Esteemed British artist Cornelia Parker has placed an ominous looking barn on the roof of The Metropolitan Museum of Art in New York. The installation, according to Parker, was inspired by Edward Hopper's House by the Railroad painting. Under its official title, The Roof Garden Commission: Cornelia Parker, Transitional Object (PsychoBarn) is the fourth rooftop installment the Met has overseen in what is becoming a yearly occurrence. When speaking of the rooftop feature, Parker says that she was "daunted" by the skyline surrounding the site. As a result, Parker, who's from Cheshire in the North of England, says that she wanted to place an "incongruous, domestic house" on top of the Met. Initially, Parker had planned for a much bigger traditional red barn, however, she quickly realized that these were "far too big." The result is a sinister looking barn, dubbed "PsychoBarn" due to its similarities with the infamous Bates mansion used in Alfred Hitchcock’s film Psycho. In fact, that is in part from where Parker drew her inspiration. When reading into Edward Hopper's House by the Railroad she discovered that the painting inspired Alfred Hitchcock to use an eerily similar barn structure for Bates mansion in his epic, Psycho. Likewise, Parker's creation is equally ominous. Formed from a deconstructed red barn, a prominent image in American architecture and indeed Hopper's work, the PyschoBarn rises 30 feet on the Met's rooftop. While it hardly makes a dent in the New York Skyline, it's a welcome variation on the typical imprint new builds have on the cityscape today. A closer look reveals that the barn is incomplete. Instead, it is two facades merely held upright by scaffolding and supports, emulating how Bates' mansion was constructed on set for Psycho. The successful deception of being a real barn is Parker's way of blurring authenticity and illusion through the process of assumption. “When you round the corner, you might think it’s the house from Psycho, or you might think it’s a red barn,” Parker said. “It’s cognitive dissonance. You oscillate in between two things—one is cozy, the other malign.” She added, “It’s not a one-liner.” On their website, the Met says: "The piece flickers between the physical reality of the barn and the cinematic fiction of the house, bringing up their respective ties to comfort and discomfort. Neither entirely real nor completely false, it vacillates unnervingly between its identities." “The title of Parker's work alludes to the psychoanalytic theory of transitional objects used by children to help negotiate their self-identity as separate from their parents.” Sheena Wagstaff, the museum's Leonard A. Lauder Chairman of modern and contemporary art, also said: “Cornelia has developed an astonishing architectural folly. It intertwines a Hitchcock-inspired iconic structure with the materiality of the rural vernacular." “Combining a deliciously subversive mix of inferences, ranging from innocent domesticity to horror, from the authenticity of landscape to the artifice of a film set, Cornelia's installation expresses perfectly her ability to transform clichés to beguile both eye and mind." https://youtu.be/sifBPSaJjfE
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German furniture designer Konstantin Grcic has designed five chairs revolving around the spatial dynamics exhibited in St Jerome in his Study, a 1475 painting by Antonello da Messina. His exhibition, called Hieronymus (Greek and Latin for "Jerome"), is currently on display at Galerie Kreo in Paris. When looking at St. Jerome in his Study, it's clear that his specialized space, which he used to translate the Bible into Latin, has been ergonomically refined with precision to his needs. Everything, from the angle of the writing desk to the height and placement of shelving, create easy ergonomic access and allow light to illuminate this desk. St. Jerome, while in his study in 4th Century A.D., was in fact one of the first people to read silently. This perhaps says a lot about the man and the thoughtful design around him. Without getting carried way into deeper analysis, it is the chair and its contextual relationships that ultimately captured Grcic's imagination. In Hieronymus, Grcic aims to embody and amplify this sense of tailored physical intimacy. Each chair comprises different materials that range from fiber cement, aluminum, marble, anodised aluminum, and plastics used for 3-D printing. Despite their open nature, Grcic's chairs convey a sense of privacy, encouraging occupants like St. Jerome to engage in a similar approach to solitude. Each chair achieves this through cuboid cuts, staggered ledges, angular seating, and specific places to rest ones feet. This year, Grcic is also celebrating 25 years of working alongside fellow German furniture design firm ClassiCon. Meanwhile, another exhibition of his chairs, Mingx, is on show at the Salone del Mobile 2016 in Milan. This time, though, Gricic takes influence from ancient furniture design. Hieronymus runs from through to July 14, 2016, at Galerie Kreo, Paris.
When enjoying sustained periods of economic prosperity and growth, it's almost natural to want to flaunt, in untamed excess, the fruits of entrepreneurship through architectural means. Just look at the Pyramids of Giza, the Roman Colosseum and more recently, Trump Tower and areas of China. What's significant though, is that China, instead of growing out of this phase, has put a stop to the practice altogether. Russian billionaire and amateur architect Vasily Klyukin has other ideas. "This concept is very extravagant, even for the modern World," Klyukin wrote on his website, and he's not wrong. The tower design—centered on a "sexy leg"—has been met with fervent hostility, mostly due to its complete disregard for its Lower Manhattan context and subsequent intent on standing out like sore thumb—or toe, in this case. "Someone will be shocked by this idea, someone will find it beautiful and sexy, someone—vulgar, but everybody, without an exception, would want to observe such a tower or visit it at least once in a lifetime. If this building will become a hotel—it will always be crowded. I personally would like to live in this tower," Klyukin continued. Dubbed the "Russian-born Tony Stark," Klyukin dabbles in real estate, sci-fi literature, sculpture, and yacht design as well as apparently being a Doctor of Historical Sciences. One doubts whether he himself even sees these designs being realized, despite his desire to live in them one day. His book, Designing Legends (Klyukin referring to his own designs) is available on Amazon for only $54, and so far has only received five-star reviews. One fan comments: "Klyukin is indulging in a playful critique of contemporary architecture and the post-Modern [sic] city, but it’s really an 'artist’s book,' or in the parlance of the previous century, 'un livre d’artiste.'" As much as one tries to find any validation in his proposals, further probing reveals deep-rooted egotism. Such an ethos is highlighted by Klyukin's Cobra Tower design. There is no place for this snake, something he inadvertently points out himself by imagining the tower in a number of locations such as China, Japan, and London. From this we can see that Klyukin deems his surroundings irrelevant; all that matters is that his design dominates the skyline, regardless of its relationship to its vicinity. When a large enough proportion of designers subscribe to this approach, the result is a chaotic conglomeration of buildings attempting to shout louder than each other. Any identity within the vicinity is lost, the art of placemaking long forgotten and the world quickly becomes alienating. Beijing artist Cao Fei exemplified this journey into cultural obscurity with Shadow Plays by revealing the "hypothetical extremities to which China is susceptible as a product of growth and potential collapse."
China’s culture of copying is well-documented, but the recent sale of Berlin-based art dealer and collector Torsten Bröhan’s large collection of 19th- and 20th- century design objects to the city of Hangzhou, China raised eyebrows. The “Bauhaus Collection” deal was allegedly made for tens of millions of dollars and contains over 7,000 pieces of design from the modernist period. Scholars have questioned the use of Bauhaus, but argue that the Chinese understand Bauhaus as the whole of modernism, not just the products of the seminal school. The curious case is compounded by a lawsuit that charges that Bröhan never gave business consultant Stephan Balzer his 10 percent cut of the purchase price.
Based in Los Angeles, designer Bryony Roberts' installation, Primo Piano, covers a distinctive stone floor at the American Academy in Rome with a colorful pattern of decals. The work builds upon the pre-existing two-tone square pattern on the hall's floor. Roberts caters her design adaptations to this context, offering, in her words, a "modest, neo-Renaissance pattern of travertine circles and diamonds inlaid into peperino stone." Surrounding stone motifs, laid around the floors perimeter compliment the the medieval Baroque Cosmatesque flooring that is enriched by the geometric flooring. A clever use of color and "curvilinear forms" helps give the impression of depth too. Roberts has overlaid varying circles and diamonds and squares (all in different and alternating colors) to break the monotony of the existing pattern. At first glance, from an angle, the resulting pattern appears random. This is amplified by the fact that Roberts stuck to a rigid color palette comprising black, pearl grey, and purple. When viewed from above, one can clearly see a sense of rhythm within the artwork. In plan view, this is much more obvious and an even more explicit symmetry can be found when removing certain colors/form overlays. "As the Cosmatesque floors were designed to guide church processions, so this project both responds to and disrupts patterns of movement in the space, producing impromptu choreography as people entering the academy step and dance around the shapes on the floor," Roberts said in a statement. The installation is currently on view at the 2016 Cinque Mostre Exhibition.
Chicago-based artist Theaster Gates launched Sanctum, a 24-day performance in Bristol, England that will have continuous programming 24 hours a day. Gates set the performance in Temple Church, a 14th-century building that was bombed out during the Bristol Blitz in World War II. The temporary venue was constructed out of leftover building materials from all over the city: brick and doors from local homes, bricks from the demolished citadel in St. Paul’s, wood from the Prince Street bridge, and flooring from a former chocolate factory nearby. Produced by the art organization Situations, the performance line up will not be published so visitors will not know what they will hear until they enter the space. Sanctum will be open through November 21.
Memorializing the quiet town of Gibellina that was destroyed by a 6.1 magnitude earthquake in 1968, Alberto Burri's Grande Cretto has finally been completed after some 30 years of planning. Occupying over 86,000 square feet, the concrete piece of land art is now open to the public and coincides with the artist's 100th birthday. https://www.youtube.com/watch?v=dcQhDWGoR00 New Gibellina, built to house the displaced residents of the old town is now situated 12 miles away from its predecessor. In the wake of the disastrous event, Alberto Burri decided he would concentrate his attention on what was left of Gibellina when artists and architects were asked to contribute to the foundation of New Gibellina. In doing so, Burri, unlike his counterparts, chose to cover the area with slabs of white concrete, over five feet tall, punctuated only by his signature cracks (roughly nine feet wide) that follow the original street plan. The stark emptiness of the installation echoes the horrors of the earthquake. Burri started his work in 1985 though construction halted after just four years, stopping short at 64,000 square feet of his proposed 86,000. Thanks to the Fondazione Burri, the work has now been fully realized which has prompted a series of celebratory events in New Gibellina notably an installation called AUDIOGHOST 68 that features the band Massive Attack, Robert Del Naja, and Italian artist Giancarlo Neri. For the installation, hundreds of portable radios were dotted across the surface of the concrete and lights from the audience contributed to create the effect of a thousand fireflies dancing in the night through the cities veins—a poignant reminder of what once was. A video of the installation can be seen above. In addition to this, Burri's works have seen a remarkable resurgence of late. A new exhibition, Alberto Burri: The Trauma of Painting, is now open at the Guggenheim New York (closing on January 6), meanwhile another New York gallery, Luxembourg & Dayan is currently exhibiting Alberto Burri: Grafica. The artist's works at auction have also been subject to a recent rise as the graph from Artnet illustrates.
A local Philadelphia artist has been commissioned to re-interpret a Baroque painting of the Virgin Mary, commonly known as "Mary The Untier Of Knots." The piece that was originally painted by Georg Melchior Schmidtner in the 1700s is apparently among Pope Francis' favorite works of art. The Pope is heading into Philly on September 26 before the Festival of Families celebration. His tour will start at Eakins Oval, and then head down the Benjamin Franklin Parkway, around City Hall and then travel back up the Benjamin Franklin Parkway before ending at the steps of the Philadelphia Museum of Art. "People have expressed a desire for inclusivity of all so that none are marginalized," artist Meg Saligman told NPR in an interview. "And it's also issues of homelessness and hunger, struggle, issues of race and immigration." Saligman's process involved asking people to write about a personal struggle on a white plastic ribbon when she visited churches, congregations, homeless shelters, public spaces, even using the internet. The work will sit outside the Basilica of Saints Peter & Paul in downtown Philadelphia, where Pope Francis will deliver mass later this month. "The idea is to have every inch of the dome covered with these messages to get people to share their experiences," said Saligman. The Bishop of Rome appears to be a fan of alternative artistic representations of religious works. Earlier this year he took a hermeneutic approach to a communist crucifix, taking the gift from Bolivia with him back home.
“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.
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.
The National Endowment for the Arts (NEA) on Wednesday announced the latest round of its Art Works and State and Regional Partnerships programs, funding a symphony in Alabama, StoryCorps in Brooklyn, and more than 1,000 different projects across the country. NEA said it will make 1,023 awards totaling $74,326,900 to nonprofit arts organizations in all 50 states—plus the U.S. jurisdictions of Puerto Rico, the U.S. Virgin Islands, American Samoa, Guam, and the District of Columbia—by the end of their fiscal year in September. Here's the full list of 1,023 awardees by city and state. The recipients run the gamut from established museums—Tucson Museum of Art will get $15,000 to support an exhibition exploring the art of the American West in popular and mass media, for example—to smaller arts councils and community initiatives. Civic programs are also among the winners. Public Schools systems in Boston, Seattle, and Nashville will receive grants of roughly $100,000 each to expand arts education. Collectively 263 panelists reviewed 1,794 applications for funding, according to an NEA press release. This week's announcement brings NEA funding awarded to date in fiscal year 2015 to $103.47 million.
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.]