On a production level, the Coenties Slip with its contrasting embedding between „land and sea“ was increasingly reflected in the material and form of numerous artworks. The connection between city and river became a source of inspiration especially for Martin, Tawney, Indiana and Youngerman, who integrated maritime symbols, geometric forms and harbour-related materials in their works and dealt vividly with the relationship between nature and urban flair. These common features show how strongly the aspects of materiality and production are related to the collaborative working and the topological structures at the Slip.
Therefore, the discussion at the International Summer School does not strictly stick to the predetermined topics but will cross these borders and become an encompassing and open exchange. It is a great pleasure to have Mona Schieren as a participating expert at the International Summer School, who organized the international symposium „Response to Agnes Martin“ in 2016, and brings a broad expertise to the team of guest lecturers.
The following more detailed questions on the topics materiality and production will be an open guideline for our discussions during the International Summer School:
- Which relevance does the material of the environment have for the artists? Which stylistic and formal aesthetic features are distinctive for this?
- How did the inherent principles of the artists working in New York and their specific handling of the material change within the 1950s and 1960s? How did these artists influence central developments such as Fiber Art, Minimal Art, Hard Edge andPop Art?
- Which concept of production can be worked out for the artists and how did it actually develop in that time (if we think of something like non-materiality or transcendence)?