Attending

Contemporary Landscapes of Contemplation

Volumn , Issue , 2005, Pages 13-35

  Treib, Marc ^a  

^a UNIVERSITY OF CALIFORNIA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84905632469     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4324/9780203462089     Document Type: Chapter

References (36)

1. Daisetz Suzuki, Zen and Japanese Buddhism, Tokyo: Japan Travel Bureau, 1970, p. 19.
2. According to art historian Arthur Fallico, in order to stimulate our response, the artwork must consider the nature of that response. Fallico writes that: I am unable to respond to just any thing. I must be capable of enacting the very stimulus to which I can respond. The thing is already, not any thing, but a very special kind of thing, as well as a particular thing, to which I have already accorded, by my very posture in purposing, the power to help me speak and to guide me in forming my very own words in speaking.
3. Arturo B. Fallico, Art & Existentialism, Englewood Cliffs, NJ: Prentice-Hall, 1962, p. 144.
4. Marc Treib, "Must Landscapes Mean?: Approaches to Significance in Recent Landscape Design," Landscape Journal, 14, 1, Spring, 1995, pp. 46-62.
5. See Ulrich Neisser, Cognition and Reality: Principles and Implications of Cognitive Psychology, San Francisco, CA: W. H. Freeman, 1976.
6. See Ella Forshay and Barbara Novak, Intimate Friends: Thomas Cole, Asher B. Durand, William Cullen Bryant, New York: The New York Historical Society, 2000.
7. See Kimberly Rorschach, The Early Georgian Landscape Garden, New Haven, CT: Yale Center for British Art, 1983, and
8. John Dixon Hunt, William Kent, Landscape Garden Designer, London: A. Zwemmer, 1987. Hunt cautions against attributing the various elements of the Chiswick garden to Kent: Kent's involvement, then, at Chiswick is undeniable but still rather hazy as regards both dates and contributions.. . . Yet we must also recall that Kent's contribution to the main section of the gardens in the 1730s was the Italianate exedra, with its opening through a possibly Palladio-inspired screen of trees to the orangery garden. . . and perhaps the theatrical disposition of the Orangery. .. as well as the re-erection of the Inigo Jones gateway. (p. 70)
9. Burke's composition of the beautiful and the sublime, and the somewhat later addition of the picturesque, took place in England, where many have argued the true terror of the sublime and the real roughness of the picturesque never really existed, hence its creation in literature and its celebration in paintings by Claude and Salvador Rosa. See Edmund Burke, A Philosophical Enquiry into the Origin and Our Ideas of the Sublime and Beautiful, 1757, reprint Oxford: Oxford University Press, 1990.
10. Barbara Novak, in her admirable study Nature and Culture, traces the changes in picturesque theory when it reappears in the United States. The great mountain ranges of the Rockies, the Adirondaks, the Smokeys, were truly sublime sights, matched in their grandeur by the terror of the great storms that swept across their peaks and through their gorges. American picturesque theory was never quite the same, never quite as awe-ful as it was in England. But the Transcendentalists did think hard about the divine presence in the landscape, and its role in making us think about life and our place within it.
11. Barbara Novak, Nature and Culture: American Landscape and Painting 1825-1875, New York: Oxford University Press, 1980.
12. Bernini created a sculptured picture of Teresa's Ecstasy, which was itself originally a mental picture as well as a powerful physical phenomenon. The "truth" of the vision is consequently conveyed on more than one level: ideally we enter the chapel, observe the Ecstasy-removed, white, mysteriously illuminated, but also very solid and realistic-and ultimately participate in a religious experience of our own, aided by the mystic concretion hovering before our eyes. Howard Hibbard, Bernini, Harmondsworth: Penguin Books, 1965, p. 138. Hibbard provides a detailed discussion of the statue and its architectural setting on pp.128-39.
13. See Marguerite Fellows Melcher, The Shaker Adventure, Cleveland, OH: The Press of Case Western Reserve, 1968; and
14. Edward Deming Andrews, The People Called Shakers, 1953, reprint, New York: Dover Publications, 1963.
15. On Shaker furniture see Edward Deming Andrews and Faith Andrews, Shaker Furniture: The Craftsmanship of an American Communal Sect, 1937, New York: Dover Publications, 1964;
16. Edward Deming Andrews and Faith Andrews, Religion in Wood: A Book of Shaker Furniture, Bloomington, IN: Indiana University Press, 1966; and
17. John Shea, The American Shakers and their Furniture, New York: Van Nostrand Reinhold, 1971.
18. For an overview of the history of Japanese gardens see Lorraine Kuck, The World of the Japanese Garden, Tokyo: Weatherhill, 1968;
19. Teiji Itoh, The Japanese Garden, New Haven, CT: Yale University Press, 1972;
20. Gunther Nitschke, Japanese Gardens, Cologne: Benedikt Taschen, 1992; and
21. Marc Treib and Ron Herman, A Guide to the Gardens of Kyoto, Revised edition, Tokyo: Kodansha International, 2003.
22. Muso Soseki, translated by W. S. Merwin and Soiku Shigematsu, Sun at Midnight: Poems and Sermons, San Francisco, CA: North Point Press, 1989, p. 32.
23. Claudel served in the French diplomatic corps in Japan in the 1920s. Quoted in Fallico, op. cit. p. 32.
24. This was the genius of our ancestors, that by cutting off the light from this empty space they imparted to the world of shadows that formed there a quality of mystery and depth superior to that of any wall planting or ornament. The technique seems simple, but was by no means so simply achieved. We can imagine with little difficulty what extraordinary pains were taken with each invisible detail-the placement of the window in the shelving recess, the depth of the crossbeam, the height of the threshold. But for me the most exquisite touch is the pale white glow of the shoji in the study bay; I need only pause before it and I forget the passage of time. Jun'ichiro Tanizaki, translated by Thomas J. Harper and Edward G. Seidensticker, In Praise of Shadows, New Haven, CT: Leete's Island Books, 1977, pp. 20-21.
25. See also Okakura Kakuzo, The Book of Tea, 1906, Rutland, VT: Charles Tuttle, 1956. In describing the tea room Okakura writes: It is an Abode of Fancy inasmuch as it is an ephemeral structure built to house a poetic impulse. It is an Abode of Vacancy inasmuch as it is devoid of ornamentation except for what may be placed in it to satisfy some aesthetic need of the moment. It is an Abode of the Unsymmetrical inasmuch as it is consecrated to the worship of the Imperfect, purposely leaving some thing unfinished for the play of the imagination to complete. (pp. 54-5)
26. Among the numerous books about James Turrell's work are Peter Noever, (ed.), James Turrell: The Other Horizon, Vienna: MAK, and Ostfildern-Ruit, Germany: Cantz Verlag, 1999;
27. Richard Andrews, (ed.), James Turrell: Sensing Space, Seattle, WA: Henry Art Gallery, University of Washington, 1992; and
28. James Turrell: Spirit and Light, Houston, TX: Contemporary Arts Museum, 1998.
29. On Irwin's thinking and work see Robert Irwin, Being and Circumstance: Notes Towards a Conditional Art, Larkspur, CA: Lapis Press, 1985, and
30. Lawrence Weschler, Seeing is Forgetting the Name of The Thing One Sees, Berkeley, CA: University of California Press, 1982.
31. James Turrell in an interview with Jim Lennox, in Claudia Giannini, (ed.), James Turrell: Into the Light, Pittsburgh: The Mattress Factory, 2003, p. 47.
32. Burke, op. cit., p. 74.
33. Pauline Kael, quoted in Annette Michelson, "Eco and Narcissus," Artforum, March 2002, p. 128.
34. Thomas Struth, "Thomas Struth talks about his 'Paradise Series,'" Artforum, May 2002, p. 151.
35. In Art & Existentialism, Arturo B. Fallico writes: [T]he inspection of the object must lead back to the intending observer whose thought about it defines the object he is observing. It necessarily follows that the description of an object must disclose something about the subject, even something of his very condition of being. (p. 8)
36. Paul Reps, compiler, Zen Flesh, Zen Bones, New York: Doubleday, not dated, pp. 42-43.