ARCHITECTURE THROUGH LANDSCAPE, LIGHT AND SPACE: JAMES TURRELL’S RODEN CRATER JOHN MULLANKUZHUY UNIVERSITY OF BRIGHTON TUTOR: KAREN JASCHKE
AD373:EXTENDED ESSAY 2012-2013 WORD COUNT:4620
ARCHITECTURE THROUGH LANDSCAPE, LIGHT AND SPACE: JAMES TURRELL’S RODEN CRATER JOHN MULLANKUZHUY AD373:EXTENDED ESSAY UNIVERSITY OF BRIGHTON TUTOR: KAREN JASCHKE 2012-2013 WORD COUNT:4620
CONTENTS: 01: INTRODUCTION + DESIGN 02: CONCEPT& THEME + CONCLUSION
01: INTRODUCTION + DESIGN
Figure 1. Roden Crater at sunset just before the earth’s shadow covers it, looking northeast. James Turrell , Air Mass: James Turrell, South Bank Centre 1993
American artist James Turrell is commonly known for the manipulation of light and space within his artwork. The majority of Turrell’s work and installations are based around the influence of light, both natural and unnatural, within a space and in doing so affect the occupier’s experience, perception and response. Some of the architectural installations he creates provide a place for visitors to come and witness the sky’s behavior in an intriguing way that they wouldn’t realize normally. Throughout his career, Turrell has produced a wide collection of projects such as Wedgeworks, Skyspaces, Ganzfeld and other various pieces that are based on the behavior of light conditions within a space. His previous works and experiments aided him to eventually lead towards his most complex and monumental project, the Roden Crater. The construction of the project begun 19791 and was planned to be completed in the 1990,2 however the project complexity and large-scale physical aspect the project remains on-going. The Roden Crater explores various concepts and themes in its design. For this extended essay, I’ll be analysing this project in two parts. Firstly, I’ll be looking into the project’s purpose, function and design aesthetics. Secondly, I’ll be investigating the various themes and concepts of landscape, light, space, and journey. I will be discussing these in further depth to depict Turrell’s influences and intentions during the development of this project. The Roden Crater is a project of great magnitude that is becoming Turrell’s largest and ambitious project to date. He is looking to create an platform of engagement to “celestial vaulting” by inhabiting, isolating and directing the light of the sun, moon and star into several spaces. Celestial vaulting is the perceptual impression of the sky that forms a dome over the earth.3 The project is situated at a secluded extinct volcanic area within the Red Painted Desert of Flagstaff, North Arizona, US. The site fit Turrell’s criteria for the project. The artist refers to the landscape as having similar aesthetic qualities to the surface of the planet Mars.4 Perhaps, this can be seen as a certain atmosphere Turrell wanted from the landscape he was using.
The design considers the experience of the occupiers in the space, and how their perceptions and responses transform and develop, while being a part of the art themselves. The project shares many similar qualities to models of ancient naked eye observatories that were used to witness the sky’s behavior. The design of the project is an underground structure built within the surface of the cinder cone of a volcanic area. The spaces of the viewing chamber and tunnel walkways that Turrell builds within this underground structure contain architectural features within its design. To reach, enter and witness the Roden Cater, the viewers are forced along a road journey until they come towards this isolated crater area. This journey is apart of Roden Crater experience that the artist wants the visitors go upon. It becomes one of the Turrell’s concepts for the project, which will be explored further later within this extended essay. Approaching the Roden Crater involves a drive from the west of the site, then the road makes a half circle on the north of side of the crater and comes up a ravine on its northeast side. At the top of the ravine you reach a walkway (250 feet above the plain) that follows the circular malapai rim of the fumarole on the northeast side of the crater. From here, a trail proceeds up the side of the fumarole, as you reach the top there will be several different spaces. The viewers then approach a semicircular tunnel which is aligned to capture the southernmost moonset and when aligned allows full vision of the lunar disc.5Part of Turrell’s idea for the design is to enhance the viewer’s understanding of the atmosphere and surroundings as they are experiencing the Roden Crater. He accomplishes this in certain ways through the artwork and landscape. In Revaluing Minimalism Patronage, Aura, and Place, an article written by Anna C. Chave she speaks of how “Turrell shaped an isolated site to provide a committed viewing public with possibilities for paying close attention, for concentrated, sustained exercises in a form of contemplation.”6 We can understand this logic as within Turrell’s design he changes the viewer’s experience with the sky and perception of the sky by reshaping
Fig 2.
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the space of the crater. Turrell achieves this by heightening the curvature of the bowl of the crater. In addition to this, through the use of the design features of the viewing chambers and tunnel walkways, the viewer’s engagement and relationship with the sky become more reinforced. As these features Turrell designs forces the viewers attention and focus towards the behavior and atmosphere of the sky. The Roden Crater consists of several spaces built underground within the cinder cone of the volcano. These spaces include the South Space, North Space, Fumarole Space, Sun and Moon space, the Eye of the Crater and the East Space. Each space serves a different function within the celestial vaulting engagement Turrell attempts to achieve. Within the South Space, which is referred to as the Saros chamber, visitors can observe the north polar alignment and feel the rotation of the earth physically along the axis of the earth’s rotation. The Saros is a pattern, which results from a fortuitous and complex relationship between the sun, earth and moon and therefore allows observers to predict future eclipses.7 Within the North Space is divided between other spaces. The kiva space is a cylindrical room with a round opening in the center and consists of an adjoining chamber, Polaris. This is fitted with a camera obscura lens that during the day, which will project cloud patterns onto a circular area of the floor. At night during the winter when the ecliptic is high in the sky, very subtle light from the moon and perhaps the brighter outer planet, Jupiter and Mars, will be projected onto the floor as these bodies pass overhead. The North Space is designed to indicate the precision of the equinoxes, which is the gradual shift in the position of the North Star due to the wobble of the earth’s axis.Viewers either siting or standing can look up through the stairwell in the direction of the pole star, Polaris.8The Fumarole Space is a round chamber and will include a large oculus-shaped aperture. Another aperture is provided to allow viewing of the furthest south sunrise that will pass through the
Figure 2. South Space Floor Plan. James Turrell, James Turrell:The Other Horizon, Hatje Cantz Verlag GmbH+C, 2001 Figure 3. Fumarole Space Plan View. James Turrell, James Turrell:The Other Horizon, Hatje Cantz Verlag GmbH+C, 2001 Figure 4. North Space Elevation and Plan View. James Turrell , James Turrell:The Other Horizon, Hatje Cantz Verlag GmbH+C, 2001
Fumarole Space to the Sun and Moon Space. Within this opening, a diaphragm is included that can be adjusted to image everyday sunrise in the space for 35 to 40 minutes.9The Sun and Moon Space are spaces in which interact primarily with the sun. The space has a round-cross section and can be accessed through underground ramps. The design for the space has a white stone within the center and includes two entranceways that run perpendicularly with each other. Within Turrell’s designs for this particular space he is trying to project images of the sun or moon onto one or the other side of the stone’s surface. He achieves this by using the access tunnel to function as a camera obscura. Turrell has specifically design the space in this way, so when every 18.6 years when the moon reaches its southern most declination, its image will be visible inside the room. He has also included the sun projections of which during the time of the solstices can be experienced twice a year.10 The Eye of the Crater is a space that is designed at the center of the bowl of the volcano. Within this part of the design Turrell creates the space in a way for viewers to observe astronomical events. The artist designs the space with suitable seating around the perimeter that will enhance the celestial vaulting experience for the occupiers. In a way, Turrell builds this space to function as a naked eye observatory.11The architectural design for East Space caries similar properties to some of Turrell’s Skyspaces designs. The artist designs this space so it’s oriented toward the Painted Desert. It’s also designed with a group of interconnected chambers. The space is designed to solely to inhabit one source of light, which comes from the natural sunlight. Within this space, Turrell forces the viewers first observation through the east-facing aperture across a reflecting water pool. The water, which flows over an edge, is essentially designed to acts as mirror. When observed from a position near the back of the reflecting pool the aperture of the space fixes the limits of solstitial extremes.12
Fig 5. Fig 7.
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Figure 5. Fumarole Elevation View. James Turrell, James Turrell:The Other Horizon, Hatje Cantz Verlag GmbH+C, 2001 Figure 6 Sun and Moon Space Elevation and Plan View James Turrell, James Turrell:The Other Horizon, Hatje Cantz Verlag GmbH+C, 2001 Figure 7. Eye of the Crater Elevation and Plan View. James Turrell , James Turrell:The Other Horizon, Hatje Cantz Verlag GmbH+C, 2001 Figure 8. East Space Elevation and Plan View. James Turrell , James Turrell:The Other Horizon, Hatje Cantz Verlag GmbH+C, 2001
02: CONCEPT & THEMES + CONCLUSION
Figure 9. Mark Tansey called Robb-Grillet Cleaning Every Object in Sight. Image found on Google Images.(Link in Bibliography)
The importance of the location was a significant feature within the project, as the artist would use the existing environment and the landscape to accentuate his design. The location of the Painted Desert of Flagstaff North Arizona13 met Turrell’s ideal requirements and intentions for providing a fundamental background within his design. The use of the Roden Crater, an extinct volcanic area, provided Turrell with this ideal background as he feels the crater “is a powerful entity”14 and sees it as “a place of geologic time”.15 This can be further elaborated, as the use of volcanic site is one of the earth’s unique landmarks within its natural environment therefore making it a ‘powerful’ area to design within. Additionally, with the location being a very isolated due to its clear exposed environment and the area stripped bare of vegetation it creates this impression of this ‘place of geologic time’. Another issue Turrell considers is the ability to place his architectural installation onto the natural surrounding without having any heavy inflictions to the existing environment and heritage within the proposed landscape. “Rather to impose a plan upon the landscape, I decided to work in phase with the surroundings of the volcano”16. Here, the artist’s intentions are shown on how he wants his artwork to be apart of the landscape as one. Furthermore, these intentions of not altering with the surroundings can be reinforced, as the site of the project lies in the heart of the Native American Hopi territory. Turrell intends not to intrude or interfere with the Hopi traditions however, perhaps uses the atmosphere the Native American Hopi brings to the landscape to be within his design plans. Moreover, the artists not only wanted to consider the landscapes native environment but also how the designs interaction with the landscapes weather environment. “I was also an artist developing an art that was concerned with light. I came to the installation works wanting to bring the light of day into the landscape. I did not want to make a mark on the surface of the earth. I wanted to employ the sunlight, moonlight and starlight to
empower a work of art.”17 Turrell speak here how through the inspiration and use of light and the landscape would enhance the piece of work he is creating. Alessandra Ponte in The House of Light and Entropy Inhabiting the American Desert believes “Roden Crater is not just an invitation for us to redefine our notions about art, architecture and living through the mere use and manipulation of light and space. It will be an architecture suspended between geological time and astronomical time”.18 Here, Ponte talks of Turrell not merely using the architecture of his artwork at the Roden Crater to create an interesting and innovative form of perception for the viewers to conceive. However, by applying the architecture to build an interesting relationship between two subject aspects of geology and astronomy within the design. Furthermore, within this article Ponte also discusses about various themes that are found within the American desert. Themes that share a similar connection to Turrell’s own ideas and concepts for the Roden Crater project. In the article Ponte makes an analytical perspective on a particular painting by Mark Tansey called Robb-Grillet Cleaning Every Object in Sight(fig 9), “the American desert becomes the “plane” on which irreconcilable forces meet: domesticity and monumentality, past and future, primitive and civilized, art and nature.”19This opinion where ‘irreconcilable forces meet’ can be translated within Turrell designs for the Roden Crater where his artwork meets the natural landscape. Furthermore, Turrell decision to choose the desert as his landscape can be perceived within Ponte’s article when she discusses certain references of Jane Tompkins and John Charles Van Dyke. Ponte studies Tompkins opinions of the American Desert, “It chooses the desert because than its clean, spare lines and lucid spaces, and absence of ornament bring it closer to the abstract austerities of modern architectural design than any other kind of landscape would.”20 Within this opinion, we learn that the desert becomes a certain landscape more suitable than any other backgrounds for earthworks with
an architectural design. Perhaps we can understand and relate this within Turrell’s own architectural design and his reasoning for the decision to use the desert landscape to inhabit his artwork. Ponte also refers to John Charles Van Dyke’s own personal experiences within the desert.Van Dyke has written a manuscript known as ‘The Desert’, which entails his venture into the American Desert for three years seeking relief in their dry climate.21 Within this manuscript, we obtain comparable relationship between Turrell’s vision for the project of creating an engagement to the universe and Van Dyke’s experiences out in the desert. “What a strange feeling, sleeping under the wide sky, that you belong only to the universe”.22 Considering the concepts of being one with the universe, we can see similarities to Van Dyke’s experiences to Turrell’s intentions for the viewer’s experience. Turrell’s concept of the relationship between the artwork and its landscape can be seen as a way to “give people awareness of the natural would and make them more sensitive to it through their experience of art”.23 Through the art of the Roden Crater, Turrell achieves this awareness or connection by the use of the landscapes surrounding environment and lighting conditions. In a conversation with Janet SaadCook in Touching the Sky: Artworks Using Natural Phenomena, Earth, Sky and Connections to Astronomy, Turrell elaborates how the setting creates a “feeling like one is standing on the surface of the planet”.24 This also highlights his idea of maintaining the relationship between the viewer and the environment. It can also be interpreted as how the artistic intention was to create this experience through the viewer’s perception. Furthermore, we learn from Richard Bright’s essay within the book ‘James Turrell Eclipse’, that Turrell wanted the crater to have various functions. It was not just to divulge people’s attention to the sky but also, “also allow them to ‘see their own seeing’, as active, not ‘passive’ observers…for it is not so much the crater’s ‘object’ that Turrell is interested in, but what the object makes us aware of.”25We understand
here the significance of this known but subtle awareness Turrell attempts to stimulate for the occupiers realization of what actually surrounds them. The creation of the Roden Crater project follows two sets of journeys. Firstly, we learn the viewer’s journey from their experience of finding their way to crater and their experience within the crater itself. Secondly, we also discover the journey of the project’s artist, James Turrell. From his previous projects, influences and his avocation to flying all that has aided him in the process of designing and producing this project. Turrell’s creates an experience for the observers within the crater through celestial vaulting. He also takes viewers on a journey in both getting to the site and using the architecture within the crater. In an article called ‘Tell Me, Is It Flat or Is It round?’ by Mary-Livingstone Beebe, she informs the reader of the experience of her travel conditions on route to the crater. “Traversing treacherous cliffs and canyons of black sand, I thought we might be crossing the bottom of the oceans minus the water”.26Here we can vividly picture this route she embarks on with the knowledge that this route was the artist’s intention for the viewer to endure as they came towards the Roden Crater. Perhaps it was hoped that this would result in a stronger experience and a return to the relationship between the viewer and the environment. Additionally, Turrell creates a sense of journey even within the architectural design of the project, “I wanted to advance from the floor of the desert up into the sky. I did not want to go up a mountain and down in a hole.”27 From the design layout of the project we can see the concept of journey Turrell wished the viewers to undergo. Since the purpose of the crater was to generate an engagement with the sky and celestial vaulting, making the viewers route to proceed ‘into the sky’ can be justified through Turrell’s journey concept. He further explains how the artwork will provide this sense of a journey and compares it to the idea of the Bodhisattva, which is a journey to enlightenment. “The idea of the Bodhisattva, one who comes
back and entices others on the journey, is some degree the task of the artist. It is a different role from that of one who is there when you get there. The Bodhisattva entices you to enter that passage, to take the journey. This is where I began to appreciate an art that could be a non-vicarious act, a seeing whose subject was your seeing.”28Turrell uses the Bodhisattva as an example of what he is trying the achieve using the artwork. The artwork Turrell creates instigates an influence for others who witness the piece to share this journey and encourage others to witness this experience and journey Turrell generates from the Roden Crater. Not only will the viewers goes upon a journey, but Turrell himself, also embraces a journey through the process stages of previous projects to how he made the discovery of the Roden Crater project. As touched on briefly before, Turrell previous projects have become developing stages that have influenced and eventually lead into the design for the Roden Crater, but also developed his passions and enthusiasm with light sources. “The spaces encountered in flight and the work of the Skyspaces generated a desire for Turrell to work with larger amounts of space and more curvilinear sense of the space of the sky and its limits”29In addition to this, previous aspects of light conditions from previous work by Turrell feature within the design of the Roden Crater. Features of the work Turrell’s Skyspaces(fig 12)are found through such openings on the top of the chamber that gives the impression of the sky as a flat surface.30Furthermore, design aspects within Turrell’s Wedgeworks (Fig 11)and Ganzfeld (Fig 10)projects can also be found with the Roden Crater design. The Wedgeworks project basically involves, placing partitions at a wedge-like angle and then installed the fluorescent tubes behind them in such a way the light reached the opposite corner, which creates the impression that the room was divided into two diagonal sections by a wall of light.31Identities from this project can be recognized within the Roden Crater through spaces in the chamber, as the light gener-
Fig 10.
Fig 12.
Fig 11.
Figure 10. Ganzfeld :Tight End 2005. James Turrell, James Turrell: A Life in Light, Paris: Somogy 2006 Figure 11. Wedgeworks III, 1969. Photo: John Cliett Perceptual Cells, Kunstverein f端r die Rheinlande und Westfalen, 1992 Figure 12 Skyspace I (Day), 1975. Photo: Giorgio Colombo, Perceptual Cells, Kunstverein f端r die Rheinlande und Westfalen, 1992
ated by the natural sunlight will stream in like a block on one rooms and divide the space in two and slowly disappear.32The Ganzfeld project is a visual field filled with light, that provided ideal conditions for stimulating a person’s perceptual awareness.33 Roden Crater uses these Ganzfeld qualities with its own design, as certain spaces within the viewing rooms will be filled with these qualities of granular light that will disguise the actual dimensions.34Clearly, we see how Turrell’s past works and experiments have become initial stages towards his progression to the Roden Crater project. Turrell’s interaction with spaces through flight encouraged him more to work with larger and curvilinear amount of spaces. The discovery of the Roden Crater came across through Turrell’s avocation to flying. Within the writing of Gerrit Willems within the book ‘James Turrell Kijkduin’ we understand the importance of flying to the artist James Turrell. “High up in the air the world reveals itself differently than close to the ground.You learn to see things in another way; you learn to get familiar with space. Flight heightens the eyes ability to know. That same thing happens to the viewers of his work.”35 Here through Turrell’s experiences of flying as a pilot, he transfers this experience he has endured into his own artwork for the viewers experience. Turrell’s interest with aviation was his father’s influence.36His experience as a pilot has let Turrell develop a deeper understanding with the sky and the crater design. “By reshaping the bowl of the crater, Turrell has ‘changed the shape of the sky’, and it is here that the viewer will become acutely aware of how the sky is modified perceptually, both in the shape and color. An experience Turrell fully understands through his experience of a pilot.”37 Inspiration for the Roden Crater design came from the artist’s experience through Japanese active volcanic islands of Suwanose. “I felt to be on a living surface. The earth was a living skin. The aerial reveals the vitality of the earth and the passing
and re-emerging of cultures.”38 After this revelation on the active volcano island, Turrell knew almost immediately that he had his own ambition to search and locate a volcano for himself.39Influences also came in the form of the Japanese garden designs. Turrell had discovered an interesting feature within the garden design, “You had no sense of where the garden began or ended. I was discovering the depth of thought behind the design.”40 Turrell found this an interesting concept to use as inspiration and portrayed the concept of ‘no sense of beginning and end’ within his own way for the Roden Crater layout. “This is the kind of effort I am seeking with Roden- a piece that does not end.”41 In comparisons to other architectural structures and earthworks, Turrell has taken many influences from other the work of others. Within the conservation with Janet Saad-Cook, the Roden Crater project is discussed as having affinities with the 18th century observatories of Jai Singh in India. In the conversation we understand this particular observatory interests Turrell and can see the artist being influenced with this structure in comparison within his own design. “The reason I find them so interesting is that they are designed from the outside in. In other words, the structure is literally in response to the events in heaven.” 42The idea of the structure is response to the events in heaven can also be translated within Turrell’s idea for the Roden Crater, as his structure is in response to the events within the sky and universe. Other structures such as Tycho Brahe’s naked eye observatory,43 “the inner sanctuary of Newgrange, [and] the high Room of the Sun at Karnak…[to] the sacred ground inside a kogi temple”,44are all structures Turrell refers to that compare to his own. Through the design concepts, aesthetics or functions these structures also share similar identities that relate to his ideas for the Roden Crater. Landmarks such as, the Grand Canyon was another influential landscape Turrell had been inspired by. Turrell found the landscape beautiful because of it geological formation, thus why
Turrell selected the Painted Desert as the environment for his design as he wanted a similar characteristics to those of the Grand Canyon. In Touching the Sky: Artworks Using Natural Phenomena, Earth, Sky and Connections to Astronomy, Janet Saad-Cook talks with Charles Ross, another earthwork artist whose work of the Star Axis projects is comparable within the work of James Turrell’s Roden Crater. Ross’ work, however, tends to focus on visual experience precession rather than celestial vaulting. Within the conversation we learn how Ross and Turrell express similar thoughts and views on the importance of locating the landscape for their artwork before designing the architecture. “It is not architecture; I could never draw plans for it and then build it. Placing it on the land required a kind of ‘discovering it in the earth”. Ross further elaborates his opinion through his own project, “You see, the earth aspects of Star Axis has to feel as if it is grown from the ground, that it is not imposed but ‘found in place’.”45Resemblances can be recognized within Ross’ justification for requiring the land before the artwork to Turrell’s reasoning for finding the right landscape for his project. This explains more of this concept of the connection between astronomy and geology that these artists explore through the power of art. “In addition to wanting the site to be at the boundary of earth and sky, I wanted it to be at the boundary between civilization and wilderness; I did not want it to be completely remote.”46Within this quote, we can validate the opinions of both Ross and Turrell speak of and informs us how the landscape of the desert provides this essential setting for their artwork. The most significant influence to Turrell’s Roden crater, is the artist fixation towards light and through light Turrell is able to design important features to enhance the project capabilities. “Light is a powerful substance. We are primal connection to it. But, for something so powerful, situations for its felt presence are fragile. I form it as much the material allows. I like to work with it so that you feel it
Fig 13.
Fig 14.
Figure 13. Jai Singh’s Observatory. Image found on Google Images(Link in Bibliography) Figure 14. Grnad Canyon. Image found on Google Images(Link in Bibliography)
physically, so you feel the presence of the light inhabiting a space…It’s always a little bit suspect to look something really beautiful like an experience in nature and want to make it into art. My desire is to set up a situation to which I take you and let you see. It becomes your experience.”47 To conclude, the Roden Crater uncovers various aspects to the design that explore certain themes and concepts. Within this essay, we’ve learnt the various influences and inspirations of the artist James Turrell and how they contribute towards these concepts and themes towards designing the Roden Crater.The understanding of the importance within the landscape of the desert to the design become a predominate issue that featured during the process of the project. Furthermore, we learn more about the design insight and functionality of the Roden Crater’s architectural spaces that Turrell builds and how it enables him to work with light and the landscape or vice versa. Once the project is completed, with the key factors of light and landscape, the architectural spaces Turrell designs within the Roden Crater would potentially reach new heights within observing celestial vaulting and astronomical events through the power of an earthwork installation. John Mullankuzhy
Notes: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24.
Saad-Cook, J. pp128. Adcock, C. pp159. Adcock, C. pp180. Saad-cook, J. pp130. Turrell, J. pp57/58. C. Chave, A. pp476. Turrell, J. pp166. Other Horizon Turrell, J. pp 169. Other Horizon Turrell, J. pp171. Other Horizon Turrell, J. pp172. Other Horizon Turrell, J. pp174. Other Horizon Turrell, J. p176. Other Horizon Adcock, C. pp154. Turrell, J. pp39. Light & Space Saad-Cook, J. pp 129. Turrell, J. pp57. Air Mass Turrell, J. pp21/25. Air Mass Ponte, A. pp22. Ponte, A. pp18. Ponte, A. pp 14. Ponte, A. pp 17. Ponte, A. pp 18. Saad-Cook, J. pp129. Saad-Cook, J. pp130.
25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47.
Bright, R. pp 21 Livingston Beebe, M. pp170. Turrell, J. pp58. Air Mass Turrell, J. pp18. Air Mass Turrell, J. pp13. Light & Space Willems, G. pp144. Švestka, J. pp20. Perceptual Cells Willems, G. pp145. Švestka, J. pp24. Perceptual Cells Willems, G. pp145. Willems, G. pp146. Turrell, J. pp9. Air Mass Bright, R. pp27. Eclipse Turrell, J. pp26. Air Mass Turrell, pp27. Air Mass Turrell, J. pp21. Air Mass Turrell, J. pp43. Perceptual Cells Saad-Cook, J. pp129. Turrell, J. pp166. Other Horizon C. Chave, A. pp476. Saad-Cook, J. pp125. Saad-Cook, J. pp 125. Turrell, J. pp35. A Life in Light
Bibliography: Books:
Images from Google Images:
- Adcock Craig, James Turrell:The Art of Light and Space, University of California Press, 1990 - Bright Richard, James Turrell Eclipse, Michael Hue-Williams Fine Art, 1999 - Turrell James, Air Mass: James Turrell, South Bank Centre 1993 - Turrell James, James Turrell: A Life in Light, Paris: Somogy 2006 - Turrell James, James Turrell Kijkduin, Stroom, 1996 - Turrell James, James Turrell Light & Space, Whitney Museum of American Art, 1980 - Turrell James, Perceptual Cells, Kunstverein f端r die Rheinlande und Westfalen, 1992 - Turrell James, James Turrell:The Other Horizon, Hatje Cantz Verlag GmbH+C, 2001
Figure 9: http://www.google.co.uk/imgres?q=Mark+Tansey+called+Robbe-Grillet+Cleaning+Every+ Object+in+Sight&um=1&hl=en&sa=N&tbo=d&biw=1251&bih=630&tbm=isch&tbnid=86I0tiRi EfnzjM:&imgrefurl=http://www.eccentricflower.com/index.php/Circular_Cruises/This_Is_Not_Art&d ocid=k7AIWx1nmCQfqM&imgurl=http://www.eccentricflower.com/images/4/4b/Notart_cleansing. jpg&w=400&h=404&ei=o0v2UPbCF-KM0AXA44DYBg&zoom=1&iact=hc&vpx=143&vpy=110&dur=1 200&hovh=226&hovw=223&tx=138&ty=146&sig=111753286224038763824&page=1&tbnh=138& tbnw=143&start=0&ndsp=22&ved=1t:429,r:1,s:0,i:85
Figure 13: http://www.google.co.uk/imgres?q=jai+singh+observatory&um=1&hl=en&sa=N&tbo=d&b
Journals:
iw=1251&bih=595&tbm=isch&tbnid=9tQJK5yOuGXaFM:&imgrefurl=http://www.daviddarling.info/ encyclopedia/I/Indian_astronomy.html&docid=2Jbr80nFNapOCM&imgurl=http://www.daviddarling.info/
- Saad-Cook Janet, Touching the Sky: Artworks Using Natural Phenomena, Earth, Sky and Connections to Astronomy, Leonardo,Vol 21, No 2 (1988) - Ponte Alessandra, The House of Light and Entropy: Inhabiting the American Desert, Assemblage, No.30 (Aug 1996) pp 12-31 - Livingstone-Beebe Mary, Tell Me, Is It Flat or Is It round?, Art Journal,Vol 41, No 2 - C. Chave Anna, Revaluing Minimalism: Patronage, Aura, and Place, The Art Bulletin,Vol. 90, No.3(Sep, 2008), pp 466-486
images/Jaipur_Observatory.jpg&w=300&h=239&ei=0Ff2UJLtIKmH0AXFpYD4DQ&zoom=1&iact=hc&v px=762&vpy=286&dur=765&hovh=191&hovw=240&tx=144&ty=101&sig=1117532862240387638 24&page=1&tbnh=144&tbnw=189&start=0&ndsp=18&ved=1t:429,r:10,s:0,i:112
Figure 14: http://www.google.co.uk/imgres?q=grand+canyon&um=1&hl=en&tbo=d&biw=1251&bi h=594&tbm=isch&tbnid=DZllulfNayRVyM:&imgrefurl=http://www.nps.gov/grca/photosmultimedia/ GRAND-CANYON-SCENIC-SPLENDOR.htm&docid=itbpifqtLIC0cM&imgurl=http://www.nps.gov/grca/images/20070921161701.jpg&w=1800&h=1187&ei=bVj2UOXYN4nT0QWhrYHwAg&zoom=1&iact=hc &vpx=701&vpy=168&dur=886&hovh=182&hovw=277&tx=160&ty=83&sig=111753286224038763 824&page=1&tbnh=138&tbnw=201&start=0&ndsp=17&ved=1t:429,r:4,s:0,i:157