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Coles Barbara Kasten: Architecture & Film (2015-2020) at Village Green Shopping Centre in Vernon, BC
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Considering the spatial and cinematic dimensions of Kasten's transmedia creations Since the 1970s, Barbara Kasten (born 1936) has developed her expansive photographic practice through the lens of sculpture, painting, theater, textile and installation. Well known within photographic and contemporary art discourse, the Chicago-based artist has recently begun to be reconsidered within the broader context of architectural theory. This survey contextualizes Kasten’s investigations into how moving images and light play within and through architectural forms.
Alongside full-color plates, the book features a long-form interview with Hans Ulrich Obrist, whose 2019 Chicago Marathon stage was designed by Kasten, as well as a number of essays: artist Irena Haiduk discusses Kasten’s collaborations with corporations such as Polaroid; curator Humberto Moro explores the relationship between Kasten’s constructions and midcentury architects from Mexico and Brazil; curator Mimi Zeiger examines the Bauhaus movement from a feminist lens; and editor Cristello recalls historical moments that provide a “stage” through which to consider Kasten’s formulations of space as cinema.
Considering the spatial and cinematic dimensions of Kasten's transmedia creations Since the 1970s, Barbara Kasten (born 1936) has developed her expansive photographic practice through the lens of sculpture, painting, theater, textile and installation. Well known within photographic and contemporary art discourse, the Chicago-based artist has recently begun to be reconsidered within the broader context of architectural theory. This survey contextualizes Kasten’s investigations into how moving images and light play within and through architectural forms.
Alongside full-color plates, the book features a long-form interview with Hans Ulrich Obrist, whose 2019 Chicago Marathon stage was designed by Kasten, as well as a number of essays: artist Irena Haiduk discusses Kasten’s collaborations with corporations such as Polaroid; curator Humberto Moro explores the relationship between Kasten’s constructions and midcentury architects from Mexico and Brazil; curator Mimi Zeiger examines the Bauhaus movement from a feminist lens; and editor Cristello recalls historical moments that provide a “stage” through which to consider Kasten’s formulations of space as cinema.
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