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Women’s bodies break the repetitive motives of fabrics, curtains, tablecloths, and wallpaper as well as the regular geometric patterns of tiles, parquet, wooden slats that envelope the domestic spaces in which the photographs were taken, apparently cosy and homely environments that emphasise even more the strangeness of their behaviour.
To hold together Catherine Opie and Brigitte Lacombe’s works is to revel in the similarities between them. They each take pictures that telegraph a highly ethical interaction between the sitter and the photographer.
Gail Rebhan grew up in a household with one parent a rising trade union organizer and the other a contented housewife. That relationship seemed quite complementary for its time. Yet the daughter, coming of age in a period of second-wave feminism, intended for her art to question the prevailing gender norms in the domestic patterns of her own generation.
Manfredo Tafuri’s guide to modern architecture in Japan was published in 1964, when he was twenty-nine years old. He wrote the book during a period of transition, from being a young architect and writer in Rome to becoming a historian of architecture in Venice, where he would eventually assume the chair of architectural history at IUAV, the university’s institute for architecture.
Doug Aitken seems to be anticipating some sort of technology not yet invented. He looks ahead to a radical rethinking of what “technology” means and what its relationship to nature could be.
In the spring of 1955 the UNESCO Committee of Art Advisers invited a number of celebrated artists to contribute an artwork for their headquarters building, which was then under construction. Moore was among them, and he devoted an unusual amount of time to the commission. He visited the site several times, firstly later that same year, and next in July 1956.