(Connell, Richard.
The viewer probably does not see the pillar as it was originally intended because part of the top seems to be missing, and creates an uncertainty to what the entire story could have been. Quite possibly, the separation of the pillar from its original location may have tampered with the artist’s original expression or intention when they first erected the pillar. Perhaps, it was one piece of a greater whole. The pillar is about a meter tall and a foot wide. The story can only be seen on one side of the pillar.
The architecture of the skyscrapers built in New York City, stimulated her interest in working with vertical and horizontal lines. The urban grid of the city was reappropriated in her work as a skeleton function, through which the whole sculptural piece can stand on a foundation that can be easily elaborated or left alone, depending on Nevelson’s perception of the essence. She regularly looked at the city for ideas, because to her the city, especially New York City, served as a magnificent work of art of the twentieth century. Nevelson goes on to explain her reactions toward the city as follows, “When I look at the city from my point of view, I see New York City as a great big sculpture” I saw the Empire State Building when it was going up… Seeing those high risers, bigger and bigger and bigger… you couldn’t think of little paintings or little pieces” (112). Hence, her large
Another work by Serra in King City, the Shift, was also his trial to explore spatial relationship between human’s perception and the landscape. Appearing in the same time as the Twain, the Shift presents features of Minimalism—six triangular concrete panels forming a zigzag shape in a vast farmland, the sculpture even does not attempt to recall any metaphorical significance. However, the logic lying behind the simple geometric shape is the maximum distance two people should keep in order to stay in view of each other when walking in a vast land. Once again, instead of telling stories by geometric form and colors of the sculpture itself, Serra emphasized on the spatial experience that people will have when interacting with the land. “The result is a way,” as he described the work, “of measuring oneself against the indeterminancy of the land.”
It is important that public money is used to keep this structure standing because it is a reminder of our history and brings visitors to the city which helps to keep people employed. The Gateway Arch is special because it represents a part of American history
In the National Gallery of Art in Washington, DC’s exhibition Van Gogh’s Van Goghs: Masterpieces from the Van Gogh Museum, Amsterdam art pieces are arranged in such a way that they reflect the course of Van Gogh’s life as an artist. The exhibition begins with pieces that Van Gogh painted while he still lived in Holland. It then displays works from after to his move to Paris, then to Arles, then to Saint-Rémy, and finally to Auvers-sur-Oise. The paintings shown in this exhibition are arranged in this way, because the curator is attempting to convey how Van Gogh’s works changed throughout his life due to different influences in his life. The painting of this exhibition are arranged according to style of the painting and when they were made.
Resonating with Sitte’s views, he proposed to design ‘a total work of art’, constructed with traditional masonry, stimulating a strong and positive response from the community. He was enlisted to design a part of the proposed three building complex. However, determined to build his dream project, he soon convinced the other architects involved, to unite the structures and link them as one, which would have a centrally located 23 storey skyscraper, enclosed by a fan-shaped courtyard. The center had striking similarities when compared to an opera set, with contoured terraces resembling seats looking into the courtyard, dramatic, snake-like, baroque inspired staircase that led from the courtyard wounding its way to a plaza at Staniford and
