By David Joselit
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Extra info for After Art
See Ruth Morrill, “A Dual Grid system for Diorama Layout,” Curator 39/4 (December 1996), 281–87. from fashion regimes or from architecture du jour, cleverly operating like an alchemist, a tinkerer of 2 58 3 See Sigmund Freud, The Uncanny (London: Penguin Classics, 2003). 4 David Sylvester, Interviews with American Artists (New Haven: Yale University Press, 2001), 87. ideas, and a cosmology builder, speculating about worlds just slightly out of reach. CONTINGENT PRACTICES + THE CALCULUS OF (FLYING) PAINT CHARD + KULPER OPPOSITE: Setup for drawing instruments, Each instrument has a paint catapult, a drawing piece to deflect flying paint, a drawing to capture some of the consequent splatter, and a thematically related model scene under a glass dome.
And incomplete worlds. All the while, he shuttles our Architecture and the city make a range of claims about their connection with the imaginations into analogous relations as a grounding human body. The most practical of these dependencies are the sites of hygiene, mechanism in his world of evolving fascinations. heating and cooling, digestion, and waste disposal. If these sites are as telling as architecture and the city claim, then if we mechanically alter our internal organs that are related to these sites, we would in turn alter the city.
There is a wonder in these vast landscapes that are strangely intimate for us. One moment we are immersed in a mountain scene in California and then a few steps away we fold into a swamp in Florida. Japanese photographer Hiroshi Sugimoto’s black-andwhite photographs of these dioramas reveal their uncanny qualities. The lack KULPER of color and the absence of the frame that separates the museum audience from the scene portray the dioramas with the greatest pictorial realism, yet Partially a result of their hybrid or composite clearly something is not quite right.