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"The real challenge," Stockhausen wrote to me, "is to find seven stage directors and stage designers, seven conductors, five orchestras, one children's orchestra, nine professional choirs, two children's choirs, one girls' choir, seven sound projectionists, seven sound technicians, many soloists. This is all possible if one can engage the ensembles and soloists who have already performed parts of Light quasi-scenically in concerts and rehearse in seven auditoriums daily for about six months."
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GRAV, the Nouveaux Réalistes, BMPT and Support-Surface propounded all manner of theories on the ends and means of art and the destiny and political role of the avant-gardes. The Marxist synthesis of structuralism and Lacanian psychoanalysis did much to shape the deliberately speculative nature of these attempts at self-definition and positioning. The extent and importance of this critical activity during the 1970s is evidenced by the existence of such reviews as Cahiers théoriques, Macula and Documents sur. This linking of art and the human sciences, which still obtains today in somewhat abated form, became the defining characteristic of contemporary art in France. Among its innumerable consequences was the strangely tortuous procedures that artists had to take to express their subjectivity.
Much has been written about the parallels between the critical intuitions of Frank Stella and those of GRAV, and about the different conclusions drawn on each side. The heritage of Duchampian kinetics had a decisive influence on François Morellet, Julio Le Parc and Jesus-Rafael Soto, (although this reading of it has been totally neglected since), as did the Zurich Concrete Artists (including Max Bill and Richard P. Lohse), Auguste Herbin, Jean Dewasne and Victor Vasarely. These figures constituted a unifying matrix for the work of artists from a wide variety of backgrounds.[27] The interest in movement, which was expressed most literally in the work of Jean Tinguely and Pol Bury, moved many artists to translate it into pictorial form, to attempt the simultaneous use of illusionistic and interactive procedures. With its abstract anamorphoses, its ever-more sophisticated apparatus, its games with parallaxes and mirrors, the work of the GRAV group was aimed at the widest-possible public. As they proclaimed in their Manifesto (1963), “We Want to interest the spectator, to remove his inhibitions, to get him to relax.”
Much of the intense work and the sparks that flew between Kahn and Noguchi during the five years of their collaboration (1961-66) found their way into the design of Moerenuma Park in Japan.
A testament to what can be achieved when public officials, artists and the general public work together, the park was completed after Noguchi's death under the guidance of the Isamu Noguchi Foundation, architects Shoji Sadao and Junichi Kawamura (longtime Noguchi collaborators), Kitaba Landscape Planning, Park Director Hitoshi Yamamoto and city officials working with the support of the citizens of Sapporo.
Their achievement is phenomenal and incorporates a full range of Noguchi's work in stone, concrete, wood, metal and fiberglass. More importantly, it showcases his talent for using the sun, sky, Earth and the horizon as his true materials.
Gulf Coast: A Vision to Revive, Not Repeat
By ROBIN POGREBIN for nyt
Published: October 13, 2005
BILOXI, Miss., Oct. 12 - The work facing architects and urban planners who convened here today at a battered resort is visible right outside the window. A beach strewn with uprooted trees and the detritus of ravaged buildings. Deserted streets lined by flooded empty houses. Hulking casino hotels gone dark.
Over the next several days, this group of some 200 professionals from around the country will struggle to come up with a comprehensive regional plan to rebuild the Mississippi Gulf Coast. It's a design challenge on a grand scale, covering 11 communities in 3 Mississippi counties damaged by Hurricane Katrina.
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