Jennifer Steinkamp: Street Views Contemporary Art Museum St. Louis 3750 Washington Blvd, St. Louis, MO Through December 23 The Contemporary Art Museum of St. Louis has inaugurated Street Views, an exhibition featuring a series of works by digital installation media artist Jennifer Steinkamp. As part of the 10th anniversary of CAM’s building, the museum will be turned inside out, as its exterior will be transformed into a gallery with large-scale video art being projected onto its facade. Through the use of powerful projectors and intricate computer algorithms, Steinkamp will transform the museum’s metallic and concrete structure into a dynamic garden capturing a mesmerizing natural environment. Her utilization of video and new media enables the viewer to explore different ideas about architecture, design, motion, and interpretation. The use of vernacular imagery conveys the power of nature and enables visitors to perceive the building through a different lens, thus providing them with a new synaesthetic experience. This innovative outdoor moving image series strikes a balance between the natural landscape and computer-generated imagery. By transforming CAM’s building into a compelling projection screen, Steinkamp brings digital media into the mainstream of contemporary art.
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On View> "3 in 1: Contemporary Explorations in Architecture & Design" at the Art Institute of Chicago
3 in 1: Contemporary Explorations in Architecture & Design The Art Institute of Chicago 111 South Michigan Avenue, Chicago, IL Through January 5, 2014 3 in 1 Contemporary Explorations in Architecture and Design is broken down into three small separate exhibitions each revealing different categories: architecture, product design, and fashion. In Reality Lab, the Japanese designer Issey Miyake, head of Reality Lab Studio, reveals a spectrum of diverse and innovative products resulting from his experiments with material, structure, and form. The exhibition includes Miyake’s two products lines: 132 5 and IN EI, which are based on origami-folding techniques that create two-dimensional geometric patterns and unfold into remarkable voluminous forms. Los Angeles architect Greg Lynn’s Stranded Sears Tower explores how computer programming can act as a mode of creative expression. Lynn re-envisions and reconstitutes Chicago’s Sears Tower in order to develop a new kind of flexible and fluid type of architecture. Lastly, the Dutch designers Scholten & Bailings combine craft and industrial practices in order to re-invent everyday objects. Through the use of different colors, forms, and materials, their Colour reveals the numerous amounts of projects that the designers have accumulated over the past 13 years.
Behind Closed Doors: Art in the Spanish American Home, 1492–1898 Brooklyn Museum 200 Eastern Parkway Brooklyn, NY September 20–January 12, 2014 Within a hundred years of the Spanish empire first expanding its borders into the Americas, an abundance of incredible wealth had been amassed in the New World. This September, Brooklyn Museum is opening its doors and inviting visitors into an elite Spanish Colonial home. They will be showcasing extravagant domestic collections, which give insight into the private lives and power struggles of Spain’s New World Elite. Behind Closed Doors, will include paintings, sculptures, luxury goods from everyday life, manuscripts, textiles, and decorative objects. The exhibition explores themes that include representations of the indigenous and Creole elite, rituals in the home, the sala de estrado (women’s sitting room), the bedchamber, and social identity through material culture. The Brooklyn Museum began acquiring domestic Spanish colonial art in 1941 and now the collection ranks among the finest in the nation. This is the first major exhibition in the United States to explore the private lives and interiors of Spain’s New World elite. Richard Aste, Curator of European Art, organized Behind Closed Doors, which is accompanied by a fully illustrated catalogue co-published by the Museum and the Monacelli Press.
Look for Beauty: Philip Johnson and Art Museum Design Sheldon Museum of Art 12th and R streets, University of Nebraska, Lincoln, NE Through October 13, 2013 The Sheldon Museum of Art in Lincoln, Nebraska, is currently celebrating the works of Philip Johnson, the influential American architect who promoted the International Style and, later, defined postmodernist architecture. One of his most iconic projects was the design of the Seagram building in Manhattan, a project undertaken in partnership with Mies Van Der Rohe. This particular project marked a decisive shift in Johnson’s career. Look for Beauty examines the design journey of Philip Johnson through the examination of three of his earlier museum buildings: Munson-Williams-Proctor Arts Institute, the Amon Carter Museum of American Art, and the Sheldon Memorial Art Gallery (now the Sheldon Museum of Art). These three projects form a coherent study of Johnson’s developing personal style in the early years of his career. The exhibition includes models, plans, furniture, photographic murals, and archival materials such as correspondence, exhibition photographs, and catalogs.
A yardstick is a straightedge with markings at regular intervals used to physically measure lengths in imperial units of up to a yard (three feet). It is also a standard for making a critical judgment. This measuring device was placed in once-forbidden zones of the World and Cold Wars that have since been abandoned, by Jane and Louise Wilson, the British fraternal twin artist duo who have a show on view at 303 Gallery. Building on previous explorations of such territory: Stasi City (1997), the former GDR secret police headquarters in Berlin and Gamma (1999) set in disused military silos at Greenham Common RAF station in Berkshire, England, they have now focused on Atomgrad (Atom City) in Pripyat, that housed Chernobyl factory workers, and Orford Ness, an isthmus off the English coast, site of H-bomb test labs, in their making of large-scale color photographs. The Wilson’s work opened the door for us into these hidden worlds. Jane has said, it’s “not to say that it’s something that has to be totally closed and inaccessible… It’s more… how we feel in relation to architecture… how we experience the space that we are [in].” As the daughters of a naval architect, they are accustomed to thinking about physical space. These “future ruins,” as Louise calls them, feature a quickly abandoned classroom with books strewn on the floor and desks, raked seating in what could have been a screening room, metal bedframes, disintegrating offices and laboratories. Hardly the romance of the ruin. In addition to placing the yardstick in their photos, the Wilsons also made cast aluminum and enamel-plated sculptures of yardsticks, as well as the wooden Altogether, 2010, a large skeletal-frame artwork at the center of the gallery made of 52 yard measures that is based on a 1924 photograph by Alexander Rodchenko called of Popova’s Studio featuring a hanging spatial construction. A final object is the cast of a 35mm Bolex camera used to document the Chernobyl site immediately after the nuclear accident by filmmaker Vladimir Shevchenko. The film he shot was contaminated by radiation, resulting in forensically pock-marked footage. The camera itself was radioactive and destroyed, so the cast The Toxic Camera, Konvas Autovat is all that remains. 303 Gallery , 507 West 24th Street until August 2, 2013
The Museum of the City of New York presents A Beautiful Way to Go: New York’s Green-Wood Cemetery, a new exhibition that examines the Brooklyn cemetery’s astonishing 175-year history, on view from May 15 to October 13. As a National Historic Landmark that predates both of Olmsted's Central Park and Prospect Park, the cemetery grounds cover a vital 19th-century American public green space and remain a critical site in New York’s architectural history. The landmark landscape characterizes the “rural cemetery movement” and tells a complex narrative that links architectural, art, social, and cultural histories. The installation involves a gallery-sized map of the cemetery that serves as a guide for visitors to walk upon and as the framework for the arrangement of over 200 artifacts, sculptures, architectural drawings, and documents. The exhibit not only focuses on exploring the cemetery, but also its most eminent permanent residents. Burial at Green-Wood garnered considerable respect and attracted posh New Yorkers to choose it as the ultimate resting space. The cemetery also represents a new type of burial space: non-sectarian and not bordering a church. The rural burial ground concept, with its greenery and comfortable travel distance from the city, was first designed for Paris’ 1804 Père-Lachaise. The idea reached the United States by the 1830s and Mount Auburn in Cambridge was the country’s first such cemetery. Green-Wood Cemetery, designed by David Bates Douglass, followed in 1838 within the newly incorporated city of Brooklyn. Highlights of the exhibition include 19th-century landscape paintings by Asher Brown Durand and John William Casilear, chief Hudson Valley School artists who are buried at Green-Wood. The exhibition incorporates viewing machines with “stereographs” that provide popular period three-dimensional pictures of Green-Wood Cemetery and one of four zinc Civil War soldiers on site that were reproduced in cemeteries nationwide.
What do you do if a building is slated for demolition? If you’re the artist Doug Aitken and the building is your gallery, you devise a “time-based destruction installation.” Which is precisely what Aitken, who is known for wrapping the facade of the Hirschhorn Museum in with a 360-degree video installation to the tune of “I Only Have Eyes For You,” installing a video "land art" installation on the Seattle Art Museum, and the video “Sleepwalkers” projected on the facades of MoMA, “a cinematic art experience that directly integrates with the architectural fabric of the city while simultaneously enhancing and challenging viewers’ perceptions of public space” did. Aitken’s latest exhibition, which wrapped up at the end of March, entitled 100 YRS at Gallery 303 on West 21st Street was filled with word-based artworks such Plexiglas letters spelling “Art” with chocolate milk-like slurry cascading over the letters, black textured rock spelling “Sunset” and “Magic” featuring rear-lit images of the blowing up of Pruitt-Igo on each letter. Visitors were greeted by “Sonic Fountain” which is a round hole jackhammered out of the galley floor (since it was going to be destroyed anyway), filled with water from dripping pipes on the ceiling, and equipped with underwater microphones to amplify the dribbling sounds. The gallery walls and floors were gradually being destroyed around these artworks over the last week, not by construction workers, but by musicians. Three percussionists gently deconstructed the space climbing onto drywall, hacking away at rubble, and rising on scissor-lifts, making a music of sorts as they worked. The one-story building has been sold, and word from the gallery director Cristian Alexa is that Norman Foster has been retained to build a tower on the site.
Carlo Scarpa: The Architect at Work The Arthur A. Houghton Jr. Gallery The Cooper Union 7 E. 7th Street Through April 21 A collection of hand drawings and photographs of work by renowned postwar Italian architect Carlo Scarpa is on view for the first time in New York. The exhibition depicts the conception and realization of two major works, the renowned Villa Ottolenghi (Bardolino, Verona, 1974–79) and the Il Palazzetto series of imagined interventions in a 17th-century villa (Monselice, Padua, 1969–78). Scarpa is renowned for his poetic expression of space through the use of materials and ornamentation, and visitors to the gallery will witness the architect’s development of spatial ideas through 22 original hand drawings of Villa Ottolenghi and 11 of Villa Il Palazzetto. Reproductions of historical photos taken of the Villa Ottolenghi before it was completed as well as recent and historical photos of Scarpa’s work at Villa Il Palazzetto are included, along with reproductions of his drawings for the Museo di Castelvecchio and the Museo Nazionale dell Arti del XXI secolo.
Architecture is often referred to as frozen music, but with a little digital technology, artist Blake Carrington has learned to capture the "diverse rhythms, drones and textures" from the stone walls of cathedrals. In his aural performances called Cathedral Scan, Carrington uses a church's floor plan combined with the space's unique acoustics to create to generate his his unique architectural sounds. Here's more from the artist:
Groups of scanners filling the sonic spectrum may act in synch, forming a single harmonically-dense rhythm, or they may scan the plans at different speeds, resulting in complex polyrhythms. Each plan is treated as a modular score, with a distinct rhythm and timbre of its own. Also, by varying the speed and intensity of each scanning group, drone-like sounds may emerge based on the “resonant frequency” of the black and white plan.This Thursday, March 3, Carrington will reveal the hidden sound of New York's Basilica of St. Patrick's Old Cathedral for a CD release concert. He will be joined by audiovisual artists Mark Cetilia (of Mem1) and Kamran Sadeghi. More information on the AN events diary. (Via BldgBlog.) The video below captures the digital output of Cathedral Scan without the reverberations and echoes unique to each space, but the live event sounds like it could be quite a spiritual experience.
Archi-docs (TM) seem to have become an ever-more popular film form, from My Architect to Sketches of Frank Gehry and Snakebit. Starting tonight, the National Buildings Museum in D.C. is hosting an entire film festival dedicated to the archi-doc. The festivities kick off tonight with a screening of Moving Midway, about one relatives plans to move the family's plantation home away from the sprawl encompassing it while at the same time selling the land to developers while others—including some former slaves—try to stop the move. On Monday, there is the debut of A Necessary Ruin, the work of LA-based filmmaker Evan Mather about the destruction of Fuller's Union Tank Car Dome, the largest free-span structure in the world at the time of its completion in 1958 with a diameter of 384 feet (trailer above). And a week from tonight, the festival closes with a screening of Megamall, which is about the rise of the film's titular developments across the country, with a particular focus on the Palisades Center in West Nyack. And before each film, a different short will be shown. Meanwhile, the fest has been excepting videos of "great green spaces," which you can watch on Vimeo or even submit your own.