Osborne constructs a thorough argument to support his claim through the work of indisputably important figures in recent times. He moves through key aspects in the work of artists Robert Smithson, Sol Lewitt, Gordon Matta-Clark, and Gerhard Richter. Other seminal thinkers making substantial impacts on the writing are Rosalind Krauss, Kant, Hegel, and Gilles Deleuze. Osborne leaves very few stones unturned in this pervasive and exhaustive examination. The writing is scattered throughout with ideologically illustrative charts and work example images, serving to make his case more digestible to those less practiced in opening topics usually doused with academically rigorous jargon.

The text presents an overarching evaluation not only of important work of these times, but also of the institutions and spaces designed to hold the products created by the more advanced minds of recent art history. Osborne makes historically troublesome academic ideas appear lucid, his word choice cutting to the heart of complex notions. A minimal amount of digging is required for the reader.

I can’t sit here and tell you that I fully absorbed all that this soon-to-be important book had to offer, but to my mind that only validates the all-inclusive nature of the project it sets out for itself. I’m not quite as well read as Mr. Osborne, when all is said and done. If I was, there’d be no reason to read this book. Anywhere or Not at All entices readers such as myself with an opportunity to look forward to a second read, knowing that what was made clear on the first go-round will shed further light on the points that I did not previously grasp in full.

I have put eyes to it once, after all—which I am guessing puts me at least one read ahead of you, considering you were interested enough to read all the way to the end here. It’s true that I may be coming across just a touch too snarky, but this book has really instilled me with a feeling of intellectual confidence. Just do yourself a favor and go buy this book.

Reviewed by Matthew Hassell

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Foster begins by examining the practice of pivotal architects who have consistently been pushing the envelope not only with the structures they build, but the materials they experiment with, and the way they consider the interaction of the viewer with their various projects. Architectural leaders such as the Venturis, Rem Koolhaas, Renzo Piano, and Zaha Hadid.  Their work is evaluated in relation to pop aesthetics, the international style, and the widespread influence of minimalism.

Aptly using Richard Serra’s work as a stepping stone between the two worlds, Foster glides seamlessly into an evaluation of how the loft-sized work aesthetic provided by the changing landscape of the New York art world of the 60’s and 70’s provided a need for larger viewing spaces. Foundations such as Dia stepped up to fill a gap between the exhibition space of the gallery and the museum. They began refurbishing larger industrial buildings and utilizing their massive interiors as new exhibition possibilities geared towards work that commanded larger viewing spaces but was not yet welcome into the categorically stuffy, academic validation of the museum.

Moving from Serra, whose work utilized the space, to artists such as projection specialist Anthony McCall, the success of whose work was dependent on the space, Foster makes a move toward describing a further connection between architecture and perceptual art. From here the door is wide open to Irwin, Flavin, Judd, and Eliasson.

Like any good piece of art historical or critical thought, Foster is trying to nail down one of those topics that continues to be something that is art-historically tangible, while it’s explanation somehow remains fleeting and ephemeral.

The ownership of a gesture’s relation to space is something that has been under great debate between the circles of fine art and architecture for some time. Should a mark laid onto a surface be enough unto itself, or does it yearn for more­—is it also the seed of an idea ready to grow into a description of how a body relates to this original gesture in real time and space? Foster does his best to corner this idea and put it into terms that any aesthetic thinker can approach. He does so quite convincingly, when all is said and done, producing a book that will continue to gain relevance as we move forward. Like a newly shelved bottle of wine, it is presently quite consumable, but promises only to get better with time.

Hal Foster’s The Art-Architecture Complex was published last year by Verso Books.

Reviewed by Matthew Hassell

The post Hal Foster’s Art-Architecture Complex appeared first on NY Arts Magazine.