Broken Homes - Andrew Mackenzie

Through reading Broken Homes, I have been made aware of some of the deeper issues that Callum Morton’s Valhalla, holds. Immediately the review began breaking down layers of meanings, one in particular was Mackenzie’s analogy of the title, explaining how the Valhalla - meaning “Hall of the slain”, implies the continuity of history and Mackenzie suggests “we be careful no to see the world through the anxiety… of USA foreign Policy”.

Morton’s original family home “Myoora” had been recently torn down, and as I understand, Valhalla became a representation of the outward old house although “burnt out, scarred and a maimed shell”. The architectural scaling and location of Valhalla meant that it is strategically tucked away from the rest of the other artworks, which I hadn’t considered until reading this review. Not only is the work separate in location, but I agree with Mackenzie when he mentions that it is also “not immediately identifiable” as art.

With this statement, arises the discussion between the public and private lives of humanity, with homes acting as the “retreat” from the world’s pressures, so in our private areas we can really be ourselves and reveal our true colours. Mackenzie mentions that the “home is central” because in recent years the city and public spaces have declined in social life, recruiting people away from public eyes to create a sub-division separating interaction.

Mackenzie then goes onto arguing the architectural side of things faulting the design of American houses as another reason for this separation between public and private, with security, comfort and community, who can say no? This according to Mackenzie and Mary Jane Jacobs “planned the separation from the working city from the seeping suburbs”.

Mackenzie states that “this Valhalla is not a heavenly hall… it is a monument to a home broken by time and the proclivities of real estate… a monument to the raving force of economy over ideology” which I think sums up the majority of Morton’s ideas. Mackenzie suggests that Valhalla’s walls mark the eroding public life as well as the demolition to a part of his own past.

I thought the review was really interesting, and opened up a couple of points which I hadn’t really thought about during our discussion in class. I agreed with most of Mackenzie’s points as well which made it easy to interpret and understand.

Art and Architecture/Institutions - Simon Starling

Simon Starling


Simon Starling
“Inverted Retrograde Theme, USA (house for a songbird)”
2002

Starling, born 1967 is an English artist who works and lives in Berlin. Heartney suggests Starling “targets modernist design” as he refers to the failure of security and unconventional housing structure. As seen in “Inverted Retrograde Theme, USA (house for a songbird)” 2002, the two structures have been turned up-side down to reinforce the dysfunction of the design. The steel bars on the windows and doors suggest a lack of security and Starling has inserted live parakeets into the models “evoking the caged entrapment of its residents”.

http://www.frieze.com/issue/review/simon_starling1/

PLEASE TAKE NOTE:

Hi All,

Due to the fact the Artspace exhibition - She went that way by RAQUEL ORMELLA will not be available for showing till Thursday next week (I would suggest you all try to make the opening if possible)... we will be meeting up the hill at the AGNSW to see:

Tatzu Nishi: War and peace and in between

A Kaldor Public Art Project.

Those who do read this message - please make others in the class aware of the change!

Broken Homes – Andrew Mackenzie

I found that this article was incredibly useful in the understanding of the background of the artwork and the artist. In this case the artwork was a very personal replication of an important element of the artists life, of which in this case the viewer can empathise with, as no home is perfect. It is interesting that the house is built not to scale, yet not as a miniature, it is as if the artist is lingering between the architects’ model – which in this case it relates to the artists' father – and the actual article being the house that the artists father realised. Mackenzie also mentions that the house was demolished [page 85] which gives the replication all the more emphasis as the replication is now a representation of a period in time that has lapsed.

In the last paragraph Mackenzie makes a comment about the Venice Biennale being a “world stage” and “far from a healthy place for art” due to the pressure on artists. [page 87] This is very interesting to me, having just finished reviewing Art & Globalisation, because in the art-world Biennale’s have played major role in the transformation into a globalised society. I think that Biennale’s are a great way to show the world what different countries have to offer, but I have to agree with Mackenzie and ask how does the pressure of an international stage influence an artists, art-making? Or is this pressure exactly what an artist of the 21^st century needs because today’s society is incredibly fast passed and can in fact handle it?

RENEW NEWCASTLE - Architecture

A friend of mine was in Newcastle for the Arts festival "TINA" (This Is Not Art). The festival involved many disciplines of the arts including writing, performance, music, art. There is a project taking place at the moment called Renew Newcastle whcich she was telling me about and which was a big part of the festival. For various reasons, many shops and houses in Newcastle are vacant at the moment and the real estate agents just can't convince anyone to buy them. Renew Newcastle has organised for artists to exhibit in the shop fronts for free. An initiative which means the art is accessible to the public. The real estate agents are allowing this as they hope the value of the shops will increase due to the attention and publicity.

I thought this was a good topic for Art and Architecture as well as Art and it's Institutions. The artists are working with local architecture and already vacant space and everyone wins through the placement of the works! Unfortunately I didn't get to go to the festival but the project should be running for a fair while, or until the properties get sold perhaps! It would be worth checking out if in the area.

http://renewnewcastle.org/

Art and the Collaborative

The Guerrilla Girls are a feminist art group founded in New York in 1995; With their radical posters they promote women and ethnic artists. Through the years they've expanded their work to speak out against racism, discrimination, and promote equal opportunity for women worldwide, as they critique Hollywood and the film industries, and the art world. The name "The Guerrilla Girls" was chosen due to the fear spurred from guerrilla warfare, unknown identities and unexpected attacks.

PARAsite - architecture of the street.

Micheal Rakowitz's PARAsites were created to serve as a temporary shelter for the homeless in New York city.

"PARASITISM IS DESCRIBED AS A RELATIONSHIP IN WHICH A PARASITE TEMPORARILY OR PERMANENTLY EXPLOITS THE ENERGY OF A HOST"[1]

Each paraSITE is made of simple materials such as plastic bags, polyethylene tubing, hooks and tape designed to be attached to the exterior outtake vent of a building's HVAC (heating, ventilation and air-conditioning system) which then inflates and heats the custom built site. Being lightweight they are transportable and easy to dismantle, whereby all one needs to shelter him or her self for the night is to attach it to existing architecture's HVAC.

These paraSITEs not only serve those in need but are also a reaction to Boston, Cambridge, Massachusett and New York City's attempts to make their city 'homeless-proof' by re-designing benches and grates into impossible resting places and deploying outdoor sprinklers to serve as a deterrent to homeless people.

The first prototype was presented to a Bill Stone in 1997 who unsurprisingly expressed his enthusiasm[2]. In 1998 Rakowitz had finished the basic design and produced and distributed them to 30 homeless people in Boston, Cambridge, Massachusett and New York.

The project is ongoing..

Personally i think this project is not only a humanitarian act, but a magical and innovative approach to a terrible and seeminly unacknowledged issue. As i said earlier these paraSITEs not only help the people that need it most but they also exemplify the obvious cruelty of a world or society more willing to look way (or not look at all) than to help.

Rakowitz is constructing temporary homes for the homeless. He recognizes this issue will not be going away over night, so he considers their position and creates objects that can at least help them for now.

[1]http://michaelrakowitz.com/parasite/

[2]Ibid

Pictures reproducing from 'Micheal Rakowitz - paraSITE' http://michaelrakowitz.com/parasite/

Art & Architecture

Sacha Sosno, La Tete Carrée de Sonso (2002). Musée d’Art Modern et d’art Contemporain (MAMAC) Nice. 

Sacha Sosno designed this monumental (30m x 14m) sculpture. It is in fact a building – a public library, on the Museum grounds. Standing close to it you feel as though you are an ant, and that the body of the sculpture may emerge from the ground and unexpectedly flatten you.

I saw this when I was cruising around Nice and thought that the town were artistically advanced. It was a very useful landmark when I was on foot looking for the Museum as I am not the best map-reader.

I would love to go to work everyday in the big, box head, and I am sure that I would have bragging rights. Although I would probably be a librarian and that doesn’t sit to well with me, as I wouldn’t want to brag about that. No offence any budding librarians.

Art & its Institutions- Janet Cardiff

Janet Cardiff, Chiaroscuro, 1997. Audio walk, 12 min. Museum of Modern Art, San Francisco.

Above: Janet Cardiff, MoMa Walk, 1999. Audio walk, 12:50 min. Museum of Modern Art, New York.

Below: Janet Cardiff, Villa Medici Walk, 1998. Audio walk, 16:22 min. Villa Medici, Rome.

Behind the illusions of the art world lies business and the institutions of art. These range from the critics that analyse art to the collectors who buy art to the galleries that display art. Greenberg describes it as the “umbilical cord of gold” that keeps the art system together. [1]
Artists in the early 1990s begun to explore this symbiotic relationship between artists and art institutions through their work.
Canadian Janet Cardiff is one such artist. Born in 1957 she is known for her film and sound works. She examines the role of the gallery institution in our perception of art by redefining a gallery space and how we assume art should be presented.
Cardiff’s first major artwork consisted of a series of walks. These started in the early 1990s and continue up until quiet recently. In these works she reinvents the audio walks often offered at museums that explain the current exhibitions. However in Cardiff’s walks she focuses little on the exhibitions, creating instead a fictional narrative. Most of these walks begin in an intuitional space then either diverge outdoors into the streets or inwards to classified parts within the institution. The viewer is given a headset, and a MP3 and follows the instructions of the voice through the earphones. Cardiff uses binaural technology creating a 3D audio experience. The audio is a mixture of recorded everyday sounds, random fragments of stories and orders given from the alluring voice. A fictional plot begins to play out in an imagined reality surrounding the viewer as they move through the space.
The “white cube” has been thought as the ideal uncontaminated environment to have a ‘pure’ experience of art.[2] It acts like a theatre set. White walls little to no windows, and no architectural adornment. Artworks are careful placed and lit just as actors are.
In one walk Cardiff created for the Museum of Modern Art in New York the participant is taken on a tour of the gallery. Aspects of the pre-recorded audio begin to merge into reality as the viewer is guided to the disregarded stairwells and hidden, prohibited doors. The viewer is taken behind the museum curtain to a “conceptual space of imagined fictions”.[3]
Cardiff recalls:
“I was visiting the new MoMA recently and I tried to find traces of where my walk once existed. But most of the places where I did the walk are now just spaces floating in the air.” [4]
By using unfamiliar voices, inaccessible moments in time and changing locations the work very much lives in the psyche of the viewer. The viewer is the artwork’s keeper as well as it’s actor and audience.
In her works she approaches the subject of the gallery institution in two difference manners. She either changes our perception of it by taking us behind the scenes and treating it as the stage for an illusory narrative or ignores it entirely by creating a fantastical world that transports us deep inside our imaginations. She makes us question the importance of the gallery in the viewing and understanding of art. In her works she merges reality with fiction making the audience question what is true and what is just an act. She pronpts us to ask the same question of all things in the art world, asking what is natural and what is contrived and if it changes the meaning and impact of an artwork.

[1] Clement Greenberg. "Avant-Garde and Kitsch." Partisan Review. 6:5 (1939), 34.
[2] Brian O'Doherty , Inside the white cube : the ideology of the gallery space.(London : University of California Press, 1999), 15.
[3] Bartomeu Mari, "Janet Cardiff, George Bures Miller, and other stories." In Janet Cardiff and George Bures Miller: the killing machine and other stories 1995-2007, ed. Ralf Beil and Bartomeu Mari (Ostfildern : Hatje Cantz, 2007), 18.
[4] Cardiff, Janet. “JANET CARDIFF GEORGE BURES MILLER.” Official website of Janet Cardiff and George Bures Miller (2009), http://www.cardiffmiller.com/index.html (accessed September 20, 2009).

Bibliography

• Heartney, Eleanor. Art & Today. London: Phaidon Press Inc., 2008.
• O'Doherty, Brian. Inside the white cube : the ideology of the gallery space. London : University of California Press, 1999.
• Beil, Ralf and Bartomeu Mari. Janet Cardiff and George Bures Miller: the killing machine and other stories 1995-2007. Ostfildern : Hatje Cantz, 2007.
• McShine, Kynaston. The museum as muse : artists reflect. New York : Museum of Modern Art, 1999.
• Möntmann, Art and its institutions : current conflicts, critique and collaborations. London : Black Dog Pub., 2006.
• Greenberg, Clement. "Avant-Garde and Kitsch." Partisan Review. 6:5 (1939): 34.
• Florida, Richard. The Rise of the Creative Class and How It's Transforming Work, Leisure, Community and Everyday Life. New York, NY : Basic Books, 2002.
• Cardiff, Janet and George Bures Miller. “JANET CARDIFF GEORGE BURES MILLER.” Official website of Janet Cardiff and George Bures Miller (2009), http://www.cardiffmiller.com/index.html (accessed September 20, 2009).

All images sources from:
Cardiff, Janet and George Bures Miller. “JANET CARDIFF GEORGE BURES MILLER.” Official website of Janet Cardiff and George Bures Miller (2009), http://www.cardiffmiller.com/index.html (accessed September 20, 2009).

Art and Architecture- Liz Craft

Liz Craft is an American Artist born in the 1970s. She creates amazing works and one that i discovered while researching for our current sculpture work was this artwork "Floating Man Rose" (2007). Its architecturally structured but has odd twists and turns added to it. It reminds me of Escher. Its the kind of art that you want to get involved with and play on.

It is on display at the Marianne Boesky Gallery in NY.
Here is the info i found on it:
Working in aluminum, Craft has created five large-scale monumental cubes that bear wall friezes, reliefs, cut outs and outsized protruding limbs. For this show, Craft takes on the reverential and sculpture’s potential to be monumental, with large-scale and architectonic sculptures as her inspiration. While these new works are on one level clean minimalist boxes, Craft also continues to mine her particular iconography which draws from hippie, biker, and New Age-y California countercultures. Within each cube and frieze are interiors containing grotto-like inner lives. Using cast commonplace window frames in case, the openings allow the viewer to see the tableaus within. Each interior feels like aggrandized fragments of personal experiences, culled from both quotidian life and dreamlike memory. One contains a cave of stalactites, others are populated with Godzilla, palm trees, cushions, blooming vases, mermaid-like and floating figures. All are finished in a pristine white patina. The arm-like forms that extend from the sculptures feel almost Grecian in their design, yet also infuse the objects with an anthropomorphic strangeness.

Typical of Craft’s work, the material solidity of the sculptures marks a contrast with the fanciful irreverence of the depicted figures and forms. Though the sculptures attain a new dimension in scale, they manage to retain a quaintness redolent of Craft’s previous works as the artist’s handicraft combines with refined craftsmanship.

Liz Craft lives and works in Los Angeles. Her work was included in the 2004 Whitney Biennial and in the exhibition “Eden’s Edge: Fifteen LA Artists” at the Hammer Museum in 2007. Craft recently had her first monograph published with an introduction and interview by Betina Steinbrügge, and essays by Bruce Hainley and Heike Munder (pub. JRP Ringier/Halle fur Kunst).

Art & Architecture - Monika Sosnowska

Figure 1

Figure 2

Figure 3

“The dreams and failures of modernist architecture, while largely constraining architects, have invigorated contemporary artists.”[1] – Eleanor Heartney.

Monika Sosnowska is but one contemporary artist whose works are influenced greatly by architecture. Born in 1972, in Poland, she grew up witnessing the fading socialist architecture of that time. Now living in Warsaw, it is obvious how much the architecture of the city has slowly formed a basis for many of her sculptural and site-specific installations.

“…[Warsaw] itself, a very chaotic city growing up very fast on the ruins of modernism, or rather, coexisting in a symbiosis with them. There are a lot of new buildings, but the past is very present as well. I often doubt whether everything is going in the right direction.”[2] - Monika Sosnowska.

Her artworks do not only highlight how these structures have been altered and adapted for future use, but have also become psychologically charged experiences for the viewers of the work. Sosnowska’s work has been seen to have a parasitical nature , ‘they borrow some of their site’s characteristics but abandon them to indulge their perversely formal nature.’[3]In her most well known installation to date is 1:1, created for the Venice Biennale in 2007, Sosnowska has re-created a the steel framework of a housing block to scale, and in a great feat of engineering has crushed the structure to fit snugly into the Polish Pavilion. The skeletal structure was modeled on Polish architecture of the 1970’s, and this convergence of architectural forms becomes ‘ a metaphor for the many lives forced to adjust to the social requirements of an antisocial architecture.’[4] This work has been recently shown at the Schaulager Gallery in Basel, in an exhibition of her work and the work of Andrea Zittel in 2008. Taken out of context this work still manages to convey the same ideas but draws a larger focus on the installation as more of a sculptural object in itself.

Sosnowska’s works also become about an individuals response to the spaces she creates, based on memories and emotions that the works themselves induce in the viewer. She utilizes illusion and disillusionment to disorientate the audience. This can be seen in works such as Corridor, 2003 and Untitled, 2004, both of which force the viewer to adapt their body in uncomfortable ways to experience the work. Yet again reinforcing the ideas of conformity, and the need to adapt to move forward.

These uneasy relationships that Sosnowska creates by playing with scale and surroundings also creates a dialogue with and places emphasis on the architecture in which they are exhibited. An example of this can be seen in her work Untitled, 2004.

---

[1] Eleanor Heartney, Art & Today. ( London: Phaidon, 2008) 322.

[2] Ann Temkin. “Interview between curator Ann Temkin and Monika Sosnowska”. http://www.moma.org/interactive/exhibitions/projects/project83/sosnowska_interview.pdf (accessed 30 September 2009)

[3] Kristy Bell. “ Time and Space”. Frieze Magazine, Issue 116 ( June-August 2008) http://www.frieze.com/issue/article/time_and_space (accessed 30 September 2009)

[4]Kristy Bell. “ Time and Space”. Frieze Magazine, Issue 116 ( June-August 2008) http://www.frieze.com/issue/article/time_and_space (accessed 30 September 2009)

BIBLIOGRAPHY:

Szczerki, Anderzej. “Why the PRL Now? Translations of Memory in Contemporary Polish Art”, Third Text 23, Issue 1 (January 2009) 85-96, http://www.informaworld.com/10.1080/09528820902786719 (accessed 30 September 2009)

Heartney, Eleanor. Art & Today. London: Phaidon, 2008.

Jaquels, Alison (et.al). Vitamin 3-D : New Perspectives in Sculpture and Installation. London; New York: Phaidon , 2009.

Bell, Kristy. “ Time and Space”. Frieze Magazine, Issue 116 ( June-August 2008) http://www.frieze.com/issue/article/time_and_space (accessed 30 September 2009)

Temkin, Ann. “Interview between curator Ann Temkin and Monika Sosnowska”. http://www.moma.org/interactive/exhibitions/projects/project83/sosnowska_interview.pdf (accessed 30 September 2009)

http://www.designboom.com/weblog/cat/10/view/3117/monika-sosnowska-at-schaulager-basel.html (accessed 30 September 2009)

IMAGES:

Figure 1: Sosnowska, Monika. 1 : 1, 2007. Steel, 7 x 14 x 6m. Reproduced in Vitamin 3-D : New Perspectives in Sculpture and Installation. London; New York: Phaidon , 2009. 291

Figure 2: Untitled, 2006. Steel. Reproduced from Frieze Magazine, "Time and Space" http://www.frieze.com/issure/article/time_and_space/ (accessed 30 September 2009)

Figure 3: Untitled, 2004. MDF, gloss paint. Dimensions variable. Reproduced in Vitamin 3-D : New Perspectives in Sculpture and Installation. London; New York: Phaidon , 2009. 290

40 years: Kaldor Public Art Projects 2/10/09- 14/2/10

40 years: Kaldor Public Art Projects
2 October 2009 – 14 February 2010
Level 2 Contemporary Galleries
Admission free

"In 1969 artists Christo and Jeanne-Claude came to Sydney and wrapped the rocky coastline at Little Bay, 2.5 kilometres of coast and cliffs up to 26 metres high. It was the largest single artwork that had ever been made and one of the first major land art projects anywhere in the world. It was also the first of a series of projects realised by art patron John Kaldor.

Now, the Art Gallery of NSW is celebrating 40 years of groundbreaking contemporary art from Kaldor Public Art Projects in an exhibition containing archival material, photographs and unique television footage.

Some of the most ambitious and internationally famous of the 19 projects will be part of this exhibition, including works by Christo and Jeanne-Claude, Gilbert & George, Sol LeWitt, Jeff Koons, Nam June Paik and Charlotte Moorman.

To coincide with the exhibition, Kaldor has invited Japanese artist Tatzu Nishi to complete another ambitious project, which transforms the front of the Gallery."

Art, Architecture and Burden

Imogen Perry
THAP1211 Studio Theory Fine Arts A: Extended topic area research- Presentation
Amanda Williams
6th August 2009

Art, Architecture and Burden

Architecture traditionally has always relied on similar foundations based on precepts of form, material and function. Most architecturally realized structures are the products of, the architect’s visualization of three-dimensional structure, the money available to expend on resources and labour and the current conventions of the age like our modernist utilisation of geometrical shapes evolving from the post war architecture of Le Corbusier. Modernist architecture has had to change the rules by implementing new alternatives such as eco-friendly designs with low-cost materials. Innovative ideas are now offered and available to the public, as seen in the film “Garbage Warrior: turning trash into treasure.” The film is about architect, Mike Reynolds who uses free recycling to build sustainable houses that can be constructed in any location. Sustainability, changing lifestyle and increasing population are determining the architectural future. This is why society has a fresh interest in what artists and architecture in partnership can create by utilising imagination and ingenuity. Our preconceptions have been reinvented by designs that exploit modern aesthetics to produce results that are cheaper, more functional and adaptable to our twenty-first century life style. Heartney explains how broadly the term architecture can be applied:

“Artists who straddle the line between art and architecture examine the ways in which people today do and might live. They put forth their own visionary proposals, which range from the sublime to the ridiculous, encompassing everything from rethinking whole cities to designing toilets.” [1]

The artist Chris Burden uses thematic modernist architecture in his practice. He began his career in the 1970’s with extreme and passionate performances. His most famous, Shoot involved Burden standing in a gallery, 15 feet from his friend who shot him in the left arm with a copper jacket bullet, 22. long rifle. His themes are institutional, political and often question social authority. Recently as an artist, Burden has stepped into architectural turf, building large-scale sculptures, installations and works involving engineering, architecture, mass production and technology. This year in the art journal Flash Art Burden said, “Yes I do have an interest in architecture and the space that surrounds us. It has always played a role in my art making.” [2]

In 2003 Chris Burden had a solo exhibition, Small Skyscraper. On display were sketches from 1991 to 2003 of the Skyscraper and the finished prototype. Small Skyscraper (Fig. 1 and Fig. 2) is a thirty-five foot high, four storey and four hundred square foot mini skyscraper. It is made of aluminium struts, stainless steel, glass, and wood. Burden devised this model in collaboration with TK Architecture of Los Angeles. It was presented by Los Angeles Contemporary Exhibitions (LACE). As Le Corbusier said “a house is a machine for living in.” [3] Burden has made this full-scale model of a Skyscraper controversial by tipping it sideways so it can be used as a home. He has produced a machine for living in. The sketches from 1991 of Small Skyscraper Quasi Legal (Fig. 2) were intended to be built on Burden’s property but due to Los Angeles building codes that only allow small structures to be built without a building permit Burden was unable to complete the project until 2003 when he found away around these restrictions. As an artist Burden rejects limitations that constrain his work and eludes them whenever possible, including council restrictions. Similar to the artist Siah Armanjani, Burden uses the language of architecture to urge society to think more critically about how we live. [4] Heartney says, “Artists realize that architecture can provide a visual and philosophical language for addressing the contradictions of contemporary life.” [5] By readdressing and manipulating society’s idea of the skyscraper, Burden has erased our old limitations and given us a relevant re-focussed way of thinking about building in a space and an artist’s necessity to question and reinvent uninhibitedly at every step.


Bibliography

Heartney, Eleanor. Art and Today. London: Phaidon Press Limited, 2008.

Horlock Mary. “ Chris Burden: Life and Works.” In Chris Burden, When Robots Rule: The Two-Minute Airplane Factory, edited by Frances Morris, 29-49. London: Tate Gallery, 1999.

Campagnola, Sonia and Sansone, Valentina, “Face the Dragon Head-on.” Flash Art XLII, no. 267 (2009): 44-47.

Ebony, David, “From bullets to bridges: Chris Burden's new architecture-inspired works.” Art in America 92, New York, no.4 (April 2004), 120-122, in ProQuest 5000 International http://dd8gh5yx7k.search.serialssolutions.com/?ctx_ver=Z39.88-2004&rfr_id=info:sid/summon.serialssolutions.com&rft_val_fmt=info:ofi/fmt:kevLmtx:journal&rft.genre=article&rft.atitle=Chris+Burden&rft.jtitle=New+York+Times&rft.au=Cotter,+Holland&rft.date=1994-03-18&rft.issn=03624331&rft.spage=C23&rft.externalDBID=NYT&rft.externalDocID=3704537
(accessed September 23, 2009).

Hinshaw, Mark. “Art and Architecture. Trespassing: Houses x Artists.” Architecture 91.10 (Oct 2002), 25-27, in Expanded Academic ASAP. Gale. University of Sydney, Gale Document Number:A93087489
http://find.galegroup.com.ezproxy1.library.usyd.edu.au/itx/start.do?prodId=EAIM
(accessed September 23, 2009).

Mullio, Cara. “Chris Burden: Small Skyscraper” LA Forum for Architecture and Urban Design (2003), http://www.artleak.org/burden.html (accessed September 23, 2009).

Footnotes

[1]Eleanor Heartney, Art and Today. (London: Phaidon Press Limited, 2008), 322.
[2]Campagnola, Sonia and Sansone, Valentina, “Face the Dragon Head-on.” Flash Art XLII, no. 267 (2009): 46.
[3]Eleanor Heartney, Art and Today. London: Phaidon Press Limited, (2008), 322.
[4]Eleanor Heartney, Art and Today. London: Phaidon Press Limited, (2008), 336.
[5]Eleanor Heartney, Art and Today. London: Phaidon Press Limited, (2008), 322.

Images

Figure 1. Burden, Chris. Small Skyscraper, 2003. Aluminium struts, stainless steel, glass, and wood, 10x36x10 feet. Los Angeles Contemporary Exhibitions. Reproduced from LA Forum for Architecture and Urban Design, http://www.artleak.org/ burden.html (accessed September 24, 2009)

Figure 2. Burden, Chris. Small Skyscraper, 2003. Aluminium struts, stainless steel, glass, and wood, 10x36x10 feet. Los Angeles Contemporary Exhibitions. Reproduced from TK Architecture of Los Angeles, http://www.tkarchitecture.com/.../ small-skyscraper/ (accessed September 24, 2009)

Figure 3. Burden, Chris. Small Skyscraper Quasi Legal, 1991. Mixed media drawing, Los Angeles Contemporary Exhibitions. Reproduced from Welcome to Lace, http://www.welcometolace.org (accessed September 24, 2009)