Posts tagged with "art":

Placeholder Alt Text

New Detroit urban arts venue Wasserman Projects set to open September 25

“Detroit is not having a renaissance,” philanthropist Gary Wasserman proclaimed in the Bushwick, Brooklyn studio space of painter Markus Linnenbruck, “It is an entirely new expression of urbanism.” With the sun pouring in through large, iron-frame windows, he introduced the concept for his new Detroit arts venue. Cities, he says, are “the 21st century frontier,” not the West or Space. “Detroit is not the only city to fail, but it is the biggest,” he said, noting that the city was once over 2 million people, but is now down to 600,000 or so. This has left massive amounts of transportation infrastructure, cultural infrastructure, and housing redundant and abandoned. In this landscape, the city needs more places to sustain urban activity. Wasserman wants to create “a destination providing something of interest that becomes another thread in the urban fabric,” he explained. Wasserman Projects will be located in an old 5,000 square-foot fire station in Detroit’s Eastern Market district and will open on September 25th during the Detroit Design Festival. The new arts hub is expected to spur artistic interaction and development. The space will grow to 9,000 square-feet in the coming months, and will eventually include a kunsthalle, chamber concert hall, a gallery, an artist’s residency, a studio space, and a permanent installation of The Cosmopolitan Chicken Project, which is the work of Belgian artist Koen Vanmechlen. He breeds national symbolic chickens as a metaphor for human diversity. The opening exhibition will be a collection of paintings by Linnenbruck, shown in a pavilion designed by Miami architect Nick Gelpi. The pavilion is a large wooden structure that splits open to reveal a glossy, colorful interior painted by Linnenbruck. The two halves become an acoustic space for performance.
Placeholder Alt Text

Creative Time’s Anne Pasternak appointed director of the Brooklyn Museum

Former president and artistic director of Creative Time, Anne Pasternak, has been appointed the director of the Brooklyn Museum, replacing outgoing director Arnold L. Lehman, who has served the museum since 1997. Pasternak, who built Creative Time into one of the world’s leading art organizations, will continue Lehman’s publicly-engaged mission going forward, bringing her own take on public art and programming and the “other ways that artists want to contribute to public ideas,” as she put it in a 2013 interview with Paper Magazine. Pasternak joined Creative Time as their only employee in 1994, when the fledgling organization had a budget of $375,000. She saw the budget increase to over $3 million, and, over the course of 21 years, she shed light on many rising artists, including Iranian video artist Shirin Neshat and Brazilian artist and photographer Vik Muniz. Much of her latest work has been engaged with ideas about cities such as urban development, gentrification, and placemaking. She has taken positions and organized events that tackle big ideas, taking public art beyond the realm of the spectacular and into a more engaged, civic-minded discourse about the issues in the world today. This has included everything from the Tribute in Light at Ground Zero by John Bennett, Gustavo Bonevardi, Julian LaVerdiere, Paul Marantz, Paul Myoda, and Richard Nash Gould, in memory of 9/11, to the annual Creative Time Summit, which has become the standard for art conferences, and the largest art and social justice gathering in the world.
Placeholder Alt Text

More in Milan: Rem Koolhaas’ arts complex for Prada brings together old and new—with gold

Should you be looking for yet another reason to add Milan to your architectural travel itinerary, the Prada Foundation is scheduled to open its many doors to the public on May 9. Designed by Rem Koolhaas/OMA, the campus—part new construction, part rehabbed structures—will include 120,000 square feet of exhibition space, a theater, a children's area, a restaurant, and library. "It is surprising that despite the enormous expansion of art media, the number of typologies for the display of art remains limited," commented Koolhaas on his website. "It seems that art's apotheosis is unfolding in an increasingly limited repertoire of spatial conditions: The gallery (white, abstract, and neutral), the industrial space (attractive because of its predictable conditions which are meant to remain neutral when juxtaposed with any artwork), the contemporary art museum (a barely disguised version of the department store), and the purgatory of the art fair." The Prada Foundation is located in a former distillery at Largo Isarco, an industrial complex dating from 1910 that comprises seven existing buildings, including a warehouse, laboratories, and brewing silos surrounded by a large courtyard. OMA inserted three new structures into the site: a museum for temporary exhibitions, a transformable cinema building, and a ten-story gallery tower. Opening exhibits will draw on the holdings of the Prada Collection (which is heavy on 20th century and contemporary art) and works on loan from museums around the world. Projects commissioned for the occasion are also on the program; Robert Gober and Thomas Demand have created site-specific installations that engage the old and new architectures, and Roman Polanski has produced a documentary film that explores his cinematographic inspirations. [via NY Times.]
Placeholder Alt Text

“Sculpture City” Invites Dialogue On Public Art in St. Louis

It’s open season for public art in St. Louis, according to the groups behind Sculpture City St. Louis 2014—an ongoing festival “intended to draw attention to the rich presence sculpture has in the visual landscape of our region.” The programming leads up to and continues after an April conference. Art exhibitions throughout the year aim to continue the conversation. For instance, Art of Its Own Making, a show at the Pulitzer Foundation for the Arts that features sculpture, installation, film, and performance works through August 20. St. Louis Sculpture City showcases public art, sculpture, and design throughout the year, before and after its April 10–12 conference “Monument / Anti-Monument,” which will encourage dialogue about art and public life. A full list of the shows and events that make up the ongoing examination of public art is available on the group's website. Non-profit institutions, for-profit enterprises, and government/civic art programs with programming within 100 miles of downtown St. Louis during 2014 can submit their program to Sculpture City St. Louis, which may list them on their website. St. Louis is a fitting place for the topic. From the two-block sculpture park dubbed CityGarden to plans for a revamped park at the base of the Gateway Arch, it’s a busy time for public space in St. Louis.
Placeholder Alt Text

On View> “Roads of Arabia” Exhibition on Saudi Arabian Archaeology Opens December 19 in Houston

Roads of Arabia: Archaeology and History of the Kingdom of Saudi Arabia The Museum of Fine Arts Houston 5601 Main Street Houston, Texas December 19 through March 9, 2014 The Museum of Fine Arts Houston (MFAH) is hosting an eye-opening exhibition this winter that will uncover the rich history of the ancient trade routes of the Arabian Peninsula. Organized by the Smithsonian’s Arthur M. Sackler Gallery in Washington, D.C., in association with the Saudi Commission for Tourism and Antiquities (SCTA), Roads of Arabia will feature objects recently excavated from more than 10 archaeological sites, and give insight into the culture and economy of this ancient civilization. Recently discovered objects along the trade routes include alabaster bowls and fragile glassware as well as heavy gold earrings and monumental statues. All of the artifacts are testament to the lively exchange between Arabs and their neighbors, including the Egyptians, Syrians, Babylonians, and Greco-Romans.
Placeholder Alt Text

New Public Art in Brooklyn Lends Transportation a Sense of Play

In Brooklyn, a new temporary public artwork brings the asphalt plane of 4th Avenue to a playful, three-dimensional life. On the avenue’s concrete median between 3rd and 4th streets, the New York City Department of Transportation’s Urban Art Program has chosen work by artist Emily Weiskopf for its latest public art installation. Unparallel Way is a 120-feet-long sculpture comprised of two parallel aluminum strips in the same bright yellow as the double traffic lines guiding vehicles driving on adjacent roads. In a clever distortion of those painted stripes, Weiskopf’s parallel lines sweep from the ground at irregular heights, creating parabolic curves that rarely match. The installation piece is a public art extension of Brooklyn Utopias: In TRANSITion, a current exhibition at Old Stone House (OSH) exploring 19 artists’ visions of New York City public transportation and its relationship to public space. DOT has partnered with OSH for the display of these utopian artistic ideas addressing issues within urban public transit. Unparallel Way underwent an official on-site unveiling ceremony this morning with presentations by associates from OSH and DOT.
Placeholder Alt Text

On View> “Of Walking” at Chicago’s Museum of Contemporary Photography

Of Walking Museum of Contemporary Photography 660 South Michigan Avenue, Chicago Through December 20 The Museum of Contemporary Photography’s exhibition, Of Walking, explores how the simple act of walking gives rise to countless intricate thoughts. Although walking may be perceived as one of mankind’s most simple acts, it triggers a series of emotions and contemplations. Of Walking shows that it is not just about putting one foot in front of the other, nor is it solely the motion from point A to point B. The curators sought to demonstrate how the process of thinking is made possible by the act of walking. To illustrate this concept, the exhibition goes back to the history of photography by showcasing famous streetwalkers and photographers such as Eugène Atget and Garry Winogrand. It focuses on navigation through space to determine how walking becomes a foundation for the human thought process. As such, it looks at movements in the history of art that have addressed the act of walking, and the works of artists such as Sohei Nishino that have evoked how meanderings through the surrounding built environment provoke numerous feelings for the individual. Finally, the exhibition also features the works of artists who have looked at political and social situations through interactions and walks through various landscapes.
Placeholder Alt Text

On View> Jennifer Steinkamp Turns the Contemporary Art Museum St. Louis Inside Out

Jennifer Steinkamp: Street Views Contemporary Art Museum St. Louis 3750 Washington Blvd, St. Louis, MO Through December 23 The Contemporary Art Museum of St. Louis has inaugurated Street Views, an exhibition featuring a series of works by digital installation media artist Jennifer Steinkamp. As part of the 10th anniversary of CAM’s building, the museum will be turned inside out, as its exterior will be transformed into a gallery with large-scale video art being projected onto its facade. Through the use of powerful projectors and intricate computer algorithms, Steinkamp will transform the museum’s metallic and concrete structure into a dynamic garden capturing a mesmerizing natural environment. Her utilization of video and new media enables the viewer to explore different ideas about architecture, design, motion, and interpretation. The use of vernacular imagery conveys the power of nature and enables visitors to perceive the building through a different lens, thus providing them with a new synaesthetic experience. This innovative outdoor moving image series strikes a balance between the natural landscape and computer-generated imagery. By transforming CAM’s building into a compelling projection screen, Steinkamp brings digital media into the mainstream of contemporary art.
Placeholder Alt Text

Doug Aitken’s “Station to Station” Winds Its Way Across the Country

On Friday night at Riverfront Studios, motion-picture soundstages on 3 acres of East River waterfront between the Williamsburg Bridge and the Navy Yard, the newest art project by Doug Aitken called Station to Station was launched. Aitken did the “destruction” of Gallery 303 last year, Creative Time’s Broken Screen Happening at the Essex Street Market and Sleepwalkers projected on the wall of MoMA’s Sculpture Garden. On the site of the former Schaefer Brewery, spotted in the crowd was Agnes Gund, Klaus Biesenbach, Chrissie Iles, Roxana Marcoci, Linda Yablonsky, Lisa Phillips and other art world luminaries. This event marked the inaugural nomadic “Happening” that moves in an Aitken-designed train from the Atlantic Ocean to the Pacific Coast stopping at nine different locations each time for a one-night-only live event in September. The scene was set for live performances that included a colorful site-specific smoke bomb installation by Olaf Breuning; food happening created by artist Rirkrit Tiravanija; and an original performance choreographed by Jonah Bokaer inspired by Robert Rauschenberg's Pelican (1963) on the occasion of work’s 50th anniversary and more. Being a nomadic endeavor, five artists were commissioned to create yurts, portable tent-like dwelling traditionally used by nomads in Central Asia. So bright they could be seen from the Manhattan side, all the yurts are 17 feet in diameter and made of canvas by Canadian firm Yurta, I was magnetically drawn to Ernesto Neto’s bright yellow bubble with circles punched out, and the discards scattered on the grass like pebbles. Inspired by his home city Rio de Janero’s beaches, the floor of this yurt was soft like walking on the sand. I then floated into Urs Fischer’s white yurt through a foggy mist, and landed on a king-size bed with spinning disco ball above and mirrors all around -- a hedonistic yurt that was hard to leave. This is contrasted with Liz Glynn’s black felt maze, a dark interior that reminded me of getting lost in a Richard Serra sculpture. Over the course of the train’s journey she will create a different model of the universe, moving from the Big Bang theory to Hubble's expanding universe and beyond. 86-year old underground experimental filmmaker Kenneth Anger has created a bright red glowing tent with three screens featuring his films Demon Brother (1969), Lucifer Rising (1981), and Inauguration of the Pleasure Dome (1954). A pentagonal seating cushion centers the space. If you saw Carsten Höller’s Experience at the New Museum last year that featured a slide between two floors, his iridescent orange Ball- and Frisbee-House wouldn’t be a surprise. Entering through a hole and landing on the squishy floor that supports pliable columns, you can play with projectiles. Inside Riverside Studios, additional yurts were settings for local artists and artisans from Folk Fibers, Cobra Boots, Chimayo, and Junkyard Jeans crafting products in real time. But because this is the only venue that is on the water but not on a railway, we didn’t get to see Aitken’s train car. To do so, visit Station to Station as is winds its way across the country. Chicago. September 10. Union Station Minneapolis/St. Paul. Setpember 12. St. Paul Union Depot Santa Fe, Setpemer 18. Santa Fe Railyard Winslow, AZ. September 21. La Posada Barstow, CA. September 24. Skyline Drive-in Theater Los Angeles, CA. September 26. Union Station Oakland/San Francisco. 16th St. Station
Placeholder Alt Text

As Detroit Struggles With Bankruptcy, Auction House Appraises Prized Art Collection

Even as Detroit’s municipal bankruptcy reverberates among residents and onlookers alike, the city’s art scene shines on. Unfortunately for the Detroit Institute of Art, red ink may yet claim its city-owned collection. This week the museum confirmed Christie’s Appraisals had been hired to appraise a portion of the cultural institution’s holdings. But an appraisal is not a sale. The city’s art collection includes work by Rodin, Van Gogh, and Cézanne. The museum denied the possibility of a fire sale, saying in a statement:

We continue to believe there is no reason to value the collection as the Attorney General has made clear that the art is held in charitable trust and cannot be sold as part of a bankruptcy proceeding. We applaud the [Emergency Manager]’s focus on rebuilding the City, but would point out that he undercuts that core goal by jeopardizing Detroit's most important cultural institution.

Christie’s, too, deflected scrutiny of what many perceived as the beginning of the end for a proud collection of art. “We understand that a valuation of all the City’s assets (extending well beyond the art) is one of the many steps that will be necessary for the legal system to reach a conclusion about the best long term solution,” they said in a separate statement, adding their goal is to advise on "how to realize value for the City while leaving the art in the City’s ownership.” The auction house’s assessment doesn’t mean all or even any of the 60,000-piece collection will be sold or even leased (some are off-limits anyway if their original benefactor stipulated they can never be sold). Assessment would be the first step in a such a process, but it could also mean Emergency Manager Kevyn Orr is just showing creditors that all options are on the table. Financial experts speculated to The Christian Science Monitor that sales of city land or infrastructure, such as its sewer system, could be better bets. Detroit’s municipal bankruptcy is the biggest by far in U.S. history, so Orr’s decisions—whatever they may be—are anyone's guess, and will doubtless be the subject of intense scrutiny.
Placeholder Alt Text

Giant Sea Creatures To Invade Chicago’s State Street

The Chicago Loop Alliance will wrap the Century Building at 202 S. State Street with a mural depicting a downtown overrun by giant sea creatures. “Float,” by St. Louis artist Noah MacMillan, calls to mind one of the many action movies in which outsized monsters have laid waste to the Loop in computer-generated battle royales of late. But these octopi and puffer fish appear to float along benignly. MacMillan’s surreal illustrations and designs have been featured in Smithsonian Magazine, the Washington Post and elsewhere. His 500-square-foot mural, which will be unveiled Tuesday July 16, was commissioned by building owners The General Services Administration, who asked MacMillan to ponder the relationship of citizens and their government. The 16-story building was designed by Holabird and Roche. Chicago Loop Alliance’s other recent programs include of the Pop-Up Art Loop, a year-long art gallery series, and The Gateway, a "people plaza" on State Street.
Placeholder Alt Text

Frank Gehry’s Ice Blocks Chilling Out Inside Chicago’s Inland Steel Building

Follow the Architecture Chicago Plus blog as Lynn Becker raises an eyebrow at the new sculpture that quietly popped up in the lobby of downtown Chicago’s celebrated Inland Steel Building. The 1957 SOM icon seems to have acquired a consortium of ice hunks, courtesy Frank Gehry. Ostensibly a formal counterpoint to the elegant energy of Richard Lippold’s Radiant I, the original lobby art, Gehry’s glass agglomeration (fabricated by the John Lewis Glass Studio of Oakland, California) frames Radiant I and responds to its angularity with carved blobs. It’s admittedly atypical in the setting of the modernist masterpiece, but doesn’t overpower the space or the original artwork.