

Pat Steir. Yellow and Blue One-Stroke Waterfall. 1992.
14’ 6-1/4" × 7’ 6-3/4”.

Yasumasa Morimura. Portrait (Futago). 1988.
82-3/4" × 118”.

Zhang Huan. To Raise the Water Level in a Fish Pond. Nanmofang
Fishpond, Beijing, China. Performance documentation. Detail, middle
distance. 1997, August 15.
60" × 90”.

Chris Ofili. The Holy Virgin Mary. 1996.
8' × 6’.

Yinka Shonibare. Victorian Couple. 1999.
Left figure: 60" × 36" × 36"; Right figure: 60" × 24" × 24”.

Judith F. Baca. Farmworkers at Guadalupe. One of four murals,
Guadalupe, California. 1990.
8' × 7’.

Jimmie Durham. Headlights. 1983.

David P. Bradley (White Earth Ojibwe and Mdewakaton Dakota). Indian
Country Today. 1996-97.
70" × 60”.

Shirin Neshat. Rebellious Silence, from the series Women of Allah. 1994.

Shahzia Sikander. Pleasure Pillars. 2001.
12" × 10”.

Eleanor Antin. Minetta Lane—A Ghost Story. Three films, each about ten
minutes long. 1994-95.

Bill Viola. Five Angels for the Millennium. (Edition of three). 2001.
Each project image size: 7’ 10-1/2" × 10' 6”.

Peter Fischl and David Weiss. Der Lauf der Dinge (The Way Things Go).
One of two stills. 1987.
30 minutes.

Peter Fischl and David Weiss. Der Lauf der Dinge (The Way Things Go).
Two of two stills. 1987.
30 minutes.

Superflex. Flooded McDonald's. One of two stills. 2008.
21 minutes.

Superflex. Flooded McDonald's. Two of two stills. 2008.
21 minutes.

Pipilotti Rist. I'm Not a Girl Who Misses Much. One of three stills. 1986.
5 minutes.

Pipilotti Rist. I'm Not a Girl Who Misses Much. Two of three stills. 1986.
5 minutes.

Pipilotti Rist. I'm Not a Girl Who Misses Much. Three of three stills. 1986.
5 minutes.

Pipilotti Rist. Ever is Over All. National Museum of Foreign Art, Sofia,
Bulgaria, 1999. Sound, Anders Guggisbert. 1997.

Janine Antoni. Touch. 2002.
9:36 minute loop.

Olafur Eliason. Continuity & Change: The Environment and the Humanist
Tradition: The Weather Project. Installation view at the Tate Modern. 2003.

Sayre2e ch40 integrated_lecture_pp_ts-150681

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