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Transhistorical Aesthetics

The Museum of Trans Hirstory & Art (MOTHA) queers monument design
A show now up at New York City’s New Museum has invited a collection of artists to probe the fluid nature of transgender history (or hirstory, a portmanteau using the gender-neutral pronoun “hir”), and the role of monuments in America today. Consciousness Razing—The Stonewall Re-Memorialization Project, organized by artist Chris E. Vargas and the Museum of Transgender Hirstory & Art (MOTHA), challenges how public monuments, even LGBTQ-oriented ones, can exclude or diminish the contributions of not only trans people, but of large and complex communities more generally. Rather than putting forward one design for a trans-oriented Stonewall memorial, the show invited a range of artists to propose monuments that would grow and evolve over time. This amorphous approach is a reaction to the concretization of transgender history as trans communities become more widely accepted in the U.S. In June of 2016, President Obama made the Stonewall Inn in New York City a National Monument, the first to specifically highlight the LGBTQ community. The Inn was the site of the 1969 Stonewall Riots, when a group of patrons at the bar fought back against a police raid on the establishment and demanded to be treated with respect. The riots are frequently cited as the beginning of the LGBTQ rights movement in the U.S. An existing memorial of the riots, the Gay Liberation Monument, sits in the park opposite the inn, but it, along with other public remembrances of the riots, have been accused of remembering only the roles of white, cisgender people in the LGBTQ rights movement and forgetting the role that trans women of color had in leading the riots. This perceived history of exclusion is part of what spurred Vargas to solicit a kaleidoscopic range of ideas. “Constructing one single monument is an inadequate way to represent this history,” Vargas said. “There are so many queer subjectivities that have a stake in this.” In the New Museum show, 13 different artists have contributed their ideas for a Stonewall monument, all of which are represented in a site model of Christopher Park in the center of the gallery. The proposals at the New Museum are all a far cry from the politely-posed statues of the Gay Liberation Monument. Thomas Lanigan-Schmidt designed gleaming rodents to remember the riots, “that night the ‘gutter rats’ shone like the brightest gold.” Nicki Green put forth a pile of bricks, both a humble building material and the weapon thrown by Stonewall rioters at the police. Jibz Cameron imagined various scenes: dancing feet, the Stonewall’s notoriously dysfunctional toilet, and a “stiletto heel being slammed into the eye of a cop.” Chris Bogia opted for an abstracted facade filled with color and dangling with pearls, saying: "I want to make something that reminds every passerby that there was a riot in this place for LOVE and that it was full of color, and that we won." Vargas started MOTHA in 2013 as trans celebrities, like Laverne Cox, Janet Mock, and Caitlyn Jenner started to rise to national prominence. While a new era of trans visibility appeared to be dawning, Vargas noted that not everybody was getting included in the uplift: “It didn’t universally make things better in the trans community.” The visibility also began to harden some definitions, taking a range of identities, some of which had been purposefully vague, and standardizing them for a mass audience. MOTHA was a riposte to the notion that there could be any stable definition of what it meant to be trans and that certain trans people were more worthy of visibility than others. The conceptual museum was intentionally tongue-in-cheek, as much of a lampooning of the self-seriousness and strictures of genteel art institutions as a celebration of the diversity and range of queer culture. The campy institutional critique falls in the vein of the Guerrilla Girls, the feminist activist artists who for decades have used surreal imagery and savvy design to point out the discrepancies between how art institutions treat men and women. MOTHA's mission statement drives its campy sensibilities home:
The Museum of Transgender Hirstory & Art (MOTHA) is dedicated to moving the hirstory and art of transgender people to the center of public life. The Museum insists on an expansive and unstable definition of transgender, one that is able to encompass all transgender and gender-nonconforming art and artists. MOTHA is committed to developing a robust exhibition and programming schedule that will enrich the transgender mythos by exhibiting works by living artists and honoring the hiroes and transcestors who have come before. Despite being forever under construction, MOTHA is already the preeminent institution of its kind.
The artists participating in The Stonewall Re-Memorialization Project take MOTHA’s subversive wit into the contemporary political climate, one in which trans communities are again both under attack and fighting back. President Trump recently announced that he is considering reversing rules protecting the 1.4 million Americans who identify as transgender, while at the same time a historic amount of LGBTQ candidates are running for office and are poised to hold greater political power. Trans entertainers and performers are achieving recognition even as transgender people in the U.S. are being killed in record numbers. “There were always limitations in accepting and inclusion," Vargas said. “This political moment has highlighted the limitations.” Monuments have become a particular flashpoint in the U.S.'s fraught political climate, and Vargas says that he began the Stonewall project questioning the role of monuments. "I went into it with a real critical lens, but to be honest, I’ve become more understanding of the importance they play…There’s a way they can evolve over time." Vargas cited the influence of the work of the artist Isa Genzken, whose Ground Zero sculpture series imagined for the World Trade Center site in New York City a series of kaleidoscopic churches and discos instead of drab office towers. Like Genzken's sculptures, the Stonewall proposals embrace messy emotionality and exuberant vitality over orderly construction. The carnivalesque approach reflects the overall strategy for MOTHA, a roving institution that Vargas says will never have a permanent physical home. “At the heart of my approach to this project is an acknowledgment that once you start you canonizing, once you start making an official history, you have to start policing boundaries of what is or isn't considered transgender, and I don't think the identity category lends itself to that approach." Vargas added, "I don’t think it makes sense to have a traditional institution…It makes sense to have it exist as an evolving parasitic entity.” Which is not to say that Vargas wouldn’t want architects to imagine what a home for MOTHA could look like. “It’s been a dream of mine to have an architectural design competition for the institution,” Vargas said. Architects, take note.  Consciousness Razing—The Stonewall Re-Memorialization Project will be on view at the New Museum in New York City through February 3, 2019.
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Zipped Up

BIG’s Serpentine Pavilion lands in Toronto for the fall
The Bjarke Ingels Group’s (BIG) 2016 summer Serpentine Pavilion, an unzipped exploration of the flat wall, has made an intercontinental leap to Toronto and is set to open in September. During the day visitors will be able to explore an architectural exhibition titled Unzipped, curated by BIG, inside of the “unzipped wall," and at night talks and events will be hosted by developer and owner Westbank. The curvilinear pavilion will be reconstructed to its original size: 88.5 feet long, 39 feet wide, and 49 feet tall. BIG’s design for the structure began with a two-dimensional wall, and then “pulled it apart” from the base to form the vaulted event space. Rather than the traditional brick, BIG stacked extruded fiberglass frames to allow sunlight inside, a material-structure-daylighting confluence also seen in Frida Escobedo’s 2018 Serpentine Pavilion. The soaring interior evokes the awesomeness of sacred interiors, but here, visitors are encouraged to get comfortable and climb on the outside of the installation. The unzipped wall is currently being installed at the intersection of King and Brant Streets, directly in front of BIG and Westbank’s mixed-use King Street West development. The stepped building will resemble the pavilion, as the development also uses cascading, angled units to maximize sunlight exposure. The installation will remain at its current location until November of this year, but Toronto is only the first stop in the pavilion’s multi-city tour across Canada. The structure will ultimately land on the West Coast in front of Westbank’s Shaw Tower on the Vancouver waterfront. Serpentine Pavilions are sold after the summer season ends and leave London's Hyde Park for homes all over the world. Last year’s pavilion, a swooping saucer that loomed over triangularly-patterned walls from Diébédo Francis Kéré, was purchased by Ilham Gallery in Kuala Lumpur and will likely end up in the Malaysian capital city. Smiljan Radic’s fiberglass pebble from 2014 landed on the Hauser & Wirth art campus, located on Durslade Farm in Bruton, England, and SelgasCano’s plastic polygonal color show from 2015 is slated for a second life in Los Angeles. And what about Zaha Hadid’s original tent from the show’s first year in 2000? The multi-gabled pavilion eventually became a public gathering place (and frequent wedding venue) at Flambards Theme Park in Helston, Cornwall.
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Hayes for Days

Baltimore Museum of Art taps Paula Hayes as first landscape artist-in-residence
The Baltimore Museum of Art (BMA) has selected landscape designer and artist Paula Hayes to serve as its first landscape artist in residence. With two sculpture gardens and lawns in addition to its main buildings, BMA sprawls over seven-and-a-half acres adjacent to Johns Hopkins University. Hayes, who's best known for her soothing (and sometimes wacky) sculptures, landscapes, and garden objects, will be in charge of curating the museum's overall physical environment for two years. “Throughout my career I have worked with a mix of public and private spaces, but working with an institution like the BMA is a new endeavor for me,” said Hayes, in a press release. “I am honored to have the chance to help shape the natural environment of such a prized community landmark and I look forward to collaborating on the vision for its renewed ecosystem.” The New York City–based artist designed a botanical sculpture for MoMA's lobby in 2010 that took cues from leopard slug sex, as well as a Canoes, a permanent work in the Seagram Building that was installed in 2016. She's also completed landscapes for clients like David Zwirner, Hauser & Wirth, and W Hotel South Beach. At BMA, she will curate an 87,000-square-foot sculpture garden by Sasaki, as well as a 17,000-square-foot garden by George E. Patton that contains early modern sculpture by Alexander Calder, Henry Moore, Isamu Noguchi, and others.
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Make Art Great Again

Artists push back against Christoph Büchel’s border wall project
Swiss-Icelandic artist Christoph Büchel is facing blowback over his nonprofit arts group “MAGA,” which popped up late last year offering tours of the eight border wall prototypes currently on display at the border between San Diego, California and Tijuana, Mexico. Over 25 artists, art workers, and writers have contributed to an open letter calling out MAGA for normalizing the border wall by attempting to label it as an art installation. MAGA, which echoes President Trump’s infamous campaign slogan ("Make America Great Again"), has primarily lobbied for the border wall mock-ups to be classified as a national monument under the 1906 Antiquities Act. Satirically positing Donald Trump as a “conceptual artist,” MAGA also charged fees for tours of the site, leaving from the leaving from The Museum of Contemporary Art San Diego (MCASD), and promised visitors that they would see “historic land art”. Not so fast, said the open letter from activists in the art world, as they blasted Büchel, MCASD, and the gallery Hauser & Wirth (a gallery representing Büchel) for promoting and normalizing white supremacy. The New York Times and other media outlets that reported on the tours and petition without engaging with the appropriateness of the venture were also called out. As the full letter states, “We, the signatories of this letter, want to say it loud and clear that nothing about a xenophobic and white supremacist project, artifact, wall or building should ever be spectacularized and promoted by artists or arts institutions.” In response to the allegations, MCASD has explicitly denied hosting MAGA’s tours via a Facebook post, saying that the museum was only used as an unofficial meeting point and was unaware of the group’s aim. “To me, borders and walls can never just be abstract ideas to be conceptualized from a distance allowed by an exuberance of privilege and mobility,” LA-based artist and writer Gelare Khoshgozaran, who launched the letter, told Hyperallergic. “They are everyday lived experiences that have affected my body, my well-being and mental health, my family, my racialization and mobility, as well as my art and writing careers.” At the time of writing, hundreds of artists, musicians, and activists from across North America have added their names to the letter.
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Courtesy Magazzino

Artist Michelangelo Pistoletto brings his famous Walking Sculpture to Cold Spring
Italian artist Michelangelo Pistoletto is having a New York City moment. He was included in a recent Arte Povera survey at Hauser & Wirth and in a current exhibition of silkscreens on mirrors at Luhring Augustine. The public highlight, though, was his performance of Scultura da Passeggio (Walking Sculpture) in Cold Spring, New York this past weekend. Sponsored by the new postwar and contemporary Italian art museum Magazzino in Cold Spring, the Saturday performance replicated an earlier run in Turin, Italy. In 1967, Pistoletto rolled a large ball or Sfere di Giornali (newspaper sphere) covered with newspaper clippings that highlighted Italy's turmoil during the 1960s, a literal rendition of the news cycle. In the Arte Povera tradition, it used common cheap materials and attempted to move outside the gallery walls and into the city, having viewers "reflect on an all-encompassing expression of circulation, a manipulation of the passing of time." Oh for the days of the 1960s and art that actively engaged with the public! This weekend’s Scultura da Passeggio had a new version of the ball arrive in Cold Spring on a red FIAT roadster, just as it had fifty years ago. After a few brief comments by Pistoletto and the creators of Magazzino, Nancy Olnick and Giorgio Spanu, the ball was rolled though the streets of the small Hudson River village by an enthusiastic group of participants to celebrate the joy of art when it engages with the city rather than lectures from the gallery walls. Magazzino is a jewel of a small museum and is less than 60 miles from New York City.
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Fly Away

New Rashid Johnson exhibition to open at New York’s Hauser & Wirth gallery

Fly Away, named for the perennially reinterpreted gospel “I’ll Fly Away,” is a collection of paintings and sculptures by Rashid Johnson at New York’s Hauser & Wirth gallery. Johnson’s work has been referred to as “post-black,” and often deals with the African-American experience in a range of media, from photographs to music. Following the theme of last year’s Rashid Johnson: Anxious Men at the Drawing Center, the artist uses black soap and wax as materials in Fly Away. Inhabiting one room of the exhibition is “Within Our Gates,” a collection of black metal shelving populated by objects like live plants, books, and shea butter.

According to Hauser & Wirth, the enclosed objects are signifiers inspired by the African diaspora. The room also contains an upright piano that will be played in drop-in performances by Antoine “Audio BLK” Baldwin, a New York–based piano player and music producer. Baldwin will play original jazz compositions during the first week of the exhibition, with periodical unannounced visits afterward. Johnson’s work will also be featured in an exhibition at the Kemper Museum of Contemporary Art in Kansas City, Missouri, early next year.

Rashid Johnson: Fly Away Hauser & Wirth 511 West 18th Street New York September 8–October 22, 2016

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SMMoA is now ICA LA

L.A.’s Westside loses its Santa Monica Museum of Art
In the nine months that saw the opening of a relocated Architecture and Design Museum as well as the new Broad Museum and Hauser Wirth’s West Coast outpost, Downtown Los Angeles residents can once again boast about the addition of yet another high-caliber contemporary art institution in their neighborhood: Institute of Contemporary Art, Los Angeles (ICA LA). Exciting news for Downtown, but it is not without controversy. That’s because ICA LA is not a new art museum at all, it is the relocated, renamed, and rebranded remnants of the Santa Monica Museum of Art (SMMoA). After a year-long struggle with its landlords at Bergamot Station, the museum’s home since 1998, SMMoA’s board of directors decided to pack up and head east. Such a drastic move would be difficult for most major art institutions, except that SMMoA operated as a European-style kunsthalle, with no permanent collection tying it down. Now, ICA LA is in the early stages of a capital campaign to fund its relocation to a 12,700 square foot space at 1717 East 7th Street to be designed by Kulapat Yantrasast of wHY. Scheduled to open spring 2017, ICA LA’s new location will continue to operate as a non-collecting museum with 7,000 square feet of dedicated gallery space. The new location is expected to boast “ample public programming facilities” as well as an experimental kitchen-cafe, and other retail space. In a press release announcing the relocation, ICA LA Board of Directors’ President, Laura Donnelley said, “Throughout our history we have served our communities in greater Los Angeles through exhibitions, programs, and outreach, but have now chosen to move to Downtown LA to reinvent and redefine our organization the way that only a non-collecting museum focused on innovation, diversity, and discovery can. We are delighted to welcome these timely changes of venue, additions of leadership, and to move forward in further defining ICA LA’s role within our city and our collective place in the ever-expanding international dialogue of art and culture.”
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Robbie Brannigan/Courtesy Artbook

917 East 3rd Street
Los Angeles
Tel: 213-988-7413
Architect: Skuta Helgason

Designed by founder Skuta Helgason within Selldorf Architects’ and Creative Space’s larger complex, the newly dedicated ARTBOOK storefront in the Hauser Wirth & Schimmel building is bringing books to L.A.’s Arts District.

The bookshop, carved out from a warehouse space, features the detritus of historical artifacts in an otherwise spartan interior, giving the store simultaneous programmatic flexibility and rich texture.

The hangar’s blue-gray stucco exterior downplays the treasures held within. Buff concrete walls along the street side are punctuated by large, metal-frame windows. A central line of refurbished heavy timber columns hold up overstructured wood framing, while piping and ducts crisscross the exposed ceiling with the mixed rigor and abandon only possible in adaptive reuse projects. A pair of perpendicular exposed-brick walls showcase embedded relieving arches, with contrast provided by new seafoam- and banana-colored walls holding blond wood bookshelves. A central kiosk contains a payment station as well as mounds of books.


ARTBOOK’s extensive collection plans to change in conjunction with the exhibition schedule. Currently, the space is showing a sprawling survey of transgenerational feminist art, and that is reflected in the more than 500 monographs featuring woman artists on offer at the new store.

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Full Hauser
Creative Space and Selldorf Architects team up for L.A.'s newest museum-inspired gallery.
Joshua Targownik/Courtesy Hauser Wirth & Schimmel

Like so many things in Los Angeles right now, Hauser Wirth & Schimmel’s new West Coast outpost, housed in the sprawling former corporate offices and industrial facilities for Globe Mills flour, is a work in progress. As L.A. leapfrogs from midcentury suburban dust bowl to a Hausmannian tapestry of midrise, mixed-use apartment blocks, the space by Hauser Wirth & Schimmel and Creative Space L.A. is perhaps an apt bridge between the shifting of Angeleno identity, cautiously mining its past to inspire visions of the future. Though technically a commercial art gallery, Hauser Wirth & Schimmel feels much more like a traditional European Kunsthalle, with publicly-minded spaces featuring rotating, curated exhibitions. It’s an incredible breath of fresh air in a city with a few too many private collections that have become civic monuments.

Its inaugural collection, Revolution in the Making, was curated by Jenni Sorkin, an assistant professor of contemporary art history at the University of California, Santa Barbara, and Paul Schimmel, a cofounder of Hauser Wirth & Schimmel. The show pays homage to the cobbled-together nature of the building’s historical spaces and the architects’ restrained renovation, showcasing a wide array of transgenerational feminist sculpture, most of it made from ephemeral, translucent, or flexible materials.

South gallery.


Pristine artworks like Ruth Asawa’s untitled lobed sculptures hang in the grand hall along East Third Street. Phyllida Barlow’s massive and colorfully riotous Untitled:GIG is installed, almost on its own, in a large, plain brick-walled room, while Shinique Smith’s Forgiving Strands (in progress) watches over the adjacent covered breezeway. A tertiary gallery, also flanking the breezeway, provides a more typical "white box" setting with white walls and discreet wall text, showcasing the amazing milled-cedar array of Untitled (Nine Cones) by Ursula von Rydingsvard. A central 5,000-square-foot courtyard recreates Jackie Winsor’s 30 to 1 Bound Trees installation. The future Manuela restaurant project of Texas chef Wes Whitsell promises to bring pared-down Southern cooking to the complex this summer. And Skuta Helgason’s third ARTBOOK shop occupies a storefront at the entrance of the building, enticing neighborhood visitors and residents to walk through the complex’s arterial passage. The designers’ light touch and reverence for the existing building make the new architectural aspects of the institution feel slight.

The courtyard.


Creative Space L.A. and Selldorf Architects have managed to make an art gallery out of humble materials that actually feels more like a public art museum, upending expectations and suggesting that Los Angeles can have grand, urban gestures delineated by the particularities of its own histories and proclivities—something critical for both the museum’s resident neighborhood as well as the city as a whole.


Exterior view.
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wHY will design a new Gagosian Gallery in San Francisco across from SFMOMA
LA and San Francisco have always been in an arms race to see which city has more, or better, of everything. With the recent opening of LA's Broad Museum and next month's debut of the new SFMOMA, the stakes have never been higher. However, those proper art museums are facing competition for attention (and Instagram posts) from several major global art galleries setting up in the Golden State. Los Angeles recently debuted a new Annabelle Selldorf-designed Hauser & Wirth outpost in that city’s booming Arts District. Now, not to let their So-Cal brethren have all the glory, San Francisco is rolling out the welcome mat for Gagosian's recently-revealed gallery. Located in San Francisco’s downtown arts district, it will be designed by Kulapat Yantrasast, founder of LA and New York-based wHY The new gallery is an old brick building owned and occupied by Crown Point Press, a longtime neighborhood gallery that focuses on displaying printmaking and etchings. It's situated across the street from the soon-to-be-opened, Snohetta-designed expansion to Mario Botta’s original SFMOMA building. This new Gagosian certainly looks to fill a growing niche within Northern California’s wealthy, tech industry-driven, art-buying community. In reference to the decision to open this new gallery, Gagosian told the San Francisco Chronicle,“This makes sense with the new museum opening and with the emerging collector base in Silicon Valley.” According to renderings provided to A/N by Gagosian, the new 4,500 square-foot design is organized as a traditional white-walled gallery. It features nothing more than a line of structural columns, some lateral bracing, and a skylight interrupting the otherwise minimal space. The historic building’s facade is being left untouched, save for new signage displaying the gallery’s name over the building entrance. The new gallery's May 18 opening is timed to coincide with the debut of the new SFMOMA. The inaugural show will feature works on paper and sculpture by the likes of Cy Twombly, Richard Serra, and Pablo Picasso.

Editorial>What’s next for the West

I grew up surrounded by the quotidian environment of Los Angeles’s working-class San Fernando Valley. The endless tract homes, parking lots, and freeways felt incongruous with the diversity of cultures and people otherwise present. When I became inspired to study architecture, it was mostly so I could travel, see the rest of the world, and live as others do. I moved back to Los Angeles last year to find my hometown completely in the grips of massive change. As I settle into my new position as the west editor of The Architect’s Newspaper, I finally have occasion to stop and consider the nature of that change in the context of the West, overall.

In my time away, I realized that L.A. and the West have never really revolved around architecture. We have immersive landscapes, massive skies, idyllic weather, and lower economic barriers to cross than some of our East Coast counterparts, but lifestyles guide what and how people do things here, not necessarily buildings.

Partially as a result of this prevailing mindset, serious issues like prolonged drought, economic disparity, and access to housing plague the West’s urban regions. You could say these are problems in every major American city—and you would be right—but in the West, sprawl and natural resources collide in particular, peculiar ways, of which, Los Angeles is emblematic. However, a growing sense of urban, civic, and personal awareness is beginning to lead toward collective action aimed at solving some these issues.

For example, in November 2008, nearly 68 percent of Los Angeles County residents voted in favor of Measure R, which increased the county sales tax to fund new transit projects region wide. Two light rail lines have been added to the existing system since then and two more are on the way. In May, the second and final phase of the Metro’s Expo Line will be complete, finally connecting Downtown to the beach at Santa Monica. Along with the physical transit increase, Measure R has also ushered in a new mindset for Angelenos, causing our expectations of this place and ourselves to shift. People are now willing to pay for a more geographically inclusive and connected region. As a result, transit-oriented development has become de rigueur and the city is quickly hybridizing its outdated suburban sprawl with high-density, urban-oriented infrastructure.

A reinvigorated youth-fueled art culture takes advantage of these new transportation options: Weekends in the city are becoming endurance events where traveling via multimodal transit is the new norm. Established art repositories like LACMA and MOCA have expanded. The Broad and Hauser Wirth & Schimmel have finally opened. And the burgeoning design scenes in Downtown’s Arts District, Hollywood, and Culver City have merged with an array of DIY art spaces to create a true creative network.

A flourishing urban ecosystem is collaborative. Ridesharing is making living here without a car possible while putting more people in the unusual position of having to share a car with strangers—perhaps decreasing the amount of personal space we all feel we need. Commuters on the metro might not know which side of the escalator to stand on yet, but it is undeniable that what is happening in the popular Los Angeles imaginary is a transition from that of me and you to a nascent form of us.

Whether you consider the skyline, the metro, or so many of the neighborhoods surrounding downtown, much in L.A. is a work in progress. It is incredibly educational and exciting to have the opportunity to cover this transformation via The Architect’s Newspaper and to do so also with an eye toward how that transformation plays out across the West overall. In taking up this new endeavor, I hope to track how the changing nature of West Coast urbanism impacts design and vice versa. It might be too early to celebrate the new West, but it is always a good time to feel hopeful. It’s good to be home!

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Selldorf-designed Hauser Wirth & Schimmel to open in Los Angeles with a Revolution
The March 2016 opening of Hauser Wirth & Schimmel’s Arts District complex is getting closer and the gallery just announced its inaugural Los Angeles exhibition: Revolution in the Making: Abstract Sculpture by Women, 1947–2016. The all-female show will fill the galleries and outdoor spaces of the former Globe Mills complex retrofitted by Annabelle Selldorf of New York City's Selldorf Architects with Creative Space, Los Angeles. The campus will include a bookstore, a publications lab, a bar and restaurant, a garden and courtyards, and commissioned permanent artworks that engage the architecture. Co-curated by Paul Schimmel, former chief curator at MOCA, and art historian and critic Jenni Sorkin, Revolution in the Making highlights 100 works that illustrate a changing approach to practice, abstraction, installation, craft, and tactility. The press release makes a case for contemporary lessons from many of these now-historical works: “The exhibition examines how elements that are central to art today—including engagement with found, experimental, and recycled materials, as well as an embrace of contingency, imperfection, and unstructured play—were propelled by the work of women who, in seeking new means to express their own voices, dramatically expanded the definition of sculpture.” Featured artists include postwar practitioners Ruth Asawa, Lee Bontecou, Louise Bourgeois, Claire Falkenstein and Louise Nevelson, as well as radical influencers from the 1960s and '70s: Eva Hesse, Sheila Hicks, and Yayoi Kusama. The curators also included groupings of work by “postmodern” and contemporary artists working in environmental, installation, and performance modes, including Isa Genzken, Liz Larner, and Jessica Stockholder. Jackie Winsor’s sculpture 30 to 1 Bound Trees will be exhibited in center of Hauser Wirth & Schimmel’s outdoor courtyard. A 20 foot-high mast of white birch saplings and hemp rope, the piece is being recreated for the first time since 1971.