CONTEMPORARY FLOOR SCULPTURE. FLOOR SCULPTURE
CONTEMPORARY FLOOR SCULPTURE. PELVIC FLOOR MUSCLES EXERCISES. SHOP FLOOR FANS
Contemporary Floor Sculpture
- characteristic of the present; "contemporary trends in design"; "the role of computers in modern-day medicine"
- Living or occurring at the same time
- Dating from the same time
- Belonging to or occurring in the present
- a person of nearly the same age as another
- belonging to the present time; "contemporary leaders"
- A work of such a kind
- The art of making two- or three-dimensional representative or abstract forms, esp. by carving stone or wood or by casting metal or plaster
- a three-dimensional work of plastic art
- Raised or sunken patterns or texture on the surface of a shell, pollen grain, cuticle, or other biological specimen
- sculpt: create by shaping stone or wood or any other hard material; "sculpt a swan out of a block of ice"
- creating figures or designs in three dimensions
- All the rooms or areas on the same level of a building; a story
- A level area or space used or designed for a particular activity
- a structure consisting of a room or set of rooms at a single position along a vertical scale; "what level is the office on?"
- The lower surface of a room, on which one may walk
- shock: surprise greatly; knock someone's socks off; "I was floored when I heard that I was promoted"
- the inside lower horizontal surface (as of a room, hallway, tent, or other structure); "they needed rugs to cover the bare floors"; "we spread our sleeping bags on the dry floor of the tent"
Contemporary sculpture is a wide-ranging and fascinating subject, surprisingly unrepresented in the current marketplace. This beautifully illustrated book is a comprehensive overview of developments in the world of sculpture during the past fifty years, and follows the successful, highly illustrated formula of Phaidon's best-selling volumes "Art Today" and "Architecture Today". In the great sea-change marking the end of Modernism - a general set of views and assumptions about art which reigned during the first half of the twentieth century - critical opinion began to shift from painting to sculpture. Sculpture was felt to be more socially engaging because it occupied actual space rather than creating an illusionistic realm using perspective and other techniques. In recent years sculpture has become a capacious and enormously inventive category that includes an astonishing range of phenomena. These encompass installations, environments, staged video displays and even choreographed humans. This sheer array of materials, forms and techniques that has been - and continues to be - presented under the term of 'sculpture' in the twenty-first century indicates that the discipline is not an immutable art form with fixed boundaries and commandments, but rather that it can expand its terms of reference with unflagging energy, and is apparently inexhaustible. Judith Collins' authoritative yet accessible text explores the various subjects, materials, techniques and styles utilized by contemporary sculptors and celebrates both the vitality and sheer diversity of this wide-ranging art form.
'The Plumbline & The City' Sculpture, Coventry Cathedral
Sculpture at the end of the 'south' aisle, the gift of a congregation in Cincinatti.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces displayed nearby in the Priory Visitors Centre). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, afterall there are echoes of the gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, when all it's stained glass had been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days, but now charges an entry fee (a fix for recent financial worries; gone are the frequent days I used to wander around it in search of inspiration!)and
Untitled (Dance Floor) by Piotr Uklanski, 1996
Piotr Uklanski (b. 1968, Warsaw) has assembled a heterogeneous body of work that includes sculpture, painting, film, photography, and installation. While his art defies neat categorization, it is frequently characterized by an embrace of spectacle and cliche and a blurring of the boundary between high and low culture, often in ways that deliberately set out to provoke or create misunderstandings. Uklanski is perhaps best known for his 1996 installation Untitled (Dance Floor), which crosses a modernist grid with a fully functioning, sound-synchronized disco floor. The work has been adapted to various museum and gallery spaces over the years (including MoMA’s sculpture garden, pictured here in 2000). On one level, it is a clever Pop (or kitsch) spin-off of Carl Andre’s comparatively austere, Minimalist metal floor sculptures. But Dance Floor also creates a convivial space for social interaction, which ultimately depends on the viewer to complete the piece, much like the installations of one of Uklanski’s contemporaries, Rirkrit Tiravanija. Uklanski explains that he set out to create a work “that would be all generosity and no ideology. An object that would give and give and give but that would, at the end of the night, be unknowable, as its true nature resides in our own pleasure.”
floor wax paste
norco floor jack
dance floor filler
dance floor sean kingston lyrics
concrete floor grinders and polishers
direct carpets and flooring
concrete floors do it yourself
wooden floors in kitchens
27.10.2011. u 19:21 •