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Robert Rauschenberg, Untitled (Early Egyptian), 1974. Gagosian Gallery.
Shepard Fairey, Dark Wave, 2014. Juxtapose July 2014. Stencil, silkscreen.
“ The Glasgow School of Art embodies a refreshingly direct conviction: When you are working in a building that embodies great ideas, it lifts you above the misery of cynicism, gives you strength, and you can—if you persevere—find your own convictions and arrive at your own core values as an artist. The present intellectual climate in art and architecture could use any force it can muster against cynical reason and sarcasm. ”
The Zubizuri, a tied arch footbridge across the Nervion River in Bilbao, Spain. By Santiago Calatrava, 1997. The bridge decking is glass block, and the bridge is suspended from tension cables hanging from a steel arch. (my photos)
High Museum, Atlanta, Richard Meier. 1983. (my photos)
Paul Frankl, Skyscaper Bookcase, birch and lacquer, 1926. High Museum, Atlanta. A mashup somewhere between Art Deco and Viennese decorative style, although in terms of materials and production these pieces were one-off, crafted objects rather than envisioned for mass production. (my photo)
Gropius House, Lincoln, Massachusetts. 1937-38. (my photo).
The Tetrarchy, a sculpture attached to the southwest corner of San Marco, in Venice. The 300AD sculpture represented the split of the Roman Empire into two administrative districts each with a senior and junior commander. Their embrace, and the deep stares into the distance in different directions, signals a shift from classical ideals into a more uncertain future.
Fritz Wotruba | Church “of the Holy Trinity" Aka Wotruba Church, Mauer 1976.
When travelling through France in 1947, Wotruba himself wrote that he dreamed of a sculpture that “would be in perfect unity with the landscape, the architecture and the city.”
Model - plaster. 42 x 89 x 65 cm.
Photo: Belvedere, Vienna, permanent loan from the Fritz Wotruba Private Foundation/Harald Eisenberger