空中艺术,罗伯特·史密森的新景观

IF 0.6 0 ARCHITECTURE
R. Pico
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引用次数: 0

摘要

飞机在罗伯特·史密森短暂的职业生涯中扮演了决定性的角色。1969年,当他发表文章《空中艺术》时,专门研究航空的建筑师瓦尔特·普罗科什(Walther Prokosch)把他介绍给TAMS工程。这使他参与了一项土地变更工程,就像达拉斯沃斯堡国际机场的建设一样令人眩晕和残酷。在那一刻,史密森开始意识到人类改造地球母亲的能力,以及从空中沉思的重要性。他将这些兴趣融入到他的艺术创作中,从而为土方工程铺平了道路,这对土地艺术的发展至关重要。通过对史密森尼美国艺术博物馆罗伯特·史密森论文中包含的文件的研究,我们可以重建一段历史,这段历史与莫霍利-纳吉的《新视野》或勒·柯布西耶的《m.m.》有着共同的兴趣和关注。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
AERIAL ART, THE NEW LANDSCAPE OF ROBERT SMITHSON
Aircraft were to play a decisive role in the short career of Robert Smithson. In 1969, when he published his article Aerial Art, Walther Prokosch, an architect specializing in aviation, put him in contact with TAMS engineering. This gave rise to his involvement in a land altering operation as vertiginous and brutal as the construction of Dallas Fort-Worth International Airport. At that point Smithson became aware of the human capacity to transform Mother Earth and the importance of contemplation from the air. He incorporated these interests into his artistic creation, thus paving the way for earthwork, crucial to the evolution of Land Art. The study of the documents included among Robert Smithson’s Papers at the Smithsonian Museum of American Art allows us to reconstruct a history that shared interests and concerns with Moholy-Nagy’s New Vision or Le Corbusier’s Loi du Méandre.
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来源期刊
CiteScore
1.30
自引率
14.30%
发文量
12
审稿时长
15 weeks
期刊介绍: The Journal of Architecture and Urbanism publishes original research on all aspects of urban architecture.
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