At the Garage Museum of Contemporary Art in Moscow, the galleries are reconfigured to accommodate every new show, and for the latest show a series of "pods" have been installed in the museum. The rooms, which are meant to resemble spaceships, featured walls that curve as they slide seamlessly into the floor. The special format is for a show on Russian contemporary artist Pavel Pepperstein, The Human as a Frame for the Landscape. Pepperstein is known for his psychedelic two-dimensional works. The show will be up until June 2.
All posts in On View
The Village, an upcoming show at New York's Carriage Trade gallery, will revisit Cold War–dystopia through the art of several contemporary artists. According to a statement from the gallery, the show will look at "contemporary modes of surveillance and 'civic management' courtesy of both private and state-sponsored actors" through the lens of the 1960s sci-fi television show The Prisoner. In that show, a British man was mysteriously placed in an uncanny town where he was held captive and monitored by relentless and inscrutable state surveillance. The gallery show will draw comparisons between the fantasies of fifty years ago and the realities of today. The artists participating in the show include: Gretchen Bender, David Deutsch, Harun Farocki, Andrew Hammerand, Jenny Holzer, Craig Kalpakjian, Margia Kramer, Jorge Rigamonti, and Julia Scher. The Village April 4—May 12, 2019 Carriage Trade 277 Grand St, 2nd Fl. New York, NY 10002
Puttin' on a Show
Winka Dubbeldam's work goes on view at Berlin's Aedes Architecture Forum
An exhibition of the work of Archi-Tectonics, the firm founded by Dutch-American architect Winka Dubbeldam, is now on view at the Aedes Architecture Forum in Berlin. The show, titled Flat Lands & Massive Things - From NL to NYC & beyond, focuses on six projects completed by Dubbeldam and her partner Justin Korhammer. The projects show the firm's core work in New York and the Netherlands along with other projects in China. The show draws comparisons between the urban environments of New York and the Netherlands, namely the flatness of both areas and their relationships with intricate coastlines. In a statement, Dubbeldam said: "As architects, we often undervalue the inventiveness of industrial or car design…But at Archi-Tectonics we believe that we can and should be concerned with high-level design precision and the integration of design and technology.” The show will be up through April 25.
In May 2019, Southern California’s “community in residence” design-build festival, Space Saloon, is returning to the desert highlands for its second incarnation. Titled Fieldworks, the elbow grease-fueled festival will take its inspiration from “cumulative methods of scientific field research—the approaches, techniques, and processes used to collect raw data outside of a laboratory setting” by staging a series of desert constructions that focus on imbuing quantified data with cultural meaning. The eight-day workshop is open to anyone age 18 or older and will cost between $1350 and $1500 to attend; the program price includes room and board, three meals a day, and all of the necessary construction materials. As with the previous iteration of the festival, organizers hope to draw an interdisciplinary group of students that will complement the diverse set of practitioners leading the project. Project leaders for this year include architects Andrew Kovacs (Office Kovacs), Zeina Koreitem and John May (MILLIØNS), Kyle May (KMA), as well as workshop leaders Alex Braidwood (Listening Instruments), Noémie Despland-Lichtert and Brendan Sullivan Shea (Roundhouse Platform), Lena Pozdnyakova and Eldar Tagi (the2vvo), among others. According to a press release, program participants will work to undermine the “constructs and apparatuses through which we perceive a place,” investigations that could include questioning how knowledge is produced, manipulating one’s perception of the desert landscape, and creating “new methods for presenting subjective realities.” The workshop joins an ever-increasing number of arts- and architecture-related events taking place across the desert regions surrounding Los Angeles, including the Desert X art biennial, the High Desert Test Sites program, and the Coachella Arts and Music festival. For a collection of last year’s projects, see the Space Saloon website. Applications for the program will be accepted through April with the workshops taking place in California’s Morongo Valley between May 25 and June 1, 2019.
Net art turns the internet into a space of performance
What happens on the ‘net stays on the ‘net. Or maybe not, according to the new exhibition The Art Happens Here: Net Art’s Archival Poetics, a history of net art from 1985 to today presented by Rhizome at the New Museum in New York. The show brings net art out of the tubes of the internet and into the gallery, part of an intensive archival project curated by Michael Connor, artistic director, Rhizome, with Aria Dean, assistant curator. The show focuses on sixteen artworks selected from Net Art Anthology—Rhizome’s major online exhibition of one hundred works from throughout net art history—born-digital art that both resulted from and influenced a rapidly changing network culture that pervades the real world, beyond the browser. The show’s title comes from MTAA’s 1997 Simple Net Art Diagram, which outlines the relationship of computers, the network, the artists, and the art. Two personal computers are linked with a label, “The art happens here,” pointing to the space between the computers. An important distinction is made here—and in the show—between net art and a broader conception of digital art that focuses on techniques in a new digital media: “net” implies that the art is a performance that investigates how people relate to each other and these machines. We can see how the artworks in this exhibition were at the front edge of using the technology and investigating what the critical and societal impacts might be in the future. These were social networks before social networks, tag clouds before tag clouds, and streaming services before streaming services. Goofier early works include Alexei Shulgin’s 1998 386 DX, a “band” (a computer) that performs punk music, and StarryNight, a 1999 conceptual visualization of Rhizome’s early email listserv content, displayed with tags that connected dots connected to event “pages.” The later work in the show is more overtly political. The earlier works are more concerned with tautological questions about the medium/space of the internet: experiments in relating to one another and defining ourselves across new digital platforms, such as StarryNight and Simple Net Art Diagram. More recent works, however, signal more toward how we use these platforms—and their more advanced, codified descendants like Facebook—as places to enact politics. For example, Miao Ying’s 2007 Blind Spot is a Chinese dictionary with all the words redacted that the Chinese government would censor online. Artist-activist Morehshin Allahyari’s Material Speculation: ISIS was an attempt in 2016 to reproduce 3D-printed replicas of a set of twelve artifacts from the ancient cities of Hatra and Nineveh, destroyed the year before by ISIS. Perhaps this evolution makes sense since those early experiments—the band in 386 DX or StarryNight for the Rhizome “website”—are also a form of political speculation about social relationships in the face of new technology. The show tracks these developments in the technology and art as well as changes in society that unfold alongside the art historical narrative of the show. Or perhaps it is less about the tracking of changes in broader culture, and more of a change in how the technology is used: As it becomes more user-friendly, it becomes available to people who are not only interested in it as an experimental medium. Or, as we become more comfortable with it, we begin to turn to how it can be employed critically, rather than simply as a technological experiment. All of the works in the show resonate as a history that still echoes through our experience of online art, but also the internet in general. Are Facebook and Twitter net art projects, extended to their logical conclusion and rocket-fueled by capitalism? Like all good histories, it recasts our understanding of the present by presenting prescient works such as a recreation of Chu Lea Cheang’s para-fictional Garlic=RichAir, a 2002/3 work that speculated on a future where capitalism had collapsed, and garlic was the only currency. Artist Melanie Hoff created a video game for the 2019 show, complete with a Wi-Fi network where players could claim and trade their garlic. The work reads today like an early version of so many blockchain speculations that artists today are doing. There is also a feedback loop between digital and physical in the net art posited here, which when viewed as a space for performance becomes a sort of new commons where different people come together, but also find people like themselves. Notably, Wolfgang Staelhe’s Untitled, turned a webcam into a lens for landscape photography as it broadcast the physicality of Manhattan’s skyline in 2001, and serendipitously interfaced with current events as it captured the events of 9/11. It would be a stretch to say these online places have replaced physical terrain as the main place of community as well as conflict, but it could be said that they inherited the DNA of conceptual art and spatial practice, leaving it a final, feral Wild West for experimentation. Today, we have more controlled spaces such as Facebook that are mediated by corporate interests, but new spaces are always opening up online and underneath it in places like crypto-raves and online black markets where artists can get their rocks off. Perhaps it is no coincidence that one of the most striking works—or spaces of performance—in the show is Olia Lialina’s Give Me Time / This Page Is No More, an archive of GeoCities websites, logged at first at a moment saying, “under construction” and then at a moment when they had been closed. GeoCities was shut down by Yahoo! in 2009.
High Desert Test Sites
Another arts festival returns to the Southern California desert
It’s getting rather busy in California’s High Desert these days. With an ever-expanding set of art-related events, programs, and biennials taking place across the region, High Desert Test Sites (HDTS), a long-running artist showcase in the area, has announced its 2020 return. The event, titled HDTS2020 and conceived of as a “free-roving” art exposition, aims to revisit a 1972 slideshow lecture given by American land artist Robert Smithson titled Hotel Palenque via a series of new public artworks and events. The lecture, given by Smithson to his students at the University of Utah after a trip through Mexico in 1969, centers on an “eccentrically built hotel…simultaneously undergoing decay and renovation” that Smithson encountered while on his travels. Smithson considered the hotel a “de-architecturalized” space that existed both as a ruin and a site of reconstruction in keeping with the artist’s interests in fragmented landscapes and simultaneous states of being. The work, according to the Guggenheim website, was developed in tandem with a photographic series titled Yucatan Mirror Displacements (1–9) that Smithson created by photographing dispersed sites that had been augmented with the installation of 12-inch, square-shaped mirrors. For the 2020 run, HDTS has brought on guest curator Iwona Blazwick from the Whitechapel Gallery in London. The series will feature the work of eight artists, including Alice Channer, Gerald Clarke, Jr., Dineo Seshee Bopape, Erkan Özgen, Dana Sherwood, Paloma Varga Weisz, and Rachel Whiteread. Smithson will also be included in the showcase, which will focus on creating “a poetic narrative on the geometry of ruin, the entropic play of nature, and the ghosts of cultures both ancient and modern.” The artists are slated to create or place their works across the High Desert region, both in urbanized areas and within the desert landscapes. HDTS, a non-profit organization founded by artist Andrea Zittel, Los Angeles gallerist Shaun Caley Regen, and others in 2003, aims to “support immersive experiences and exchanges between artists, critical thinkers, and general audiences—challenging all to expand their definition of art to take on new areas of relevancy,” according to Zittel’s website. HDTS2020 will include a public discussion titled Desert as Situation on April 7 hosted by the Palm Springs Art Museum (PSAM) and moderated by Brooke Hodge, director of architecture and design at PSAM. The exhibition series itself runs from April 18 through May 9, 2020.
Hey Child Stay Wild
A/D/O capsule exhibit surveys the recent "cute" design trend
While much of the furniture design industry spent the past ten years playing it safe with a restrained, minimalist approach, a new expressive style has emerged from within its margins. During this period, a vanguard of up-and-coming and established designers broke away from the norm and started reevaluating the fundamentals of form and function. They began playing around with proportion and anthropomorphic details. All of a sudden, a new slew of limited edition chairs and tables were sporting swollen legs, rounded feet, and even animalistic facial features. On view at A/D/O in Greenpoint, Brooklyn, until March 28, Neotenic Design is a capsule group exhibition that surveys this trend. Curated by A/D/O members Justin Donnelly and Monling Lee of design studio JUMBO, the showcase identifies the movement as having close affinities with childlike physical features and the vivid emotional responses that association elicits. As humans, we are inherently drawn to objects with characteristics that resemble these human traits: big eyes, round heads, chubby cheeks, and pudgy extremities. Scientists have proven that our brains respond well to these features as it brings out our instinctual need to nurture and provide affection for less self-sufficient beings. Exhibiting designers and brands—like Pierre Yovanovitch, Konstantin Grcic, Jaime Hayon, Faye Toogood, Sylvain Willenz, Chris Wolston, and Moroso, among others—have tapped into the potential of this emotive trend. There’s nuance in how this diverse group of European and American talents has employed neoteny—the retention of juvenile features—but on the whole, neotenic furniture and lighting design includes three primary traits: thickened forms; soft or rounded terminations; and the use of mono-materials. Ironically, this approach is not new and harkens back to ancient form making. What remains poignant, however, is how this recent trend asks us to reconsider the role of everyday objects; if they’re more childlike in characteristics, we might better find comfort in our domestic spaces.
ETH Zürich’s high-tech showhome opened its doors this past week. The three-story DFAB HOUSE has been built on the NEST modular building platform, an Empa– and Eawag–led site of cutting-edge research and experimentation in architecture, engineering, and construction located in Dübendorf, Switzerland. The 2,150-square-foot house, a collaboration with university researchers and industry leaders, is designed to showcase robotics, 3-D printing, computational modeling, and other technologies and grapple with the interconnected issues of ecology, economy, and architecture. One of the central innovations is using robots that build onsite, rather than create prefabricated pieces in a factory. This In Situ Fabricator (IF) technology, an autonomous “context-aware mobile construction robot,” helps minimize waste and maximize safety during the construction process. To generate concrete geometries not permitted by conventional construction techniques, such as curvilinear shapes that minimize material use, researchers devised a Mesh Mould technology that was built with the aid of vision system–equipped robots. The robots fabricated a structure that acts as both formwork and structural support, a curved steel rebar mesh. The mesh is then filled with concrete, which it acts as a support to. In the DFAB HOUSE, the Mesh Mould is realized as a 39-foot wall, a main load-bearing component of the house, which is able to carry around 100 tons. Despite its complexity—it has 335 layers with over 20,000 welding points—the robot took just 125 hours to construct the mesh. https://youtu.be/ZeLEeY8yK2Y Cantilevered over the Mesh Mould is the so-called Smart Slab, a 3-D printed concrete formwork that supports the timber structure above. Many of the concrete forms in the home are built with what the researchers are calling Smart Dynamic Casting, an automated prefabrication technology. Robotic prefabrication is also used to make the Spatial Timber Assemblies that comprise the upper two levels of the home. The timber structure was devised as part of a collaboration between the university, Gramazio Kohler Research, and ERNE AG Holzbau, who used computational design to generate timber arrangements to fit into the larger structure. The timber assemblies also permit the creation of stiff structures that don’t require additional reinforcement. Applied onto the structure, the hyper-efficient facade is made of membranes of cables, translucent insulating Aerogel, and aluminum. In addition to all the new technology that went into building the DFAB HOUSE, it will also be a “smart home,” using what the researchers are calling the “digitalSTROM platform,” which includes “intelligent, multi-stage burglar protection, automated glare, and shading options, and the latest generation of networked, intelligent household appliances.” It also includes voice control for many of the home’s operations from turning on a kettle to operating blinds. Energy management is also a centerpiece of the home, with rooftop photovoltaic panels featuring a smart control system. Additionally, heat exchangers in the shower trays recover the warmth of shower water, and hot water from faucets is fed back into the boiler when it’s not in use. Not only does it conserve energy and water, it also prevents bacterial growth in the pipes. The radical use of technology in the DFAB HOUSE is also about optimization and efficiency: the home, with all its undulating formwork and translucent geometries, has been designed to demonstrate how new technology can develop and advance its own aesthetic language to make truly pleasing, compelling spaces. It will also be put to the test. Soon academic guests will be moving in and give life in the DFAB HOUSE a shot. For those who can’t make it to Switzerland, the project will also be presented during Swissnex in San Francisco.
In the Round
OFFICE and Pieter Vermeersch debut spheroidic furniture collection inspired by Solo House II
Belgian artist Pieter Vermeersch and architecture studio OFFICE Kersten Geers David Severen have partnered on numerous projects. Most notably, the celebrated installation artist carried out a series of gradient wall paintings on the roof of the experimental firm’s 2017 project, Solo House II. Culminating this particular collaboration is a new capsule furniture assemblage debuting at Brussels’s Maniera Gallery, now on view through May 4. Comprised of a kinetic room divider, a graphical table, a cylindrical floor lamp, and a metal-mesh sofa, the new collectible design collection draws direct inspiration from the architecture of the iconic project. Perched on an isolated plateau in Spain’s Matarraña forest, the 360-degree, circular Solo House II follows modernists principles, such as the blending of indoor and outdoor space. Between two monolithic slab profiles that function as a base and roof, thin columns and glass walls delineate porous interiors. Geometric volumes are strategically placed on both levels to hide utilities. The new furniture collection echoes the building’s spheroid aesthetic. The semi-circular and semi-transparent Perimeter Room Divider is made up of polystyrol mirror slates, clad in a beige-pink gradient. Loosely anchored on an aluminum rail, the screen can transform from a gradient spectrum into a reflective surface. This same iridescent quality is evident in the totemic Light Post floor lamp. While circles and squares form the structure of the Solo and Round tables, Vermeersch’s painterly interventions are evident in the patina of the pieces’ Bianco Neve marble tops. The organically-shaped Divan 2p sofa and Fauteuil 1.5P lounge chair evoke the rugged nature of Solo House II's arid surroundings. Within the gallery space, the combined set-design of these similar yet distinct pieces strike an impressive pose. Like the house it references, the collection's bright color tones soften its minimalistic presence. At its core, the assemblage and exhibition reveal how art, architecture, and design can transcend and hold equal footing. Beyond traditional definitions, the exploration of archetypical shape is what matter most for both Vermeersch and OFFICE. This interdisciplinary methodology is apparent in their respective practices. Whereas the former addresses space in his art, the later often approaches architecture with an object-centric point of view. For OFFICE, furniture operates on an intermediate scale, between architecture and the human being; the body and city. The showcase also features work by major Dutch architectural photography Bas Princen, OFFICE’s longtime collaborator. The 2012 Mosques in the Nile Valley series captures the interplay of fluorescent lights on monolithic buildings at night. The photos resemble Suprematist compositions—an aesthetic also evoked in the furniture collection.
Take a Look, Read a Book
Art gallery book fair this weekend
Carriage Trade Gallery at 277 Grand Street, New York, New York, is holding a book fair this weekend that will feature books, ephemera, and zines that will undoubtedly hold gems for those interested in architecture and design. The second-floor gallery just hosted an exhibition of Denise Scott Brown and in the past has featured shows that inhabit the territory between art and architecture. The fair should have a great many books and ephemera by artists on architecture that are insightful and provocative. The participating galleries and booksellers include: Christine Burgin New Directions Common Notions INK CAP PRESS Division Leap Kai Matsumiya Office Space 2 (Sunday only) prompt: Small Editions PDF null The Home School & The Song Cave (Saturday only) Saturday & Sunday, March 2-3, 2019, 1-8 p.m.
Staying in the Loop
Space p11 adds to Chicago's underground art and architecture scene
“The pedway is an exquisite corpse,” said Space p11 director Jonathan Solomon of the assembly of underground spaces that make up Chicago’s Pedway, the subterranean home of the new design and architecture-focused gallery. “We are looking to encourage the many institutions above to take ownership and make the pedway a space for culture.” That notion of ownership, or perceived lack thereof, along with substandard signage, uneven maintenance and concentration of urban odors causes many Chicagoans to shame the pedway. Space p11 (‘p’ for Pedway, ‘space 11’ on the leasing plan) offers an emollient in the form of a formerly anonymous space filled with work dedicated to shared agency. This commitment to shared agency brought a series of actions to the Pedway coinciding with the debut of Space p11, which Solomon directs alongside David L. Hays. The Chicago Loop Alliance partnered with artists to work in and with the Pedway through a series of pop-up experiences, dubbed Short-Cuts, activating elements like walls and abandoned phone booths with performance, drawing, and audio installations. Space p11 opened on December 3 with Phytovision by Lindsey French, an experiment in the hierarchy of perception between humans and plants. Within Space p11, French created a space full of vegetative (not creature) comforts, including a digital video slowed to plant time and shown to a plant audience. The plants watch underneath lights in their preferred colors, red and blue, which combine to flush the gallery in magenta. “People actually think it’s a weed shop,” joked Solomon. The Chicago Pedway is a five-mile network of formal and informal underground pedestrian routes connecting forty city blocks and almost fifty buildings in the Loop. Included are both public and private along with the occasional building lobby and basement. In addition to Space p11, the Pedway houses a mix of services and amenities, including salons, dry cleaners, and a number of idiosyncratic underground bars and restaurants. The Pedway began in 1951 as a tunnel connecting the State Street Subway to the Milwaukee-Dearborn Subway, joining together what are now the Red and Blue lines of the Chicago Transit Authority (CTA) system. Subsequent phases occurred in 1966, connecting the Civic Center to the Brunswick Building at 69 West Washington, through the late 1980s, and in 2005, when Millennium Station was completed. An additional extension was created in 2010 to connect the portion north of Lake Street to Aqua Tower, located at 225 North Columbus Drive. While the City of Chicago manages and cleans general areas of the Pedway, it is not responsible for privately owned sections, or those managed by the CTA. The system is not tended evenly, and signage does not remain consistent, confusing infrequent users and discouraging its use altogether for some. Those looking for consistency in the architecture of the Pedway are hard pressed to do so. While the Pedway portion of an individual building often captures what’s going on above, it doesn’t often give it sublime qualities. While there is terrazzo and marble, there are also portions of the system with as much personality as a jet bridge. Like the city above, the Pedway is not perfect. Space p11 is a project of Acute Angles, Inc., the publishers of the design journal Forty-Five. The gallery is designed by Future Firm, which has subtly improved the space by adding materiality to existing elements, along with lifting the language of retail through window framing and customary signage. “p11” is scripted in neon tube above a felted black letterboard announcing the bill of fare. A custom steel sandwich board in white and chrome auto paint is displayed outside the gallery during open hours. Through March 5, Space p11 presents Coalescence, a video installation by Rosemary Hall and Alberto Ortega that seeks to stretch our engagement with the biological and social world. Space p11 55 E. Randolph Street Pedway Level Chicago Chicago, Illinois
Artist Leslie Wayne reveals What's Inside her inner world
A new exhibition by New York–based artist Leslie Wayne explores everyday spaces and how, through alternative modes of representation, we can see those environments in a deeper light. What’s Inside, now on view at New York City's Jack Shainman Gallery through March 30, features Wayne’s newest collection of paintings that detail basic domestic scenes like messy closets, busy bookshelves, and broken windows. These disheveled objects evoke a German Expressionist perspective, according to the artist, and unveil Wayne’s political and personal anxieties through singular depictions of an inner world that’s “not quite right,” but can be fixed. AN spoke with Wayne via email about the layered inspiration behind What’s Inside, and how color, both in architecture and in painting, can manipulate the emotions of its viewers. She also explains why studying art that highlights buildings or interior design can ultimately strengthen a person’s appreciation for the built environment. The Architect's Newspaper: Your current collection seems to build off your previous window pieces for Free Experience. Can you explain why you decided to continue that project and how this show takes those previous themes to another level? Leslie Wayne: As an abstract artist, my whole career, I’ve been wanting to bring representation into my work, but I didn’t quite know how it would manifest itself given the idiosyncratic way I use paint. Those first window paintings gave me a way to do that. Conceptually, they allowed me to express my feelings and ideas about the world around me, about the current state of affairs, as well as my own personal life, by using domestic architectural forms as a motif and as a kind of organizing principle. I realized that my abstract paintings always kept you on a threshold—of what was visible, and what was beneath and behind the surface that you could never quite completely see or understand. Architectural thresholds can operate in much the same way. By making a painting of a doorway that is just barely cracked open, or a window that is boarded up, I’m keeping you on that threshold. So actually, I’m still exploring the same thing, only in a more pictorial way. AN: Why did you choose to focus on normal interior objects and spaces? What draws you to imagining these details in a new way? LW: I’m drawing largely on my immediate surroundings—the armoire in my bedroom, the tool chest in my husband’s studio, and my bookshelves. While the forms as furniture are universal, their contents are autobiographical, and they tell you a lot about what makes up my life. In the beginning, the idea of creating a painting of a closet was just a response to my need to move on from an earlier body of work. But then the idea of closets became more interesting to me as types of containers. Containers, not just of clothing and everyday objects, but of things we hold dear, or secrets we want to keep. And then came the paintings of drawers and bookshelves, containers that hold evidence of your life—books you’ve read, music you listen to, materials you use for work, etc. And on a purely formal level, closets, shelves, and window frames provide an interesting platform for different kinds of architectural motifs, which as a painter is great because it’s just an endless source of visual information. AN: Your work is very colorful and tactile. What do the different colors and the way those hues bring a tangible quality to your paintings say about these mundane architectural spaces you depict? LW: Color is loaded with emotive power, much the same way that music is. It can be used to express tremendously strong feelings, but, because of that, you’re in danger of being manipulative and clichéd if you go too far. It’s tricky. You want to seduce the viewer but not knock them over the head with it! Most people, when they’re thinking about architecture they’re thinking about the facade and the overall shape of a building or an architectural detail. They’re not considering the way in which a building is a container and a shelter and how the design and the color of an interior space can determine the way you feel when you go inside of it. We were in Mexico City recently and went to the house of Luis Barragán. It was very interesting to see how he used color to visually block out certain spaces and establish an overall feeling of a room. Yellow walls made you feel warm and welcomed, pink walls gave you a sensation of joy and anticipation. I loved that. For me, when I’m painting, I try to use color to do much the same thing, to convey a sensation. AN: Why is it valuable to look at architecture and interiors through the alternative lenses of painting or photography, rather than being in the space itself? LW: I would say that it’s valuable to look at architecture and interiors through the alternative lenses of painting or photography in addition to being in the space itself. There’s no substitute for having a direct experience of an architectural space. But I think we take those spaces for granted. And those of us in dense urban environments usually have our heads down (or buried in our cell phones!) when we’re walking rather than looking up and noticing what tremendously rich details are on buildings all around us. It’s valuable to reconsider what those spaces mean to us and art can take you there through the poetry of metaphor and illusion. If you’ve ever been taken by a Fra Angelico painting for example, like The Annunciation, then perhaps next time you’re inside a space that has vaulted ceilings you’ll be reminded of the painting and become aware of the ceiling’s elegance and structural integrity. Or a Dorothea Lange photograph of a young sharecropper’s log cabin can make you really feel what it must mean to live in a structure of such simplicity. Bernd and Hilla Becher spent their lives documenting industrial architecture and brought the simplest most overlooked structures, like water towers, into the realm of the sublime. We look at these things every day, but art helps us see them more deeply. See Wayne’s new show, What’s Inside, at the Jack Shainman Gallery at 513 West 20th Street, New York, New York.