Urban Visions: American Works on Paper, 1900-1950 Indianapolis Museum of Art 4000 Michigan Road Indianapolis, IN Through September 30 An upcoming exhibition at The Indianapolis Museum of Art’s Alliance Gallery will explore the ways in which artists dealt with the rise of industrial modernization and urbanity. In the first half of the 20th century, rapidly changing cities served as inspiration for new portrayals of human expression within these new environments. “The spectacle of metropolitan life” is presented through 25 works from IMA’s print collection, including lithographs, etchings, and engravings from well-known artists such as George Bellows, Childe Hassam, Edward Hopper, Reginald Marsh, and Isabel Bishop. The exhibition will display the art alongside vintage construction photos from the Chicago and New York skyscraper boom, providing context for these early interpretations of the city. Pieces from lesser-known artist and architect Gerald Kenneth Geerlings, whose aquatinted technical drawings of the emerging cityscape highlight the juxtaposition of emotional romanticism and technological progress, will be on display at IMA for the first time since 1970.
Posts tagged with "Drawing":
Carlo Scarpa: The Architect at Work The Arthur A. Houghton Jr. Gallery The Cooper Union 7 E. 7th Street Through April 21 A collection of hand drawings and photographs of work by renowned postwar Italian architect Carlo Scarpa is on view for the first time in New York. The exhibition depicts the conception and realization of two major works, the renowned Villa Ottolenghi (Bardolino, Verona, 1974–79) and the Il Palazzetto series of imagined interventions in a 17th-century villa (Monselice, Padua, 1969–78). Scarpa is renowned for his poetic expression of space through the use of materials and ornamentation, and visitors to the gallery will witness the architect’s development of spatial ideas through 22 original hand drawings of Villa Ottolenghi and 11 of Villa Il Palazzetto. Reproductions of historical photos taken of the Villa Ottolenghi before it was completed as well as recent and historical photos of Scarpa’s work at Villa Il Palazzetto are included, along with reproductions of his drawings for the Museo di Castelvecchio and the Museo Nazionale dell Arti del XXI secolo.
Is drawing dead? That was the burning question (and title) of last weekend’s symposium at the Yale School of Architecture, which assessed the contemporary state of drawing through three days of lectures and panels, with pen-and-paper proponents from across the architectural spectrum. This convergence of many great drawers past and present coincided with the recently opened exhibition Massimo Scolari: The Representation of Architecture, a largely drawing-based show on view through May 4 in the School of Architecture Gallery. To the central question, the answer came quickly, and it is "no." Many other fascinating and important questions were raised along the way: What is drawing's role in an increasingly computerized design culture, with the rise of BIM technology, computational design, and digital modeling? What is the relationship between the quick, loose sketch and the rigorous, precise computer model? How can drawing, in any medium, inform the process and ultimately, the final building? How do we mediate between real and imagined, and how has that changed? The Friday night keynote came from Sir Peter Cook of Archigram fame, who identified, through countless examples, the moment when drawings are at their most interesting and their most creative. Somewhere between rough sketch and final rendering, a drawing will show the right amount of information, while remaining visceral and tactile. Contemporary computer renderings, Cook joked seriously, often have suspiciously well-mowed grass and suspiciously happy children. He is interested in the slightly less polished version, where the building remains fictional in an honest way. Saturday morning, Julie Dorsey of Yale's Department of Computer Science showed off her new drawing software, The Mental Canvas, which allows users to create 3-D hand sketches on a computer, using an assemblage of floating, transparent "canvases" which can be rotated, moved, and scaled. Next, Andrew Witt of Gehry Technologies worked back from new drawing technology in “A Reverse History of Mechanized Drawing 2012–1900.” It was one of the more lively talks and displayed the history of drawing technologies from early digitally triangulated meshes, kinetic models, and stereoscopic drawings to the 18th-century Italian drawing machines and the projective geometries necessary for the beautiful curves of Neo-Classical staircases. There were some fantastic retro-digital environments form the ‘70s, which oddly seem more "real" now than they probably ever did. Marion Weiss of Weiss/Manfredi illustrated how the uncertainty of hand sketching and charcoal drawing informed the final forms and textures of the firm's Barnard College Diana Center. She also described their Brooklyn Botanical Garden Visitor Center as a series of sections dissolving into the earth, thus mitigating the transition from urban condition to nature. On the other hand, Greg Lynn of Greg Lynn FORM office took the stage and claimed territory for those who sketch on the computer. He exalted that "The rest of you proudly hold up your pens and pencils, but I would hold up my mouse." All in all, the weekend offered a lively and provocative series of talks, filled with rich examples that served to inspire and inform. Despite the fact that a few of the presentations struggled to make a clear point about the role of drawing today, ultimately, the symposium showed that drawing is far from dead. In typically ironic Yale fashion, the best evidence of representation's continuing importance may be the struggle to talk coherently about it. Now excuse me while I go find my pencils.
Lori Bookstein Fine Art 138 Tenth Ave., New York Through June 25 The architect Louis Kahn drew inspiration from his travels, both in foreign lands and closer to home. A new exhibition brings together drawings, watercolors, pastels, and oil paintings Kahn made between the late 1920s and the early 1950s during trips around the United States, Canada, Europe, and Egypt. From New England churches to Egyptian rock quarries, the collected works offer Kahn’s interpretation of diverse landscapes and cityscapes, like Coastal Village, No. 2, Isle Madame, Nova Scotia (1936), above. In the exhibition, Kahn’s artwork is contextualized with his postcards and other travel ephemera.
A selection of Architect Frederick Fisher's watercolors—which he often creates while developing designs for his houses, galleries, and other commissions— is on display through May 22 at Edward Cella Art + Architecture, 6018 Wilshire Blvd, LA, across the street from LACMA. Minimal yet sensual, these abstractions of a house he is designing for himself in Ojai and of recent academic buildings explore the relationship of mass and void. His buildings grow from these soft blocks of pigment, and the subtlety of the wash expresses the care with which he crafts his forms. Some are a leap into the unknown: a project titled Imaginary Museums was sketched during his 2008 fellowship at the American Academy in Rome. A still-life by Morandi inspires a museum that showcases his work, and abandoned buildings are given new roles. The monuments of Rome are re-examined with a fresh eye, in homage to Robert Venturi’s Complexity and Contradiction. As an overture to these tiny, evocative drawings, the first room is hung with digital renderings of the proposed museums. This is Fisher’s first gallery show and on Saturday May 1, 1-3pm, he will discuss his ideas with Frances Anderton, host of DnA: Design and Architecture on KCRW.
Rarely are New Yorker cartoons anything more than esoteric—which is why we love them, right?—but this one, from last week's issue, struck a particular chord. We still can't decide if its more Duany or Grimshaw. We do hope Mayor Bloomberg saw it, though, as it could provide an example for the happy future development of Willets Point or the Gowanus Canal, both of which are fighting for their futures as industrial areas. And then, while looking this cartoon up, we stumbled across another good one, which you can find after the jump. If we had a penny for every time we heard about a contractor doing this...