CONTENTS 6 Introduction 15
Definitions of Collage and Appropriation
19 Chapter One: The Only Style of the Epoch 28 Chapter Two: The End to the End of History 44
At the Edge of the Abyss
46 Chapter Three: Architecture into Sculpture 54
The Figure Caged within the Grid
56 Chapter Four: The Trickster Makes the City 74 Chapter Five: Last Works, Late Style
Opposite top: Palladian curtain-wall at One International Place, Boston (1987), John Burgee architects with Philip Johnson, Photo: © 2013 Christian Bjone When constructed, the cut-out Palladian windows at One International Place caused outrage from the profession as an example of Postmodern bad taste. Robert Campbell at the Boston Globe has said “It’s obvious that these windows look awful. They’re so thin and flat they seem to be stuck onto the building with adhesive.” But in retrospect it has become one of Johnson’s most innovative details and is a tricksterlike comment on all high-rise curtain-walls, which are non-structural and, in reality, merely decorative wallpaper. These windows also connect to the serial repetitive work of much modern art as Warhol’s silk screens of commercial products. Opposite bottom: Campbell Soup Cans (1962), Andy Warhol
81
Conclusion
84
Notes
92
Index
96
Author Biography
96
Philip Johnson Professional Chronology
96
Acknowledgements