Architecturally inspired artworks

Frank Gehry Guggenheim Museum Bilboa 1997 Glass, limestone, titanium www.guggenheim.org/bilboa

Grace Cossington-Smith Bridge in curve 1930 Tempera on cardboard 83.6 x 111.8 cms

Howard Arkley Cityscape, 1990 Arkley’s own photographs, have been collaged together and drawn over, and collaged again repeatedly to become final paintings composed of various elements of inner city smoke stacks, industrial sites and machinery. HOWARD ARKLEY A Splendid Superior Home, 1989 synthetic polymer paint on canvas 174.5 x 254.0 cm

Utzon Sydney Opera House

Inspired by the lavish sculptural architecture of the Spanish architect Antonio Gaudi, whose cathedral El Temple Expiatori de la Sagrada Família he had seen in Barcelona, Olsen's landscapes heave and swell through a textured web of line and shapes. John Olsen 1963 Entrance to the seaport of desire, synthetic polymer paint on canvas 167.6 x 213.4cm 

Brett Whiteley 1982 Opera House, Oil on canvas plus mixed media 203cm x 244cm

Stephen Wiltshire  2010 Sydney, Triptych Pen and ink on paper 1253 × 490mm 

1848 Hyde Park Barracks Copper-plate engravings from drawing by Joseph Fowles Printed by D. Wall for the publication Principal streets, public buildings, churches, chapels, etc. 1848 St Mary’s Cathedral Copper-plate engravings from drawing by Joseph Fowles Printed by D. Wall for the publication Principal streets, public buildings, churches, chapels, etc.

MC Escher Print Gallery 1956 Lithograph 31.9 x 31.7cm MC Escher Relativity 1953 Lithograph 27.7 cm × 29.2 cm

Isidro Blasco  Sydney MLC 2 2011 C-Print, wood, museum board 22 x 13 x 13 cm Isidro Blasco  Strand Arcade, 2011, C-Print, wood, museum board, 52 x 48 x 20 cm

Max Dupain Concrete support Beams (Sydney Opera House) 1962 Gelatin silver photograph 56.9 x 44.6cm  In the late 1940s Dupain increasingly specialised in architectural photography and photo-documentary. He chose to work outdoors rather than in the studio in order to capitalise on the bright Australian light, wishing to show ‘a thing clearly and simply’. Dupain developed a longstanding working relationship with modernist architect Harry Seidler after Seidler’s arrival in Sydney in 1948, and in the 1960s and 1970s he documented the building of the Sydney Opera House. ‘Concrete support beams (Sydney Opera House)’ is a severely formal image emphasising the power of material and the soaring structure of the building. The lines of the concrete darken towards the viewer and the light is caught head-on streaming in at a distance. The only disturbances are the variable marks on the concrete and the small form of a worker in the distance silhouetted against the light. The workman further emphasises the monumentality of the structure and is an important counterpoint – the opera house was made by workers such as this man.

Neil Duncan Sydney 2012 C type photograph http://www.neilduncan.com.au/architectural

Richard Goodwin Parasite Android 01 http://www.richard-goodwin.com/public_html/indexn.html Richard Goodwin Regent St Parasite 01

Jeffrey Smart Holiday 1971 oil on canvas 100.0 x 81.0 cm Jeffrey Smart Cahill Expressway 1962 oil on canvas 52.5cm x68.5cm

William Kentridge Drawing for 'Other Faces', (Crowds in city streets), 2011 Charcoal and coloured pencil on paper 70 x 121.5 cm

John Virtue Venice No. 85 2007 Monotype print 54.5 x 70 cm John Virtue Landscape No. 29 1985-86 ink on 44 sheets of paper laid down on board laid down on plywood 146 x 208.9 cm

Georgio de Chirico Melancholy and Mystery of a Street, 1914 oil on canvas 88 x 72 cm

Possible artworks: design a building for the Barangaroo site study of: individual buildings bridges sections of buildings stairs city scapes street scenes using one or a variety of media paint charcoal, pencil, pastel, pen, ink, water colour, prints (lino or etching) photographing architecture (consider: compositions, camera angles, reflections and lighting) site specific sculpture Remember your terms 3 and 4 artworks must use different media and be linked by a common theme/concept