Author Archives: Christine

Garden as setting for life's drama

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Anna Gilman Hill’s ‘Grey Garden’ in the East Hamptons is the setting for a movie on the lives of mother and daughter Little and Big Eddie. Anna Hill has been described as “one of the world’s greatest feminine horticulturalists.”

Yet the women who acquired her garden were challenged by the legacy she left them.

The Grey Garden, and the women’s struggle to maintain a viable garden in a beachside setting, somehow parallel their lives as individuals.

http://www.whatweretheskieslike.com/2009/03/grey-gardens-from-garden-perspective.html

The future of the future?

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When Marcel Duchamp painted ‘The Passage from Virgin to Bride’ in 1912 New York was still deeply in shock from the loss of the unsinkable Titanic earlier in the year. On April 15, 1912 headlines had read: ‘God Himself Could Not Sink This Ship.’ Yet, all it took was an iceberg in the darkness to shake man’s faith in technology. Perhaps the 6th May suffrage marches in the city similarly shook the pscyhe of the men of the city? Yet by 1917 the women of New York had the right to vote.

Sara Bard Field is said to have had conventional beginnings as a Baptist missionary wife. It is recorded that “she gradually evolved intellectually, emotionally and spiritually” finding the love of her life, working for suffrage and the right to birth control.

In 2010, once again icebergs are causing sleepness nights as temperatures heat up and polar ice caps continue to melt. This time perhaps young women are in danger of asking for ‘presidencies’ (think Sarah Palin), equal participation at the UN and who knows what else?


Greening the greenback: the US green city renaissance

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Green cities in the US refer not only to an attempt to integrate the environment into the concerns of city planning, but also attempts at greening the economy of these cities. The measures that are applied to rank the cities include:

*public/private incubators for clean technology industries

* renewable energy

* advanced transportation

* advanced water treatment

* alternative fuels

*green building

*energy efficiency


It is said that “these indicators gauge, for instance, which cities’ public transit, renewable energy, local food, and development approaches are more likely to either limit or intensify the negative economic and environmental impacts of fossil fuel dependence.” Although these goals are admirable, they are really only concerned with a soft green economy, and don’t go close to the total economic transformation which seems to be called for if cities are going to continue to thrive into the future as places for human settlement. 

Batchelor Life in the Green Age

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So what are the essentials of life for the modern batchelor in the Green Age? Is a good view to a natural setting a pre-requisite for happiness in habitation? Should he be provided with a balcony so that he can commune with the outdoors while still ensounced in his pad? Or does the modern batchelor still insist on his own patch of dirt? Perhaps a fast or all terrain vehicle would satisfy a desire to experience the outdoors…afterall what are weekends for?

Or in the Green Age has the batchelor become a totally urbanised creature? Is access to a good coffee shop, a waterfront promenade and urban night life the essential accessory for a good life?

Just around the Corner

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The Architectural Association in describing ‘Landscape Urbanism’ says what Landscape it is not. It is NOT:

“…understood as a scenographic art, beautifying, greening or naturalising the city.”

And then what it IS;

“…scalar and temporal operations through which the urban is conceived and engaged with.”

Thus, Landscape Urbanism prioritises the phenomenological experience of the city, while distancing itself (perhaps defensively) from the visual aesthetic. Perhaps an ironcial realisation of this preference for the non-aesthetic is the prediction by James Corner of the disappearance of the city into the landscape. Perhaps this prophecy will be realised quite differently than the romantic post-industrial ruin?  Corner, typified by the high line project, focuses on the rehabilitation of the abandoned elements of the city and post-industrial landscape.Can landscape urbanism be artfully conceived? 

Perhaps the city of the future will afterall disappear under the advance of the landscape, but once again capture something of the beauty which is now itself abandoned by its favourite profession?

Theorising the possible

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Whatever happened to beauty?

Modern art turned the viewer’s gaze inward to the inner world rather than outward to the external world. In doing so, modern artists prefiguring existential and phenomenological accounts of perception highlighting that art is not only seen, it is experienced.

In this first post of a series, with thanks to Tom for his comments and suggestions, I shall explore the work and artistic legacy of the Futurists.

At the turn of the twentieth century a young ecletic group of artists in a hurry collaborated under the banner of Futurism. The Futurists in particular grappled with the role of perception in artmarking.

They were concerned to portray the world as it is experienced and viewed, and perhaps more importantly as it could be, through a richer perceptual lens free of the constraints of the academie which had become ossified and rule bound.

The Futurists in their abstractions were concerned with expressing the emotional state of the artist rather than depicting nature. This interest in the emotional state of the artist/observer of life arose from in part from the sculpturer Boccioni insistence on the work of art as an essential manifestation of reality, an aspect of sensation, rather than as an activity of the spirit.

It is thought that the philosophy of Bergson was an important influence on the Futurists. Berguson espoused two types of knowledge objective and subjective. Objective knowledge is “conceptual knowledge directed towards the requirements of our practical life and lending itself to the analytical procedures of the natural sciences” while subjective knowledge “is a projection of our intimate self-awareness onto the external world.” Berguson termed this intuition.

Boccioni attempted to describe the proces of intuition the ‘terrible tension’ as he experienced it:

“the artist seeks to maintain himself continuously ‘in the inside of the object, to live its changeability and to grasp its unity.”

See article by Brian Petrie, ‘Boccioni and Bergson’.  The Burlington Magazine Vol 116, No 852, Modern Art 1908-25) pp140147.

It is possible to unpick this concern of the Futurists with close attention to the disappearance of beauty from the discourse of aesthetics. Arthur Coleman Danto in ‘The Abuse of Beauty’ believes beauty lost its descriptive power with the early Logical Positivists. Instead the word came to stand for an expression of overall admiration. He says:

“Beyond what could be dismissed as ‘its emotive meaning’, the idea of beauty appeared to be cognitively void – and that in part accounted for the vacuity of aesthetics as a discipline, which had banked so heavily on beauty as its central concept.” 

The Futurists in grappling with these concepts enriched our understanding both of artmaking and visual perception.

http://www.uweb.ucsb.edu/~gnorton/Manifesto.html