Review: Frank Gehry

2016 ◽  
Vol 75 (2) ◽  
pp. 243-244
Author(s):  
Jeremy White
Keyword(s):  
Frank Gehry

scholarly journals Zaha Hadid’s Center for Contemporary Art and the perils of new museum architecture

2019 ◽  
Vol 23 (3) ◽  
pp. 210-224
Author(s):  
Elizabeth M. Merrill
Keyword(s):  
Contemporary Art ◽  
Art Museum ◽  
Public Forum ◽  
Museum Architecture ◽  
Art And Culture ◽  
Frank Gehry ◽  
Daniel Libeskind ◽  
Temporary Exhibitions

As epitomised in the works of Renzo Piano, Frank Gehry, and Daniel Libeskind, the ‘new museum’ of art claims its own architectural typology. With asymmetrical silhouettes, gallery spaces that eschew the much derided ‘white cube’, and cleverly conceived circulation systems, the new museum has been heralded as revolutionising the display of art. Yet its function extends beyond the display and conservation of art. The new art museum is conceived as a multifaceted cultural centre – a public forum – where art and culture are democratised, and families, scholars, students, tourists, and teachers come together. At the same time, the new museum competes with other entertainment venues on a commercial level. As a cultural factory replete with an ambitious programme of temporary exhibitions, media facilities, restaurants, and shops, the new museum emphasises consumption as much as it does contemplation. In fact, the array of non-artrelated diversions contained in the new museum is often more important to the institution’s success than the art itself.

Frank Gehry: roofing, wrapping, and wrapping the roof

2002 ◽  
Vol 7 (1) ◽  
pp. 1-31 ◽  
Author(s):  
Gevork Hartoonian
Keyword(s):  
Frank Gehry

Building art: the life and work of Frank Gehry

2016 ◽  
Vol 53 (06) ◽  
pp. 53-2517-53-2517
Keyword(s):  
Frank Gehry

A Summer Pavilion: Frank Gehry at the Serpentine

TEXTILE ◽  
2009 ◽  
Vol 7 (2) ◽  
pp. 256-261
Author(s):  
Sally Freshwater
Keyword(s):  
Frank Gehry

A Wrench in the Machine for Living: Frank Gehry Comes to Brooklyn

Dissent ◽  
2008 ◽  
Vol 55 (2) ◽  
pp. 123-127
Author(s):  
Charles Taylor
Keyword(s):  
Frank Gehry

scholarly journals HOMO FABER: COME I METALLI HANNO SEGNATO E SEGNANO ANCHE OGGI LA CIVILTÀ DELL’UOMO

2019 ◽  
Author(s):  
Rinaldo Psaro
Keyword(s):  
Chemical Elements ◽  
Technological Development ◽  
Modern Science ◽  
Chemical Properties ◽  
Art And Technology ◽  
Guggenheim Museum ◽  
Technological Developments ◽  
The 1960S ◽  
Homo Faber ◽  
Frank Gehry

The succession of various ages, from those of copper to that of bronze, then iron and so on, is dictated by the chemical properties of the various metals and, ultimately, by the periodic table of the elements. The capacity expressed by the homo faber to extract and work the different metals, have marked technological developments so radical as to be chosen by historians to designate real civilizations. Gold was the first metal used by man, although it could not be used either as a tool or as a weapon. More than any other ancient element, gold has always been associated with a timeless charm. None of the chemical elements discovered by modern science has been able to overcome its supremacy. Since the time of its discovery, gold has been used for ornamental purposes and only with technological development has it been used also for technical and scientific purposes. For titanium, however, the reverse path was verified, from its essentially technological use it then moved on to the artistic one. Starting in the 1960s, when titanium became available even for non-military uses, its applications have done nothing but grow and diversify. His artistic fame is unquestionably linked to the Guggenheim Museum in Bilbao designed by the architect Frank Gehry in 1997, while in Pedeferri’s titanochromies we have the combination of art and technology.

Sign in / Sign up

Export Citation Format

Share Document