Eric N. Mack’s paintings and sculptures assemble sundry found materials with traditional media to establish a complex dialogue between material and subject that questions existing definitions of form, function, and style. Following solo exhibitions at Albright-Knox in 2017 and Simon Lee Gallery in 2018, Mack was invited to transform the Brooklyn Museum’s Great Hall with a site-specific installation of his textile-based works. The result, Eric N. Mack: Lemme walk across the room, invites a discussion on the fundamental components of aesthetic vision and the mercurial relationship between visual culture and everyday life. Positioned at the intersection of art, fashion, and architecture, Mack’s work reveals an array of unexpected connections and contradictions. A discussion with the artist on the installation and his practice provides a glimpse of his creative processes and wide-ranging interests. The Architect’s Newspaper: Were you responding to specific elements of the classical architecture of the Great Hall? Eric N. Mack: Yes. The space has no corners. So, I felt like I wanted to build a painting structure that would embrace this architecture, that would be contingent on the architecture, and would change the way that people engage in the space and see the space from a given vantage point. But I chose the fabric because it was slightly transparent, so it wasn't about opaqueness, or an immediate opaque gesture, but rather a gesture that deals with transparency in the space. So I was thinking about an overlay or patterns that could flatten out as a decorative point, but through their depth create some markers of distance and closeness. AN: In a lot of your past interviews and articles on your work, the authors always talk about how you grew up in Washington, D.C., and went to the National Gallery all the time because your parents worked there, and I thought it was really fascinating that your dad built vitrines and was an interior designer for the exhibitions there. Did that have any impact on your process for creating this work? EM: I mean I think there's a lot about…generous museum experiences. And how those moments really resonated with me, not necessarily just at the Brooklyn Museum but any museum experience. I'm just thinking about an exalted moment of viewing artwork. Some of the most dynamic experiences had to do with really feeling the length of the room and really understanding the impact of my body in the space as a viewer. Almost like a dream—like a way of seeing an artwork that is almost in between installation [and painting] or something like that. So you end up really focusing on this moment of engaging points of measurement or exchange between you and the artwork. AN: Yeah, that sort of leads to my next question, which is about the title; obviously it's an imperative for you to follow along the boundaries of the white, horizontal paintings, but it also sounds like a larger, more conceptual grounding for the entire installation, and maybe a specific aspect of your practice, in a way. Would you say that's a correct reading or is there another reason you felt that title was the most appropriate? EM: When I choose a title there are probably at least four different ways that point me to that place again and again. First, I wanted there to be almost a performance prompt for the viewer. But it also has this personalized position in which people have to determine whether it's about me or it's about them. And maybe it's about both of us. [It’s also about] questioning frameworks, breaking down frameworks and creating new ones that are maybe less familiar. But I also love that [the title] almost alludes to a runway show, at the base of it. The fact that there will be a personal impetus for a runway show or catwalk show. And that's something that I'm still unpacking. AN: You also have a very strong collagistic impulse. Why do you find it necessary or how would you describe it? EM: I think this show deals in collage in many ways…I think garments are naturally related—or congruent—to collage. The intention around stitching or the suture ends up being a possibility for a felt, dynamic place of legibility. It ends up being a space that is specifically about the reconstruction of form, and maybe a critical deconstruction in a way, for the moment of reconstruction. So, there are several different points that I think speak to a linked or connected language. A lot of times I feel like the properties of a work have to be turned inside out to understand what they are presently, and what they were. So, I think to be able to show that I think is a really generous end or offering to the viewer. AN: So this question may or may not be interesting, but when I went, there was a guard standing right in the middle of the installation. Do you have any thoughts or feelings about that? I assume you didn't have too much say over their presence. EM: That's awesome, I like that. I mean, I think the guards are people that are usually supposed to be invisible. I just think that all the corners are super active, so it's not a place where they could necessarily… AN: Disrupt anything. EM: Exactly. AN: But I still felt their presence still as I was moving through. EM: Me too, actually. Yeah, that's always an equation that could easily be overlooked. Even by the viewers themselves, the fact that there are people who could potentially be experts in the work besides the artist, the security guards—if they're paying attention, [and] I'm sure they are. AN: Did you use any specific elements to the large collage on the right wall specifically for this show? Or was it kind of an assemblage you already had? Kelis stands out to me. EM: Yeah, she's amazing. AN: I mean Kelis is associated with New York, but not all of the elements are. EM: Exactly. And I love that because it's really about a time and space. I mean I talked about them before as hyperlinked material images. But there's a lot of ways to read it. There's a kind of elegy to Phoebe Philo, Céline. The title is Tartan Film Strip from 1987 Till Recent. And thinking about the space of the grid as being the space of representation first and then it also being a place for points of reconnection, dislocation, or rupture, basically. AN: Yeah, which is a very painterly concept I feel like. I know you're a painter. EM: Definitely. I move forward or away from those… AN: Traditions? EM: Yeah, or that definition, all the time. But yeah, I think the narrative of the piece generally has to do with points of comparison. Somehow below the horizon line there's a lot more vintage materials. Some of the images are from Interview magazine from 1987. AN: Which is the year you were born. EM: Exactly, yeah. There are these archetypal ways that these women were being photographed, that fashion existed within the image but it was mostly about their gaze and their contact. AN: How they were presenting themselves. EM: Exactly. I mean like Janet Jackson definitely—the album called Control is very much about one's authorship in [their] control of their career, their bodies. AN: Do you ever put in personal effects? Was there a picture of you? EM: Yeah. It’s from the first time I went to Europe and I was 14. But it also sits on the opposite end [of the collage] as Isa Genzken, an image of a sculpture she made [Slot Machine, 1999–2000]. And that was kind of a point of validation for me, with her portrait—there was definitely a way and a manner to the work that I feel like could relate to Isa's work. And I didn't want to diminish that or go away from it, but perhaps use it as content. Isa's last show [Isa Genzken: Retrospective (November 2012 – March 2014) at the Museum of Modern Art, New York] was also sponsored by Céline. AN: Oh really? I didn't know that. EM: And I always loved that because I felt like they’re adjacent. Like, there's these two adjacent industries that end up supporting one another in various ways that are highly aesthetic. Eric N. Mack: Lemme walk across the room is on view at Brooklyn Museum through July 7.
Search results for "east new york"
On the Auction Block
OMA to expand Sotheby's New York headquarters
Sotheby’s has announced an expansive OMA-led renovation of its Manhattan headquarters, with an equally ambitious target opening date of May 3. The reorganization of the auction house's Upper East Side building will expand the amount of exhibition space from 67,000 square feet to 90,000 and add 40 new galleries. Twenty gallery typologies will be spread across the four floors of 1334 York Avenue, including double-height spaces, private viewing rooms, octagonal galleries, corridors, and a space for small objects (Sotheby’s also sells luxury goods alongside art). The auction house is also taking a cue from its London and Paris locations and will be modernizing its entrances with stained walnut woodwork. The project is being handled by OMA’s New York office and led by partner Shohei Shigematsu. Of the renovation, Shigematsu said: “We wanted to embody Sotheby’s ambition to reinvigorate and enhance the client experience by introducing high flexibility through reorganization of programs and diversification of gallery spaces. The new headquarters is designed for openness and discovery—all public facing programs are shifted to lower levels, unlocking the public potential of the building. A taxonomy of galleries can be used separately or as clusters to allow curatorial freedom, driven by business model shifts and expanding repertoire of programming.” The renovation aims not only to consolidate elements of the building’s programming but to diversify the gallery types and create more public-facing spaces. By using gallery “clusters,” the larger spaces can remain open even as collections are rotated out, which the auction house estimates will happen every three-or-four days. A coffee bar will also be coming to the building’s lobby. Sotheby’s has organized an auction of modern, contemporary, and Impressionist work to coincide with the May reopening, including a contentious Mark Rothko painting from SFMoMA. Beyer Blinder Belle is serving as the project’s executive architect.
Diller Scofidio + Renfro has unveiled the design for a 170,000-square-foot stacked building at the University of Toronto (U of T) to be known as 90 Queen’s Park. Set on the site of a former planetarium, the interdisciplinary structure will serve nine previously-dispersed departments at U of T, but will specifically house the university's newly-established School of Cities, a global hub for urban-focused research, education, and outreach. DS+R was awarded the project after winning a 2016 design competition in which the New York–based firm collaborated with two practices from Toronto, architectsAlliance and ERA Architects. The result of their efforts is a looming, boxy building that appears to shine with a coppery metallic finish. The most important part of the design, according to the architects, is the surrounding context. It’s bordered by Queen’s Park to the east, the Royal Ontario Museum to the north, the 1960s-era Edward Johnson Building to the west (home of U of T’s Faculty of Music), as well as Flavelle House to the south, a Victorian-style structure housing the Faculty of Law. DS+R’s intervention to the nearly-200-year-old university will be among its most stand-out modern structures when complete. With a rectangular design configured to fit like a puzzle piece around the adjacent Falconer Hall, the school’s original, 118-year-old law building, it's meant to seamlessly connect U of T’s arts, architecture, and legal institutions with one another. Stilted on one end, 90 Queen’s Park features nine distinct layers. Renderings show each level includes varying facades of ribbed glass with some floors set back and others slightly cantilevered for flare. A large, concaved window overwhelms several middle floors on the south facade of the structure and serves as the backdrop to a 200-seat music recital hall. The architects designed the performance space around the large opening to show off views of southern Toronto’s skyline. At the top of the building is a 400-seat event space featuring floor-to-ceiling windows that wrap the southern and eastern edges of the building, also providing sights of the city. DS+R describes this part of the exterior as eroding from the other sides of the building. To the right of Falconer Hall facing Queen’s Park, the structure boasts 10 strips of opaque glass that are cut off at different lengths. The transparent sections reveal interior corridors, public spaces, as well as the central atrium and spiraling stairs, while the more solid ends conceal classrooms and offices. Charles Renfro, cofounder and principal of DS+R, said in a statement that the building’s dynamic design is aimed to inspire collaborative discourse and public engagement. “This ‘campus within a campus’ is revealed in the building’s dual identity—a smooth cohesive block of faculty offices and workspaces gives way to a variegated expression of individual departments as the building is sculpted around Falconer Hall,” he said. In addition to housing the School of Cities, 90 Queen’s Park will include room for classes within the Faculty of Arts + Science, including history, Near and Middle Eastern civilizations, and the Institute of Islamic Studies, as well as the Anne Tanenbaum Centre of Jewish Studies. Some space will also be dedicated to the Faculty of Law, the Faculty of Music, while other gathering areas will be used by the adjacent Royal Ontario Museum. U of T’s School of Cities was created last year to combine the Faculty of Architecture, Landscape, and Design with community-based research initiatives dedicated to solving the world’s biggest urban issues. In a press release, Richard Sommer, dean of the department, noted that the building’s outward face is of particular importance. “The edges of the campus and its borders with the city are the places where you engage the community and the vibrancy of the city of Toronto,” he said. “When you have buildings that are at these edges, it’s particularly important that they have programming that produces a platform for public exchange.” Set to break ground in 2020, the project will also include a large entry plaza to the north that will feature a terraced landscape, as well as a cafe and restaurant.
Four blocks of Manhattan’s Far West Side were rezoned 14 years ago for New York's ambitious 2012 Olympic bid. After a failed attempt to secure the games, the parcel of land was awarded in 2008 to real estate giant Related Companies. Through a public-private partnership in which Related would oversee the design, construction, and long-term maintenance of the site, the group began creating what's now the largest private development in the history of the United States. Set atop a cluster of rail yards between 10th and 11th avenues, the first phase of the multibillion-dollar megaproject known as Hudson Yards is set to open on March 15, when a cohort of towers and parkland previously inaccessible to the public will be unveiled. Ahead of the much-anticipated launch date, here’s a brief look at what’s already opened and what’s coming online this spring. 10 Hudson Yards Designed by Kohn Pedersen Fox Associates (KPF), this 895-foot-tall office tower was the first structure completed on-site in May of 2016 and features 1.8 million square feet of commercial space. It boasts tenants such as Coach, L’Oréal, Sidewalk Labs, VaynerMedia, and Boston Consulting Group, among others. A Spanish food hall by José Andrés will also be located in the building. 15 Hudson Yards Rising 917 feet in the sky, this residential tower will offer 285 luxury apartments and 107 affordable rentals come March. The skinny skyscraper was designed by Diller Scofidio + Renfro (DS+R) as lead architect and Rockwell Group as lead interior architect. 30 Hudson Yards This commercial tower, also designed by KPF is the tallest in Hudson Yards, stretching 1,296 feet in the air, and is set to open in March. It features the city’s highest open-air observation deck, which will be open to the public in 2020. Major media groups such as HBO, CNN, Turner Broadcasting, Time Warner, and Wells Fargo Securities, are set to move in this March. 35 Hudson Yards Also opening this spring, this mixed-use supertall tower was designed by David Childs of Skidmore, Owings + Merrill. It will house 143 condominiums, as well an Equinox Club at the base of its 92 floors. A branded hotel by the luxury fitness company will also open inside the structure. 55 Hudson Yards KPF worked alongside Kevin Roche John Dinkeloo and Associates to design this boxy, 780-foot office structure. Completed last year, it's already opened to tenants, serving as the headquarters of several law firms and financial groups. Vessel/New York’s Staircase Heatherwick Studio’s monumental work, known now as New York’s Staircase or Vessel, was commissioned to become the development’s signature work of art. As the centerpiece of Hudson Yards’ five-acre public park, designed by Nelson Byrd Woltz Landscape Architects, the spiraling, copper-clad work stands 150 feet tall and weaves 2,500 steps throughout its structure. It will open to visitors starting in March. The Shops and Restaurants a.k.a. 20 Hudson Yards This seven-story structure, designed by Elkus Manfredi Architects, will contain 25 fast-casual dining options and restaurants helmed by famous chefs like Thomas Keller and David Chang. The one-million-square-foot building will also feature over 100 luxury shops and an immersive exhibition space by Snarkitecture called Snark Park. The Shed, a.k.a the Bloomberg Building This 200,000-square-foot structure features a retractable outer shell designed to open and enclose a year-round exhibition space and performing arts venue. Also designed by DS+R in collaboration with Rockwell Group, the structure sits at the base of 15 Hudson Yards and will serve as the city’s newest cultural center. The project will open on April 5.
Architect Sarah Entwistle revives her late grandfather in New York exhibition
New York City’s new Signs and Symbols art gallery will present an autobiographical exhibition by British artist and architect Sarah Entwistle. The art installation, titled It may prove a mere accident that we met, or it may prove a necessity, explores the work of Sarah's late grandfather and troubled architect, Clive Entwistle, who died in 1976 before having met her. While Clive had once worked alongside Le Corbusier and was the lead designer of the original plan for Madison Square Garden, most of his projects were never completed. The exhibition stems from Clive’s only successful work, the Transportation and Travel Pavilion for New York’s 1964 World's Fair, and it revolves around an image of a staged trade fair interior that he designed. In order to recreate the vision of her late grandfather, as well as revitalize his architectural legacy, Sarah displays rich and varied artifacts from Clive’s most ambitious designs in a way that is reminiscent of a mise-en-scéne. Relics include ceramics, elaborate architectural models, furniture prototypes, intricate drawings, a large handwoven tapestry, and photographic portraits of women accompanied by extensive correspondences with lovers. Sarah received her late grandfather’s personal belongings in 2011, after they had been unearthed from a Manhattan storage room where they sat untouched for over 30 years. Before then, she had little knowledge of his legacy, as he was absent from her life. Through the project and exhibition, Sarah attempts to simultaneously revive and reinterpret her grandfather and his work, breathing new life into his biography by integrating it with her own. Sarah noted, “each action from within the archive cleaves me further from the gravitational pull of my grandfather’s complex legacy, with its meta-narrative of failure and erasure, towards a re-emergence, where that which has been consigned to the past is re-embodied and re-imagined.” Sarah Entwistle’s exhibition will open on March 3 at Signs and Symbols gallery in Manhattan’s Lower East Side. She is also developing a new installation for the Zevaco House in Casablanca, Morocco, in collaboration with curator Salma Lahlou.
The Future's Not What It Used to Be
Andrés Jaque, David Adjaye, and others paint a bleak vision of tomorrow in London
Alison and Peter Smithson, James Stirling, Eduardo Paolozzi, and then some: The Whitechapel Gallery's This is Tomorrow show had an all-star cast when it was unveiled in 1956, not that the audience was necessarily acquainted with these fresh-faced artists and architects (yet). Bold, radical, and surefooted—as the name suggested—This is Tomorrow turned heads as visitors flocked to the then-genuinely edgy East End of London to see the show that was welcoming a new artistic movement, Pop Art, to Britain. Is This Tomorrow? a show now at the same Whitechapel Gallery in the same, now banker-friendly part of London, recalls the exhibition of 63 years ago. Instead of being laced with new ideas fuelled by the optimism of a country finally free from food rationing, Is This Tomorrow? takes a more pessimistic view of what the future may be. Ten teams, of mostly architects and artists, have been assembled by curator Lydia Yee. From the start, audiences are confronted by metal sheep pens courtesy of British studio 6a and Argentinian artist Amalia Pica. This is clearly farm equipment and having to move through the narrow contraption in single file as a human is hardly fun, but dark humor punctuates the work; objects like buoys for seals to play with raise questions about how we treat animals. Maybe too, this is how it feels for some in migrant detention camps. An engaging and provoking start is followed by less moving exhibits on the gallery's ground floor. Adjaye Associates and Canadian artist Kapwani Kiwanga's Sankofa Pavilion is meant to be a place for intimate conversations, but the star-shaped installation, which uses dichroic glass to partially reflect light, is more fun for taking pictures in. Thugz Mansion by London firm APPARATA with Glaswegian artist Hardeep Pandha also falls short. The premise of addressing "what happens to architecture when political systems collapse or become outmoded?" sounds deliciously anarchic but the reality is is that Thugz Mansion lacks any real potency. The final installation on the large, open ground floor is a welcome return to the dismal yet engaging promise of 6a and Pica's work. Spirits Roaming the Earth from architect Andrés Jaque and artist Jacolby Satterwhite, both based New York, posits "highendcracy," while bringing up air-rights dilemmas, designer babies, pollution, fracking, gay porn, queer space, and the placement of 432 Park Avenue renderings in Russian luxury hotels. It's rich in content and remarkably coherent, even with so much packed in. If you can't sit through the eight video episodes which explain how the world is fucked by the aforementioned subject matters, a leafy pulsating tower that rises above fumes and a jungle featuring rooms hosting sex parties and topped by two men kissing distills everything nicely. Above, the second floor is a similarly mixed bag of installations. An interim space glosses over the 1956 exhibition with newsreel footage from the British Pathé archive and an assortment of relevant books. Beyond that, the Mexican match-up of artist Mariana Castillo Deball and Tatiana Bilbao results in what appears to be a melted Mecano set; it's meant to symbolize communal connections and the Mesoamerican calendar. Is This Tomorrow? has been promoted alongside a photo of Bait Ur Rouf Mosque in Bangladesh by Marina Tabassum Architects. The firm, with fellow Bangladeshi, artist Rana Begum, has exhibited Phoenix Will Rise—simply an oculus with a crinkled, colored lining, in an inverted trapezoid structure. A weak reference to what is a wonderful building. Thankfully, two much stronger works follow. Duck down and enter The Salvator Mundi Experience from British duo David Kohn Architects and artist Simon Fujiwara. The work accommodates only one person at a time and offers a 360-degree panorama of 1:24 scale scenes depicting experiences of Leonardo da Vinci's Salvator Mundi—the painting that broke records when fetching $450 million in New York two years ago. Kohn and Fujiwara's work investigates the commodification and marketability of art and art experiences, focusing on the public relations campaign from marketing agency Droga5, and depicts an auction room, the Dubai Louvre where da Vinci's piece was set to be exhibited, a creepy "interactive chapel," fake replica artwork donation center, a restoration room, and more. All scenes feature CCTV cameras, but of course, the viewer is the real Big Brother. After these miniature metaphors, Borders/Inclusivity from Iranian-born architect Farshid Moussavi and French artist Zineb Sedira ensnares audiences at human scale (the installation isn't for those with claustrophobia). Borders/Inclusivity is a procession of turnstiles that turn different ways and force visitors to awkwardly negotiate the course. Meanwhile, motion sensors set off sirens and sounds of border patrol over the radio. The installation is simple but fits nicely with 6a and Pica's treatment of humans as animals and it'd be a fitting end to the exhibition. However, Brits Rachel Armstrong and Cécile Evans signal the end of Is This Tomorrow? with a piece that somehow dovetails microbial cells and a fog curtain with a fluttering bird projection, all within 140 square feet—London's smallest living space. And that's it. Maybe the Whitechapel Gallery is showing its age—once young and full of hope, now it's moaning about how bad everything is and how much worse it will get, and not doing it too eloquently either. The original, the emphatic, This Is Tomorrow endures more than half-a-century on; the pessimistic, Is This Tomorrow? might not last so long. Despite offering genuine moments of intrigue and asking tough questions, one leaves wishing it was 1956 again.
The Sundance Institute, the organizer of the annual Sundance Film Festival in Park City, Utah, and the Kimball Art Center announced an Arts & Culture District building program in the festival's host city. The Sundance HQ architect hasn't been selected yet, but the Kimball has picked BIG to design its new museum. This initiative set the stage for the festival's 2019 crop of movies focusing on architecture. In It’s Going to be Beautiful, a short documentary about the proposed U.S.-Mexico border wall directed by Luis Gutierrez Arias and John Henry Theisen, we see eight wall prototypes and the surrounding neighborhoods on both sides of the existing border barriers. Less divisively, in Joe Talbot's The Last Black Man in San Francisco, a young man lovingly preserves the rundown Victorian house his family lost. The family originally acquired this ornate structure with a witch’s hat, stained glass windows, wooden archways, and built-in organ after the Japanese owners' internment during World War Two. Gentrification, artistry, and black male identity are explored in this tale of the house. “Your radiator is a D Flat,” says the "house tuner" played by Peter Sarsgaard in director Michael Tyburski's The Sound of Silence. Sarsgaard's character solves New York City residents' ills by painstakingly analyzing their out-of-sync domestic sounds (the toaster accompanying the aforementioned radiator is a G Major). A corporation surreptitiously monetizes his theories with virtual home inspections, advertising on New York City street kiosks. Dan Gilroy’s Velvet Buzzsaw, a sendup of the art world with an art critic (Jake Gyllenhaal), artist (John Malkovich), curator (Toni Collette), and gallerist (Rene Russo) who live and work in stupendous houses, galleries, and the fictional art museum LAMA, which uses Diller, Scofidio + Renfro’s Broad Museum and Gehry’s Disney Concert Hall. New Frontier, the media arts section, showed artworks that used virtual and augmented reality, many of which explored ideas about race and community. THE DIAL is an augmented reality artwork from Peter Flaherty, Jesse Garrison, and Trey Gilmore centered on a house around which a murder mystery unravels. Traveling While Black from Roger Ross Williams, Félix Lajeunesse, and Paul Raphaël uses The Green Book—a 20th-century guide for African-American travelers—as a starting point to drop viewers in Ben’s Chili Bowl in Washington, D.C., where viewers “sit” in a diner booth with storytellers. In Marshall from Detroit, a 360-degree virtual reality documentary from Caleb Slain, Félix Lajeunesse, and Paul Raphaël, we motor with hometown boy Eminem, who talks with journalist Sway Calloway about the city that shaped him. We see an abandoned church, a destroyed factory, a glorious movie palace, a skyscraper, and a hip-hop battle in a freezing-cold abandoned building. Kaiju Confidential is about a different kind of disruption. In this virtual reality short created by Thomas O'Donnell, Ethan Shaftel, and Piotr Karwas, two monsters battle over whose modernist Japanese city is theirs to destroy. The veteran green beast claims the greater metropolitan area, while his 2-headed rival gets relegated to the suburbs. The Immersive Stage, a three-sided projection room, showcased three digital environments: artist Peter Burr's Dirtscraper, an underground system of “smart architecture” overseen by spatial and social engineers; Matt Romein's analmosh, a dynamic audio-visual landscape; and Victor Morales and Jason Batcheller's Esperpento, based on the Madrid of Goya’s Los Caprichos paintings.
Robert Murray: Sculpture Design Books $65.00 List Price Some sculptors have to think like architects. They need to consider the actual weight of a work and whether it might wind up crashing through a floor or compromising a foundation. There are the issues of balance and whether something weighing a few tons and defined by curves and cantilevers will remain in place on its own or roll off its plinth. There are also the concerns about the best angles from which to view a finished sculpture and how it will age, especially if positioned outdoors. And once it is erected and set in place, what about the resulting shadows or reflective light? As Jonathan Lippincott, the noted book designer and independent art curator, reveals in his new book, Robert Murray: Sculpture (Design Books), the first such monograph to chronicle the artist’s oeuvre, Murray learned about weight and scale through practice. When Murray first began making some of his large-scale works in his apartment on East 22nd Street in Manhattan in the early 1960s, they were so heavy and tall that they compromised the very structure of the building. Of one such early work, Ceres, a seven-foot-high plaster sculpture, Murray said: “I had it right in the middle of the room, and I put supports out from underneath the bottom lip of it to try to distribute the weight, but it didn’t quite work. One day there was a pounding on the door and a very nice couple from downstairs demanded to see what I was up to, and I guess my floor sagged so badly that their ceiling cracked and plaster was raining down in their living room.” The comment from Murray is one of many in Lippincott’s book that reveals the artist’s sense of humor, a characteristic much welcomed in an otherwise scholarly art book. Lippincott has obviously been careful to reveal—and revel in —Murray’s playfulness. As a result, this may be among the most refreshing and entertaining books to read about any sculptor, living or not. Lippincott’s book also manages to right an aesthetic wrong. While fantastically prolific and influential, Murray doesn’t seem to have won quite the same name recognition of some his contemporaries, like David Smith, Tony Rosenthal, Louise Nevelson, and Barnett Newman. Lippincott’s book will surely reintroduce and re-establish the still-active Murray as one of the very best practitioners of contemporary sculpture. And the book’s examples of Murray’s candor and wit will only heighten the artist’s appeal. As Murray recounts about his early days as a young artist from Saskatoon suddenly immersed in the New York art world: “I always joke that it’s lucky my liver was as young as it was when I got to New York or I would have been dead a long time ago.” Although Lippincott’s monograph is visually-driven, it includes an engaging, lengthy biographical text about Murray, as well as a candid, chatty question and answer between the author and his subject. The two appear to have forged an affectionate rapport. We learn about Murray’s Canadian boyhood, his inspirations for the monumental works of art, and the process of making those sculptures (some sixty of which were made at Lippincott, Inc., the Connecticut-based fabricator of monumental works of sculpture, founded by the author’s father). But what resonates throughout the book is Murray’s collaborations with and respect for architects. There was a time not so long ago when art and architecture were more closely aligned. Lippincott describes, for instance, the Percent for Art program that flourished in the U.S. and Canada in the mid-1960s, whereby, according to the author, “one percent of the budget for any new building would be dedicated to purchasing artwork…an unprecedented amount of funding to purchase and commission artwork for government buildings and public spaces.” Murray’s large-scale abstract (some would say minimalist) sculptures were coveted by architects of the time. I.M. Pei, for instance, commissioned Murray for a massive work (Shawanaga) to occupy the plaza of Pei’s Everson Museum of Art in Syracuse. For a 1968 group show of sculptures at the then-new Boston City Hall, a Brutalist edifice designed by Kallmann, McKinnell, and Knowles, Murray was invited to include what is now one of his iconic works, Windhover. “The only bad part of it all was the new city hall, which wasn’t a very attractive backdrop,” he told Lippincott. “But it was a nice plaza, a good space, and that show got a lot of attention.” Murray’s relationship with architects and architecture began early. In 1958, at the very start of his career, he received a commission from a local Saskatoon architect to fashion murals composed of mosaic tiles for a new government building. Barnett Newman collaborated with Murray to create an imagined, or conceptual, synagogue that Newman described as being “organized like a baseball diamond, the rabbi on the pitcher’s mound, the men in the dugouts, and the women in the bleachers.” Murray designed two models for the project, one of which was exhibited at a show at the Jewish Museum in 1963 organized by Richard Meier. And in his native country, the Royal Architectural Institute of Canada awarded him their Allied Arts Medal in 1977. As Lippincott emphasizes, “The award recognizes artists or designers in Canada who create work intended to be integrated with architecture, and Murray was one of the first artists to receive this award for contemporary sculpture.” Both Lippincott and Murray are adept at describing the architectural aspects of the sculptures. Of Murray’s Breaker (1965), Lippincott lovingly relates the structural issues in such a way that the piece can almost be envisioned without seeing it: “[Breaker] consists of two arcs that are almost identical; one extends beyond the other, providing a point of contact with the floor, adding stability to the work and extending its energy.” Because of this book, Murray reputation as a great sculptor will endure. That reputation rests particularly on his public artworks, many of which are positioned with notable works of architecture. But as Murray said to Lippincott, “Until the public starts making it, it’s not public art, it’s private art put out into public situations.” With Lippincott’s fine book, we now have the definitive visual and chronological map for finding Murray’s works and enjoying them in public settings. Murray can be experienced in person on April 7 at the David Richard Gallery, 211 East 121st Street, New York. The gallery will present a solo exhibition of Murray’s large sculptures and two-dimensional artworks, with an opening reception on April 7 at which both Murray and Lippincott will be present. The show runs through May 5.
Yards and Yards of Hudson
Take a sneak peek at Hudson Yards ahead of its March opening
The first phase of Manhattan’s massive Hudson Yards project opens to the public in only a month, and AN took a behind-the-scenes look at the new neighborhood. Much of the office space in 10 Hudson Yards, the Kohn Pedersen Fox Associates (KPF)–designed glass tower at the corner of 30th Street and 10th Avenue, is occupied, but work on the neighborhood’s public-facing and retail components will continue until the March 15 opening. After that, the Shops and Restaurants at Hudson Yards, the seven-story, one-million-square-foot Elkus Manfredi Architects–designed retail hub will be open for business. Besides multi-floor retail outlets for a number of fashion stalwarts and brick-and-mortar space for formerly online-only retailers, the second floor of the Shops will hold a permanent exhibition space curated by Snarkitecture. The Snark Park will hold open its inaugural show, Lost and Found, on March 15 when visitors will weave between crumbling columns—limited edition recreations of which were given away at KITH’s SoHo store on January 31. That retail integration will follow through to all of Snarkitecture’s future installations in the space, and developer Related is planning to rotate exhibitions three times a year, with associated “retail drops.” The Shops building, which is wedged between KPF’s 10 and 30 Hudson Yards buildings, also features a cogeneration plant that can convert waste heat into thermal energy. All of the buildings are networked in a micro-grid and can send their waste heat to the plant, creating a system that uses less energy than comparably-sized towers. An outdoor dining terrace will also let visitors peer into the Thomas Heatherwick–designed New York Staircase (formerly known as the Vessel) as they eat. The entire building is designed to be porous and allow foot traffic in from the adjacent buildings, the 34th Street 7 train station via an underground corridor, and to visitors from the High Line. To the site’s west is the still-uncovered rail yard, which will eventually be decked over for Hudson Yards’ second phase. Whereas the first phase is 80 percent office and retail space, and 20 percent residential, the second phase will flip those numbers and create more housing. Related claims that the project will create 1,000 affordable units overall, though there is no target completion date for the second phase.
East Village Rising
Davies Toews uses a DIY mind-set to punch above its weight
Every year the Architectural League of New York recognizes eight dynamic young firms as Emerging Voices that have the potential to become leaders in the field. Historic winners like Morphosis (1983) and Toshiko Mori (1992) have become today's lions, and practices like Johnston Marklee (2007) and Tatiana Bilbao (2010) have jumped to new heights after recent wins. This year's crop was selected in a two-stage portfolio competition where a jury of architects selected the winners. The deciding jury included several previous winners like Dominic Leong (2017), Fernanda Canales (2018), and Marlon Blackwell (1998), giving the process a familial feel. Laureates for 2019 come from across North America and almost all are partnerships or collaboratives—capital letters feature prominently, too. Davies Toews will lecture at the Scholastic Auditorium at 130 Mercer Street, New York, New York, at 7:00 p.m. on March 7, as part of the Emerging Voices lecture series. The storefront office of Davies Toews Architecture is tucked behind a corner of 13th Street in Manhattan’s East Village, and like so many of the firm’s projects is defined by constraints. Common elements like outdoor tile and plywood create a homey atmosphere, and models and materials are tightly arranged throughout the space, inviting passersby to peer in on the studio’s creative process. Partners Trattie Davies and Jonathan Toews are no strangers to working around tight spatial and financial limitations. Whether it’s a linear park that rises between a descending set of switchback staircases in Hudson, New York; a perspective-defying, split-level park and art gallery in Memphis, Tennessee; or a three-story townhouse in Brooklyn, their projects are united by the common thread of extreme site-specificity. “Our strategy has been: Do first, analyze second,” said Davies. “It’s really important for us to build work, to learn about how things get done—what works and what doesn’t work, so we could get good at it. Most of what we do is built. We do very few competitions.” Fittingly, materiality plays a large role in these completed projects. For the 72,000-square-foot University of Chicago Charter School: Woodlawn Campus, a school for grades 6 through 12 with a 100 percent college acceptance rate, the studio had to balance a modest budget with lofty design ambitions. Using only locally produced Chicago brick, the studio designed a variegated, kinetic facade by patterning the building with darker, extruded brick. The school’s ﬂared parapets and step-gap massing reference missing buildings in the surrounding neighborhood, breaks in a uniform street wall. “We realized that, project after project, the design came from the constraint,” said Toews. “Lately we’ve been thinking a lot about how to design with Sheetrock.” Even Sheetrock, a ubiquitous and uniform material, can provide inspiration; Davies compared the alternating bands of color in stacked, wrapped Sheetrock to a tapestry. “Every project gets modeled,” said Toews. “There’s the idea of the model sitting there; you can’t avoid it. We just try to keep making stuff around the project until it gets better and better.”
New Twist on History
nARCHITECTS' Equal Rights Heritage Center frames the history around it
The first new civic building in Auburn, New York, in 40 years lets visitors explore the city’s place in the history of civil rights movements. The nARCHITECTS-designed Equal Rights Heritage Center, now open to the public, frames views of surrounding landmarks to expand the reach of the center to the building's historic context. What began as a request for proposal from the New York State Office of Parks and Recreation and the City of Auburn for a Finger Lakes–region welcome center in 2017 quickly snowballed in importance, according to nARCHITECTS principal Eric Bunge. In light of the rapidly changing national political climate, the governor’s office reoriented the project to focus on New York’s progressive history as a leader in promoting equal rights. The center specifically focuses on women's rights, the abolition of slavery, civil rights, and the more recent efforts for LGBTQ rights. The 7,500-square-foot, $10 million Heritage Center opened to the public on November 13, 2018, in a ribbon-cutting ceremony attended by Lieutenant Governor Kathy Hochul, local officials, and Pauline Copes Johnson, the great-great-grandniece of Harriet Tubman. A statue of the historic abolitionist and activist stands to the south of the new building. The single-story Heritage Center sits smack-dab between several historic landmarks; the building is directly across the street from the Memorial City Hall, is next to the William H. Seward House Museum, and is in the city’s South Street National Register District. A corbelled, pink brick facade was used to better blend the building into the mainly federal-style neighborhood. Inside, the building’s structure was left exposed. Board-formed concrete walls and glulam beams (which appear to continue past the confines of the center thanks to clever mirror placement) were left exposed to open up the interior as much as possible. Radiant geothermal heating emanates up through the terrazzo flooring, eliminating the need for a bulky overhead HVAC system. Double, sometimes triple, height windows frame views of the surrounding city, and the building’s three main interconnected volumes were each rotated to maximize the range of views. Graphic design studio MTWTF worked with nARCHITECTS to co-design the exhibition and wayfinding across the building’s figure-8 circulation path, and the nARCHITECTS-led team pulled double duty as the Heritage Center’s curator. Zones are organized by medium rather than topic, and the center uses posters, videos, recordings, games, a large interactive map, portraits, and other materials to chart the history of equal rights in New York State. But the center will hopefully become the first stop in a broader historical tour of the region for visitors, said Bunge, including the local landmarks visible from the building, and that the “context is content.” Siting the Heritage Center was also an issue for the design team, as the building rose on what was formerly a municipal parking lot. Although there’s a parking garage directly across the street, the community raised concerns over the potential loss of parking at the site. Ultimately, nARCHITECTS chose to exclude any on-site parking to encourage a pedestrian-friendly scheme and included a new public plaza to the center’s east. Construction took only nine months and the project team was able to come in 20 percent under budget. Interested in visiting? Admission is free, and the center is open from 10:00 a.m. through 4:00 p.m. daily.
A new mixed-use tower slated for a growing section of Downtown Los Angeles designed by Australian firm Koichi Takada Architects could rise as high as 70 stories, new renderings reveal. Urbanize.LA reported that Australian developer Crown Group had previously submitted plans for a 52-story tower with 528 residential units and ground-floor commercial spaces for the site. The taller iteration of the project was first reported by ComercialRealEstate.com, but it is unclear how many housing units will be included in the revised scheme. New renderings for the so-called Sky Trees LA project showcase a grouping of thin, rounded towers of various heights capped by arched profiles and tree-lined rooftop terraces. Inspired by California’s redwood trees, the clustered towers will come wrapped in natural materials, including timber mullions. Along the street, a wavy wooden awning that is reportedly inspired by the billowing forms of Marilyn Monroe’s wind-swept dress in Billy Wilder’s The Seven Year Itch will provide shade for pedestrians. (Nevermind that the iconic scene took place above a subway vent on Lexington Avenue in New York City.) Architect Koichi Takada told ComercialRealEstate.com that the design of the canopy aims “to challenge L.A. to become a more walkable city” while also creating yet another “Instagram moment” for Downtown Los Angeles. The project is one of many planned and under construction in L.A.’s South Park neighborhood, an area where until recently, only the 32-story William L. Pereira–designed Occidental Life building from 1968 towered above surrounding warehouses and commercial buildings. That has changed rapidly over the last three years as nearly two dozen towers have been proposed or completed along the north-south Figueroa Corridor nearby. That includes the troubled Oceanwide Plaza project by CallisonRTKL that recently halted construction due to murky finances and potential links to an ongoing political corruption scandal. The Sky Trees LA project will join a growing east-west spine of towers set to rise perpendicularly to the Figueroa Corridor around 11th Street. A timeline for the project has not been announced.