The Philadelphia Contemporary, which up till now has been an itinerant “curatorial institution,” bridging art, performance, and spoken word with various pop-ups and events around its namesake city, is getting a permanent physical home by Los Angeles firm Johnston Marklee. The firm, whose partners Sharon Johnston and Mark Lee artistic directed the 2017 Chicago Architecture Biennial, have worked on a slew of cultural institutions as of late including the recent Menil Drawing Institute in Houston, which opens next week. Following on its nomadic beginnings, the new kunsthalle will be, as Lee puts it, “inextricably woven into the fabric of the city.” The Philadelphia Contemporary, sans building, has programmed cultural events across the city over the past two years, including an ASMR Film Festival, as part of its two week Festival for the People, an arts event that happened over the past two weekends and featured an impressive array of artists, performers, poets, and others from Philly and around the world, including Hito Steyerl, Andrea Bowers, and Lyrispect. The festival also featured selections from Creative Time’s Pledges of Allegiance, which is a series of 16 flags by a number of artists including Jayson Musson, LaToya Ruby Frazier, Tania Bruguera, and Rirkrit Tiravanija. Creative Time’s former chief curator, Nato Thompson, has been serving as the Philadelphia Contemporary’s artistic director. Johnston Marklee was chosen after an extensive search by a 14-member jury comprising representatives from the Philadelphia Contemporary, as well as city officials, members of the arts, design, and literary community, and other local community members. Johnston Marklee will be working with local MGA Partners, the architect of record. The final building design is to be revealed in 2019.
Posts tagged with "Creative Time":
Spanish architecture studio Recetas Urbanas (Urban Recipes) will be leaping to this year’s Art Basel, courtesy of New York-based arts organizer Creative Time. In the group’s first international commission, Creative Time has organized Basilea, a series of interactive projects for Basel, Switzerland locals and international fairgoers alike. Basilea will sit on Basel’s Messeplatz and involve visitors through a combination of talks, hands-on workshops, observations, and even through soliciting their help to build the pavilions. By involving the public, Basilea aims to empower guests to re-examine their role as citizens and the effect they can have in civic systems. In the three weeks leading up to Art Basel’s opening on May 23, Recetas Urbanas, headed by architect Santiago Cirugeda, will construct a public pavilion with help from volunteers. The “multi-purpose civic structure,” which will resemble an auditorium, will be built from locally-sourced and found materials, while the participants (fairgoers can sign up here) will be encouraged to learn from each other in a mutual sharing of ideas. After a run of performances and as-of-yet undetermined talks, the future home of the venue will be handed over to the public to vote on. Recetas Urbanas is well known in Spain for their low-cost “guerilla” structures, and previously represented Spain at the 2016 Venice Architecture Biennale. Spanish artist Lara Almarcegui, who represented Spain at the 2013 Venice Biennale, will construct a large-scale “quarry” installation made of gravel that will surround the finished Recetas Urbanas pavilion. The piece will grow daily over the course of the fair, as gravel mirroring the amount removed from a local Basel quarry will be deposited on the Messeplatz, and ask viewers to consider the destructive impact humans have on the environment. Dominican-American artist Isabel Lewis will round out Creative Time’s program, and using her training in dance and philosophy, and experience staging interactive shows, will host a series of workshops and events. Throughout the fair, Lewis will encourage visitors to rethink how they conceive of “self” versus “community”, and how citizens form relationships with the urban space around them. Basilea marks the first time the trio of artists will collaborate with each other, and their program at Art Basel should layer and complement each other’s work. Art Basel 2018 will run from May 23 through June 17.
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.
Founder and Chair of the Pulitzer Arts Foundation, Emily Rauh Pulitzer, announced today that Cara Starke, the director of exhibitions at Creative Time, will step into the role of director at the St. Louis–based cultural institution, beginning this July. During her years at Creative Time, Starke spearheaded some of the organization's more elaborate, large-scale projects and exhibitions, including this past summer's popular installation, A Subtlety, by artist Kara Walker. “Cara’s approach to the work and operations of an arts institution is exceptional. She has a keen understanding of the evolving role the arts play in our lives and in our communities—a vision that is well in line with the Pulitzer’s tradition of pushing the boundaries of the arts experience,” said Pulitzer in a statement. Prior to her tenure at Creative Time, Starke cut her teeth as the assistant curator for the department of media and performance art at the Museum of Modern Art, where she helped organize several exhibitions, such as Olafur Eliasson's Take your time and Doug Aitken's Sleepwalkers. The Tadao Ando–designed Pulitzer building is currently undergoing an expansion to add 3,700 square feet of public space—complementing the 7,500-square feet of existing galleries—to carve out new areas for exhibitions and programs. Starke will take over for Kristina Van Dyke who has served as director since 2011 and worked with Mrs. Pulitzer in the conception of the institution's expansion. "The Pulitzer is a remarkable space that brings together intellectual experimentation and thoughtful contemplation with a commitment to local audiences and experiences that extend beyond the institution’s walls,” said Starke in a press release. “With the recent expansion, the Pulitzer has increased opportunities to offer unexpected, profound, and innovative approaches to artistic and cultural expression. I am honored to lead the Pulitzer into its next phase as an open and inspired space for art and culture.”
Creative Time’s annual spring benefit at the defunct Domino Sugar factory in Brooklyn received lots of press coverage for its glittering guests, including honoree Julian Schnabel. But GalleristNY was one of the few to flag the fly on the soup: Across the street from the entrance, protestors in hazmat suits handed out “invitations” blasting the controversial company hired by Two Trees—the developer with big plans for Domino—to oversee asbestos abatement. So…that wasn’t powdered sugar on the chocolate soufflé?
Today the City of Louisville and the New York-based public art organization Creative Time unveiled a long-term plan for funding and developing public art across the city. The Louisville Public Art Master Plan recommends the creation of a Committee on Public Art (COPA) that will oversee the city’s current art collection, manage a granting system for new public art and advise future city leaders on the continued creation and development of new art. Funding for the new master plan will come from grants and donations. Additional funding will come from developers via an innovative approach to commercial development code. Currently developers of projects exceeding 100,000 square feet are required to set aside a percentage of their construction budget for various public amenities like benches, fountains, landscaping, and trails. Under the new plan, there will be an option to direct that money to a new public space art fund. In turn, the fund can then provide support to non-profit arts and neighborhood groups who want to commission artists to create art for public spaces. The funds will be dispensed through a granting process administered by the new COPA. "Developers will recognize that this new model makes good business sense," said Louisville Mayor Jerry Abramson in a statement prepared for the plan’s unveiling. "Their money will support the arts and, in turn, they don't have to pay for the long-term maintenance of benches or a fountain." Aside from addressing funding, the plan also tackles important issues like conservation and maintenance, thoroughly cataloging the current collection and procedures for commissioning and de-accessioning pieces. Creative Time won the master planning contract a year and a half ago over two other finalists in a RFQ released by the City. Principal Meredith Johnson traveled to Louisville numerous times during the yearlong preparation of the study and sees the finished master plan as a reflection of the city’s unique spirit and arts community. Using both short and long-term approaches, the plan provides both a vision of the arts as well as practical steps both the City and community can take to achieve those goals.
As the first segment of The High Line opened to the public on Monday, the first public art commission to occupy the space was unveiled. An installation by Brooklyn-based artist Spencer Finch, The River That Flows Both Ways, is a collection of 700 tinted films applied to the existing windowpanes of a semi-enclosed loading dock attached to The Chelsea Market. Anne Pasternak, President and Artistic Director at Creative Time, the cultural partner of Friends of the High Line, described the project: “He takes old window mullions in a dark, unremarkable tunnel and transforms them into reflections of color and light taken from the nearby Hudson River.” The installation is based on a single day Finch spent in a boat floating up- and downriver propelled only by the natural flow of the Hudson. A camera, on a timer, took a photograph of the water once a minute for 11 hours and 40 minutes. Later, selecting the exact color of a single point in each photograph, Finch produced a film with which he laminated the windows and organized in chronological order. The River That Flows Both Ways is a subtle work, unassuming at first glance, especially with construction still taking place around it. On its first day open, passersby were observed walking halfway through the underpass, apparently unaware of the exhibit, and suddenly stopped to look at the playfulness and soothing colors of Finch’s work. The park currently plans on presenting at least one other major public art project, scheduled for next spring. The artist and the project will be announced in the next few months. Pasternak explained that in addition, “Friends of the High Line will be launching an artist residency program this fall through which artists will be invited to create new work that interprets the site's past, present, and future.” The new curator for this program is Lauren Ross. Adrian Benepe, the Parks & Recreation Commissioner, also shared his view of the park’s future. “The High Line will be one of the city’s best outdoor art museums,” he said. With Finch's work now on view, the elevated park has a great start.