{"id":17956,"date":"2022-11-22T10:59:38","date_gmt":"2022-11-22T09:58:10","guid":{"rendered":"https:\/\/www.delpireandco.com\/?post_type=product&#038;p=17956"},"modified":"2022-11-22T10:58:10","modified_gmt":"2022-11-22T09:58:10","slug":"the-pliable-plane-the-wall-as-surface-in-sculpture-and-architecture-1945-75","status":"publish","type":"product","link":"https:\/\/www.delpireandco.com\/en\/produit\/the-pliable-plane-the-wall-as-surface-in-sculpture-and-architecture-1945-75\/","title":{"rendered":"The Pliable Plane : The Wall as Surface in Sculpture and Architecture, 1945\u201375"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"featured_media":17989,"template":"","meta":[],"product_cat":[61],"product_tag":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v17.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<meta name=\"description\" content=\"In The Pliable Plane, curator and historian Penelope Curtis traces the ways sculp\u00adture infiltrated architectural thought over the post-war period. Her study identifies the wall as a particular locus of creative thinking \u2013 a surface which produces both continuity and separation, and which similarly unites and distinguishes the two disciplines. Surveying a series of walls \u2013 carved, cast, applied, imagined, and even conceptual \u2013 in such places as bomb shelters, caves, war memorials, and public buildings, Curtis introduces a cast of renowned and lesser-known practitioners who defined the three-dimensional conception of the years 1945 to 1975.With close readings of the work and lives of Henry Moore, Anni Albers, Frederick Kiesler, Jorge Oteiza, and Mary Martin, among others, Curtis\u2019s lucid history encom\u00adpasses the developments of wartime production, the discovery of the Lascaux Caves, and the rise of relief art. Turning away from familiar pairings and dichotomies, it considers spaces and surfaces of coalescence and influence. Curtis compels us to understand the wall as support as much as partition, arguing for the centrality of this very pliability to the entwined development of both sculpture and architecture.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.delpireandco.com\/en\/produit\/the-pliable-plane-the-wall-as-surface-in-sculpture-and-architecture-1945-75\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Pliable Plane : The Wall as Surface in Sculpture and Architecture, 1945\u201375 Penelope Curtis - delpire &amp; co\" \/>\n<meta property=\"og:description\" content=\"In The Pliable Plane, curator and historian Penelope Curtis traces the ways sculp\u00adture infiltrated architectural thought over the post-war period. Her study identifies the wall as a particular locus of creative thinking \u2013 a surface which produces both continuity and separation, and which similarly unites and distinguishes the two disciplines. Surveying a series of walls \u2013 carved, cast, applied, imagined, and even conceptual \u2013 in such places as bomb shelters, caves, war memorials, and public buildings, Curtis introduces a cast of renowned and lesser-known practitioners who defined the three-dimensional conception of the years 1945 to 1975.With close readings of the work and lives of Henry Moore, Anni Albers, Frederick Kiesler, Jorge Oteiza, and Mary Martin, among others, Curtis\u2019s lucid history encom\u00adpasses the developments of wartime production, the discovery of the Lascaux Caves, and the rise of relief art. Turning away from familiar pairings and dichotomies, it considers spaces and surfaces of coalescence and influence. 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