"George Maciunas Prefabricated Building System" presents an exciting chapter in artist George Maciunas’ prolific oeuvre, focusing on his ventures in architecture. The exhibition critically examines a particular architectural project for a prefabricated mass housing system, which Maciunas drafted in the late 1950s and developed toward utopian ends through 1965. His original plan has been thoroughly researched and put to the test in the form of a three-dimensional model, which will be unveiled for the first time. The exhibition gives new understanding to the artist’s progressive ideas on art, architecture, and design and their capacity to have bearing on broader social and cultural issues.
Observing the building plan’s simplicity of composition in relation to Maciunas’ very particular notions on form, function, economy, and efficiency informing the presentation, it becomes apparent that he was steeped in the latest theories and technical developments. A standard method of joinery, for example, indicates that Maciunas formulated his plan with real factory production in mind. Designed for quick and easy assembly with a minimum number of components necessary, the structure requires no heavy machinery, and can be erected using local, untrained labor. Its great flexibility of form and material means that it can function as a residential, institutional, industrial, or agricultural building, and that it can adapt to specific topographical and climate conditions. The structure can change shape and size according to most any external site restrictions, while also meeting the needs and facilitating the routines of those working or living inside. Durability is another distinctive feature. The system as a whole is able to withstand natural disasters such as hurricanes, earthquakes, and floods. Predating today’s eco-minded homes, Maciunas’ dwelling allows the inhabitants to control the admittance of solar light and warmth, simply by shifting a wall panel. Maciunas’ prefabricated housing system, in form, function, material, and flexibility, resonates in a contemporary culture that thrives on utilitarian, mass-produced products made to meet the varying needs of the individual consumer. Not surprisingly, “cultural entrepreneur” was one of the many titles given to Maciunas during his career.
The architectural model featured in the gallery brings to light Maciunas’ innovative views on architecture. Viewers will be able to grasp the entire system, as well as the pragmatics for the building’s construction. Measuring 142 x 147 x 40.5 cm. high with a base of 162.5 x 167.5 cm., the structure is exactly 1:10 the size of the actual house. A walk-through digital animation of the building, which will be screened in the gallery’s project room, compliments the model. Viewers will experience a simulated 3-D tour of the structure as the camera first moves around its exterior, and then navigates through the interior spaces.
"You see, the reason I am so concerned with [functionalism] is that that’s an architect’s training. I mean, that’s the way the architect thinks, he thinks in functionalism otherwise he’s not an architect, he’s a sculptor or a stage designer."
George Maciunas, interview with Larry Miller, 1978. Transcript repr. in Jon Hendricks ed., Fluxus etc./Addenda I. The Gilbert and Lila Silverman Collection (New York: Ink &, 1983), 24.
George Maciunas was a Lithuanian born American artist. He studied architecture at Cooper Union School of Art in New York from 1949 to 1952, and the Carnegie Institute of Technology in Pittsburgh from 1952 to 1953 receiving his Bachelors with honors in 1954. After graduation, he came back to New York continuing his graduate studies at the Institute of Fine Arts, New York University, with a concentration on art history of the European & Siberian migrations from 1955 to 1959. He also worked with renowned firms such as Knoll and Skidmore, Owings & Merrill in the 1950s and early 1960s. His experience in the corporate design world led him to redeploy its very systems toward artistic and critical ends, helping to provide him with the impetus behind the Fluxus art collective of the 1960s and 1970s. His graphic layouts for posters, flyers, newspapers, artists’ name labels, and presentation of Fluxus works as “anti-commodities” illustrate the landmark design that distinguished Fluxus production. These works have come to symbolize the utilitarian philosophy that drove Maciunas in life and art, favoring “functionalism and “concretism” over decorative attributes.
Maya Stendhal Gallery would like to thank architect Scott Weinkle for assembling the architectural presentation, Julia E. Robinson and Christian Xaterc for their contributions to the project carrying out valuable research and scholarship in support of Maciunas’ vision, Brooklyn Model Works for building the architectural model on view, Maurice Arduz for creating the three-dimensional architectural renderings and accompanying walk-through digital animation, Carolina Carrasco and Mari Dumett for their original contributions in research and scholarship on Maciunas Prefabricated Building System, and Ken Friedman, Hollis Melton, and Charles R. Simpson for providing support material in the form of essays and writings.
The exhibition "George Maciunas Prefabricated Building System" was organized and produced by Harry Stendhal, Director of Maya Stendhal Gallery, New York.
For further information please contact:
Maya Stendhal Gallery | 545 West 20th St. | New York, NY 10011
T 212.366.1549 | F 347.287.6775 | email gallery@mayastendhalgallery.com
www.mayastendhalgallery.com | www.jonasmekas.com | www.paulascher.com | www.georgemaciunas.com
