Comet Hyakutake (*), 2006, HTML, 340 x 220 pixels
| Donald Judd "In the Galleries" Arts, November 1960 Max Moreau: This is an extensive exhibition of an academic painter considerably better than the average; Moreau excels in modeling hands and depicting the shimmer of drapery and the translucency of fruit. But the sensation is without reason since there is no large organization to which it is integral, and that organization is required by history. (Wildenstein, Oct. 6-22) Page 25. Donald Judd: Complete Writings 1959-1975. The Press of the Nova Scotia College of Art and Design. 2005 |
Restoration spectacular (*), 2006, HTML, 340 x 220 pixels
| Donald Judd "In the Galleries" Arts, January 1961 Gabriel Godard: The still lives and landscapes of this French painter are bright and juicy replicas of De Staël. The abridged structure of the compact surface of orange and blue slabs refers further back, to Cézanne. Some trouble and less virutosity would have improved the show. (F.A.R., Jan. 16-28) Page 30. Donald Judd: Complete Writings 1959-1975. The Press of the Nova Scotia College of Art and Design. 2005 |
Kenneth Baker has written a two-part article in the SF Chronicle and architect and retired UC Berkeley Professor of Architecture Christopher Alexander and his four volume work, The Nature of Order. Book 1 is titled The Phenomenon of Life, Book 2 is The Process of Creating Life, Book 3 is A Vision of a Living World, and Book 4 is The Luminous Ground.
Part 1 of Baker's article is Architect starts with idea that space makes life possible. Are you ready to have all that you know challenged?, and Part 2 is To be a good builder, you need a feel for what surrounds you. Christopher Alexander knows.
From Part 1:
In a nutshell, Alexander proposes that life is not merely in space but of it, an idea of potentially momentous force for critique and improvement of the built environment. "The idea that one part of space might have relatively more life, and another relatively less life," he writes, "and the idea that this distinction would not be based on the presence of biological organisms but might instead be inherent in the space itself according to its structure -- would challenge our beliefs about the world to the very roots." Alexander has sufficient scientific background to take his argument all the way and propose that the nature of space accounts for the occurrence of any life whatsoever in the universe.As in earlier books, Alexander suggests that builders and artists in traditional societies frequently possessed the kind of knowledge he has rediscovered and tried to reconcile with science's world picture. He boldly contends in Vol. 4 of "The Nature of Order" that his rediscoveries about the deep connection between life and space have made possible -- and always will -- buildings and other human creations that mirror a self-like quality of the universe as a whole, which some spiritual traditions call God.
From Part 2:
"Speaking as a builder," Alexander said, "if you start something, you must have a vision of the thing which arises from your instinct about preserving and enhancing what is there. ... If you're working correctly, the feeling doesn't wander about. If you have a feeling-vision of the thing -- a painting, a building, a garden, a piece of a neighborhood -- as long as you're very firmly anchored in your knowledge of that thing, and you can see it with your eyes closed, you can keep correcting your actions. ... It's not a question of holding onto every little detail, but of holding onto the feeling."To skeptics of his methods he offers the following analogy: "There are some geologists involved with prospecting for oil and other hidden resources," he said, "who can pick up a rock and say, 'yes, there's oil under there.' A geologist who has been studying those kinds of rocks for 10 or 20 years is able to make that pronouncement. It isn't necessarily right, because we're all prone to error, but at least it's about something real -- whether that structure's there. That geologist has simply learned enough about the structure so that his ability to detect whether it's present or not is above average. It's really like that for the things I'm writing about, whether we're talking about artifacts from other times and cultures or whether it's a question of studying your own work and trying to determine whether you're going in the right direction. It's always this hopefully informed judgment about structure. If I'm working with clients, I try to bring them into that way of seeing things as far as I possibly can."
Adriaen van der Donck (*), 2006, HTML, 340 x 220 pixels
Wilson Pickett 1-10, 2006, HTML, 460 x 460 pixels each
Left to Right, Top to Bottom:
I left Mustang Sally off the list. And I stopped at ten. But there's much more there in the songbook. These drawings are just a l'il thang. Better to just listen to Wilson.
Ninety-Nine and a Half (Won't Do), 2006, HTML, 460 x 460 pixels
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A Man and a Half, 2006, HTML, 460 x 460 pixels