A green and golden lace-like structure will soon stand 40-feet tall at the southeastern edge of Brooklyn’s Prospect Park. From one angle it will unveil the profile of a woman and from another, the outline of the U.S. Capitol dome. That’s the winning design for the monument dedicated to trailblazing Congresswoman Shirley Chisholm. Created by artists Amanda Williams and Olalekan Jeyifous—both trained as architects—Our Destiny, Our Democracy was chosen among the top five proposals submitted through She Built NYC, the city’s new initiative to make more monuments dedicated to women throughout the five boroughs. The pair’s bold vision to honor Chisholm will be the first public project to be built through the program and is set to rise on the corner of Ocean Avenue and Parkside Avenues by late 2020. AN spoke with Jeyifous, a Brooklyn resident himself, and Williams via email about how they came up with the striking memorial design and why it best embodies Chisholm’s spirit. AN: How did you conceive of intertwining the image of the Capitol with Chisholm's profile? OJ + AM: It’s best described in our proposal: The U.S. Capitol dome figures prominently as a backdrop in many of her photographs. The strategy for our primary sculptural profile reverses this relationship so that her figure engulfs or embodies the dome iconography, thus claiming ownership. This composite symbolizes how she disrupted the perception of who has the right to occupy such institutions and to be an embodiment for democracy…When approached from the park, a symbolic opening breaks through the capitol silhouette, creating a threshold that reinforces Chisholm’s fight to ensure that everyone could access their right to participate in the political process. Not a basic bust or figure statue, why do you think this design best represents Shirley Chisholm and her legacy of "leaving the door open" for others? We are not sculptors (in the most traditional sense of the word) so we knew that we would not be proposing a cast bronze representation of a figure. We are, however, trained in how to use space as a medium. We both bring that into our artistic practices in different but complementary ways. That proclivity toward space as an occupiable object inherently begs to be participatory and invites engagement. That seemed like a perfect analogy to Chisholm’s philosophy on democracy. Making a sculpture commemorating this incredible political figure in our current climate is about remembering the long arc of democracy. Her words ring true because she was ahead of her time, but also because her philosophy was embedded in core values of inclusion and meeting people where they were in order to bring them into the process. We feel strongly that we have made a thoughtful and decisive piece that pushes the boundaries of what it means to embody the ideals of a person and not just their visage. What are the connections or differences between the monument's design and the traditional ironwork you might see in a gateway to a park? The design is ultimately a threshold into what is a major urban park and that is reflected in the vine and leaf motif that weaves through the monuments tertiary sculptural profile. This was an intentional nod to the traditional garden gate typology. Now that we’ve been awarded the commission, we will begin the process of actually researching specifics and refining the design. We want to do a deeper review of the historic language of gates and thresholds associated with public parks, that material language for Prospect Park’s history, and then what we would want to add as new motifs. In what ways do you foresee the sun playing a role in the way the monument is experienced? We envision at certain vantage points the patinated and bronzed steel to be a glowing beacon and for the detailed filigree in the screens and perimeter fence to cast marvelous shadows on to the plaza surface. That the installation can be occupied contributes to the various ways in which light will transform the experience of visitors to the site. Shadows will also give it dynamism and whimsy as the sun angle changes by day and year. Its intensity is also something we hope to carry into night hours through the considered placement of lighting.
Posts tagged with "Amanda Williams":
More details were announced Monday about the upcoming U.S. Pavilion at the 2018 Venice Architecture Biennale. The exhibition will be titled Dimensions of Citizenship and curated by Niall Atkinson, associate professor of architectural history at the University of Chicago; Ann Lui, assistant professor at the School of the Art Institute of Chicago (SAIC); Mimi Zeiger, an independent critic, editor, curator, and educator; and associate curator Iker Gil, lecturer at SAIC. Dimensions of Citizenship will feature the work of seven architecture practices to “explore how citizenship may be defined, constructed, enacted, contested, or expressed in the built environment at seven different spatial scales. Expanding from the body and city to the network and the heavens, the seven installations raise questions about issues including belonging, sovereignty, and ecology,” according to the curatorial statement. The seven spatial scales are used as an organizing principle to examine the ways citizenship affects and is affected by the built environment. Each studio is assigned a scale as the prompt. Scale: Citizen / Amanda Williams + Andres L. Hernandez, in collaboration with Shani Crowe From the project description: “Dimensions of Citizenship begins at the scale of the citizen with the project Thrival Geographies (In My Mind I See a Line), which will consider how race shapes notions of identity, shelter, and public space in historically African-American communities. For their installation in the courtyard of the U.S. Pavilion, Williams (a recently named 2018 USA Ford Fellow) and Hernandez, who is an associate professor of art education at SAIC, will partner with Chicago-based artist Shani Crowe, whose intricate braided hair sculptures have been worn by celebrities such as Solange. While the specter of slavery and continued racial injustice will be at the core of the installation, the piece will ultimately strive for a possible architecture of freedom that might allow all citizens to thrive and participate in the democratic ideal. Scale: Civitas / Studio Gang From the project description: “Led by 2011 MacArthur Fellow Jeanne Gang, Studio Gang uses design as a medium to help strengthen communities. Stone Stories builds on the Studio’s ongoing work in Memphis, Tennessee, to investigate how redesigning cities’ public space can be an exercise of citizenship and empowerment. Inspired by Memphis’s recent removal of two Confederate statues, Stone Storiesoffers an inclusive urban vision for Cobblestone Landing, an overlooked yet historically important site along the Mississippi River. Hundreds of Memphis cobblestones will be shipped to Venice and used as a platform to share the stories of Memphians past and present, offering visitors a visceral and material interaction with a distant public space and the citizens who are actively building its shared urban future.” Scale: Region / SCAPE From the project description: “SCAPE, under the leadership of 2017 MacArthur Fellow Kate Orff, will demonstrate that landscape architecture can be a critical tool for re-envisioning the response of citizens to climate change. SCAPE’s project, Ecological Citizens, understands the region as an area defined by the shifting relationships of ecology, infrastructure, and climate. It takes the Venetian Lagoon as a globally significant case study of a tidal region under ecological threat. Partnering with Università di Bologna and the Italian Institute of Marine Sciences, SCAPE will present possible solutions or interventions to aid the environmentally sensitive La Certosa island in the lagoon. Scale: Nation / Estudio Teddy Cruz + Fonna Forman From the project description: “Estudio Teddy Cruz + Fonna Forman challenges the way we think about national boundaries. Their project, MEXUS: A Geography of Interdependence, reveals a transnational zone comprised of eight watershed systems shared by Mexico and the United States. MEXUS provokes us to rethink citizenship beyond the limits of the nation, mobilizing a more inclusive, interdependent idea based on co-existence, shared assets, and cooperative opportunities between divided communities. Cruz is the winner of the 2018 Vilcek Prize in Architecture, which is presented to immigrants who are champions of the arts and sciences. Scale: Globe / Diller Scofidio + Renfro, Laura Kurgan, Robert Gerard Pietrusko with Columbia Center for Spatial Research From the project description: “When we zoom out to the scale of the globe, the primacy of the individual, the city, and even the nation drops away and is replaced by data: electricity, trade routes, migratory shifts, and the flow of capital, goods, and people. In Plain Sight—a collaboration among Diller Scofidio + Renfro, Laura Kurgan, and Robert Gerard Pietrusko with Columbia Center for Spatial Research—uses data drawn from images created by the Soumi National Polar-orbiting Partnership satellite to visualize where people live on earth. Two contrasting NASA images of the Earth taken at 1:30 pm and 1:30 amshow us the gaps in the network: the places with many people and no lights, and those with bright lights and no people. This information maps out a political geography of belonging and exclusion. Scale: Network / Keller Easterling with MANY From the project description: “Keller Easterling’s writings and projects regularly investigate the emergent territory where the state meets the digital network. With MANY, an online platform designed to facilitate migration through an exchange of needs, Easterling and team propose that we use the network to rethink possibly outdated notions of citizenship. With a nod to the pervasive and familiar share economies that define online life, MANY envisions a global form of matchmaking between the sidelined talents of migrating populations and the multitude of opportunities around the world. Favoring cosmopolitan mobility over national identity, MANY looks to short-term visas as a tool to foster an exchange of needs. Scale: Cosmos / Design Earth From the project description: “The space above Earth, as a site of existing human occupation and potential belonging, has become a territory that both captures the imagination and serves as a theater for existing conflicts or conditions. In looking to the cosmos, Design Earth’s speculative designs suggest possible off-world architectural responses. Design Earth’s El Hadi Jazairy and Rania Ghosn (recipient of the 2017 Boghossian Foundation Prize) present three “geo-stories,” which speculate on the legal geography of citizenship when extended to “the province of all mankind.” Together the stories in Cosmorama—Mining the Sky, Planetary Ark, and Pacific Cemetery—ask how we should reckon with the epic and frontier narratives that have fueled space exploration, at a time when prospects of instability and extinction have become normal on Earth.
Chicago-based United States Artists (USA) has selected its 2018 fellowship class, and the 45 recipients across the United States will each receive an unrestricted $50,000 grant to spend as they please. This year, the class includes architects Amanda Williams and Norman Kelley, comprised of Carrie Norman and Thomas Kelley. Founded in 2006 as a response to National Endowment for the Arts’ (NEA) budget cuts and discontinuing of personal grant awards, USA awards these funds without restrictions so that artists can pursue any project they’d like. The group is supported by a number of larger foundations, including the Ford, Rockefeller, Rasmuson, and Prudential Foundations, as well as private donors. Artist and designer Amanda Williams has consistently bridged the divide between art and architecture while commenting on the African-American experience. Williams is most well known for her Color(ed) Theory project, in which she painted abandoned houses on Chicago’s South Side in bright, monochrome colors. The work references Gordon Matta-Clark’s reclamation of condemned urban space, as Williams sheathed the condemned buildings in colors found in the urban environment, which re-activated the buildings and drew attention to their broken-down state. According to USA, “Her practice blurs the distinction between art and architecture through works that employ color as a way to draw attention to the political complexities of race, place, and value in cities. The landscapes in which she operates are the visual residue of the invisible policies and forces that have misshapen most inner cities.” Williams has recently been celebrated for both her ideas as well as her architecture, and has had work shown at Design Miami 2017 alongside Sir David Adjaye at the “Spatializing Blackness” exhibition. She will be an exhibitor at the U.S. pavilion at the 2018 Venice Architecture Biennale. Norman Kelley, the New York and Chicago architectural practice founded by Carrie Norman and Thomas Kelley, was also recognized for both their built work and design. Similar to Williams, Norman Kelley was singled out for their ability to transition between design and architecture, and work in both two and three-dimensions. Their work hasn’t been confined to the theoretical, as the studio has realized several projects throughout the country, including their collaborations with Aesop in Chicago and New York. The three-person jury panel for this year’s Architecture & Design category included:
- Sarah Herda, Executive Director, Graham Foundation, Chicago, IL
- Natasha Jen, Partner at Pentagram, New York, NY
- Andrew Zago, Partner & Founder at Zago Architecture, Los Angeles, CA, 2008 USA Fellow
IDEAS CITY has announced the names of 41 International Fellows to participate in an Intensive Studio Laboratory Program during the April 25-30 event in Detroit. Selected from over 800 applicants, the Fellows will work in the Herman Kiefer Complex—a former hospital complex in Virginia Park. The five-day charrette will culminate in a day long public program of presentations and talks. The Fellows are made up of emerging practitioners who are working at the intersection of community activism, art, design, and technology. Director of IDEAS CITY Joseph Grima stated in a press release, “IDEAS CITY Detroit will gather forty-one extraordinary individuals to tackle specific challenges facing the city. We’re incredibly excited to have the opportunity to learn from Detroit, to deploy a collective intelligence model based on arts and culture, and to further exchange with the community. The city is in the process of reinventing itself and, once again, is on the verge of transforming our understanding of the modern metropolis. Detroit is a laboratory for a new paradigm of urbanity.” The Fellows named are Joe Ahearn, Taylor Renee Aldridge, Ava Ansari, Hallie Applebaum, Leonardo Aranda, Nick Axel, Merve Bedir, Francesca Berardi, Beverly Chou, Carolyn Concepcion, Gabriela Córdoba, Afaina de Jong, Pınar Demirdağ, Fataah Dihaan, Shaida Ghomashchi, Jon Gray, Kunal Gupta, Tommy Haddock, Jason Hilgefort, Ekene Ijeoma, Tamara Jafar, Stacy’e Jones, Toms Kokins, Cindy Lin, Monty Luke, Daanish Masood, Tiff Massey, Jose R. Mejia, Cara Michell, Marsha Music, Ryan Myers-Johnson, Claire Nowak-Boyd, Evelina Ozola, Paolo Patelli, Margarita Pournara, Jay Rayford, Unai Reglero, Alethea Rockwell, Ruhi Shamim, Giuditta Vendrame, and Nikolas Ventourakis. The April 30 public event will include the Fellows as well as talks by New York Magazine writer Rembert Browne, Chicago artist Theaster Gates, City of Chicago’s Department of Cultural Affairs Commissioner Michelle T. Boone, architect Walter Hood, and artist/architect Amanda Williams, and more. The event will be held at the Jam Handy, a former film studio for car commercials located at 2900 East Grand Boulevard. IDEAS CITY is an international initiative to promote arts and culture as vital parts of healthy future cities. It was co-founded by Lisa Phillips, Toby Devan Lewis Director, and Karen Wong, Deputy Director, the New Museum, and is directed by Joseph Grima. 2016–17 Schedule IDEAS CITY Detroit: April 25–30, 2016 IDEAS CITY Athens: September 19–25, 2016, in partnership with NEON Foundation IDEAS CITY Arles: May 22–27, 2017, presented by the New Museum, LUMA Arles, and LUMA IDEAS CITY New York: Fall 2017 IDEAS CITY Detroit Public Conference Saturday April 30, 2016 The Jam Handy 2900 East Grand Boulevard Detroit, MI 48202 11:15–11:30 AM: Welcome Address by IDEAS CITY, Maurice Cox, and Rembert Browne 11:30 AM–1 PM: Session 1 Opening Keynote by Theaster Gates Talk by Amanda Williams Panel Discussion with Michelle T. Boone, Theaster Gates, Jenny Lee, and Amanda Williams Presentations by Studio Laboratory Fellows 1:30–3 PM: Session 2 Opening Keynote by dream hampton Panel Discussion with Rembert Browne, Halima Cassells, dream hampton, and Sonya S. Mays Presentations by Studio Laboratory Fellows 3:30–7 PM: Session 3 Opening Keynote by Walter Hood Talk by Bryan Boyer Panel Discussion with Kunlé Adeyemi, Bryan Boyer, Ellie Abrons/T+E+A+M, and Walter Hood Presentations by Studio Laboratory Fellows Screening by Liam Young
The Pulitzer Arts Foundation and the Sam Fox School of Design & Visual Arts at Washington University in St. Louis have announced three finalists for the second iteration of the design-build PXSTL competition. The three finalist were culled from a list of 35 artist, architects, and designers, who were solicited by the organizer. The list includes: —Randstad, NL and Istanbul-based architects Merve Bedir and Jason Hilgefort —New York/Houston-based artist Mary Ellen Carroll —Chicago-based architect Amanda Williams and artist/educator Andres L. Hernandez Canopy of the 2014 PXSTL structure. (David Johnson) All of the finalist will travel to St. Louis in mid-February to conduct detailed site analysis and give public presentations on their previous work and interest in PXSTL. The winner will be announced in March. Along with an $80,000 budget to complete the project, the winner will teach an architecture studio as visiting faculty at the Sam Fox Graduate School of Architecture & Urban Planning in Fall 2016 semester. With commentary from community stakeholders, cultural organizers and local artist, the winner will work with their students to develop the project over the semester. PXSTL (an acronym for Pulitzer, Sam FoX School, and ST. Louis) is a competition for a design-build commission to build a temporary structure on an empty lot near the Pulitzer Art Foundation in the Grand Center arts district. The fist iteration of the PXSTL was completed in 2014 by the Brooklyn-based Freecell Architecture. Their project comprises of a large canopy under which dance, music, and community events were held throughout the summer of 2014. This year’s competition will conclude in the pavilion construction in spring of 2017 and community programing through the summer of 2017. The goal of PXSTL is in engage the community with small-scale intervention to encourage urban transformation. As part of this, the public will have a chance to offer feedback in public forums to be held in the fall. “Since its founding, the Pulitzer has been dedicated to creating opportunities for art and culture to have a positive impact on the broader St. Louis community. As PXSTL demonstrates, this means working closely with and listening carefully to both our community and cultural partners.” Remarked Cara Starke, director of the Pulitzer Arts Foundation, in a press release.
[Editor’s Note: Opinions expressed in letters to the editor do not necessarily reflect the opinions or sentiments of the newspaper. AN welcomes reader letters, which could appear in our regional print editions. To share your opinion, please email email@example.com. ] The State of the Art of Architecture, delivered by the Chicago Architecture Biennial Exhibition, must leave lay-visitors bewildered by one overwhelming subliminal message: Contemporary architecture has ceased to exist, the discipline’s guilt and bad conscience has sapped its vitality, driven it to self-annihilation, and architects have now en masse dedicated themselves to doing good via basic social work. A less charitable interpretation sees the hijacking of the newly created Chicago Architecture Biennial as a marginal but academically entrenched ideological tendency within the discipline that has abandoned its societal remit of innovating the built environment at the world technological frontier, and is instead pouring its allocated resources into concept-art style documentation and agitation on behalf of underdeveloped regions and the milieu. I am rather suspicious of these creative/artistic engagements with poverty. It sometimes risks mutating into a questionable aesthetization of poverty, a questionable romance. Questionable because what the poor of this world most probably (and rightly) aspire to requires little creativity and imagination because it is already plotted out for them by the ladder of development leading up to what has been achieved in the most advanced arenas of world civilization, where—in contrast—true, path-breaking creativity is indeed called for. I rather feel that our discourse has become far too moralizing and politicized. It’s all too familiar by now: Political correctness swamps the discipline and takes over its discursive spaces. For example, why should an ARCHITECTURAL biennial give a huge space to an ART project like Amanda Williams’ Color(ed) Theory when ART has already its own (many more) venues for public display/discourse? How is this more relevant to contemporary architecture than contemporary architecture itself? Patrik Schumacher