Posts tagged with "Exhibitions":

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Inaugural Chicago architecture biennial has a name, and a show by Iwan Baan

Mayor Rahm Emanuel's announcement that Chicago would launch an international festival of art and architecture—its own take on the famous Venice biennale—drew jeers and cheers from the design community both near and far from The Second City. AN called for the show aspiring to be North America's largest architectural exhibition to go beyond tourism bromides. Now the upstart expo has a name, as well as its first show. The inaugural Chicago architecture biennial will begin in October 2015, and will be called “The State of the Art of Architecture,” in reference to the controversial conference organized in 1977 by architect Stanley Tigerman. Tigerman's show celebrated the postmodern rejection of Chicago's old masters like Mies van der Rohe, forging the position of architectural protest group The Chicago Seven. A press release from the organizing committee alludes to the upcoming exhibition's wide scope:
More than a profession or a repertoire of built artifacts, architecture is a dynamic cultural practice that manifests at different scales and through various media: buildings and cities, but also art, performance, film, landscape and new technologies. It permeates fundamental registers of everyday life—from housing to education, from environmental awareness to economic growth, from local communities to global networks.
The biennial's first commission was announced Wednesday by co-directors Joseph Grima—a former curator of the Storefront for Art and Architecture, and director of the Ideas City platform of the New Museum—and Sarah Herda, director of the Graham Foundation and AN editorial advisor. Renowned photographer Iwan Baan will contribute an original photo essay about Chicago featuring aerial shots taken at sunrise. The work will “capture the city during a moment of its daily routine,” according to the press release. “Like the Biennial itself, Baan’s expansive photographs interpret Chicago as a realm of architectural possibility, past and future.” The free festival's home base will be the Chicago Cultural Center, but organizers say it won't be restricted to downtown. “Using the city as a canvas, installations will be created in Millennium Park and other Chicago neighborhoods, including new projects and public programs developed by renowned artist Theaster Gates on Chicago’s south side,” reads a press release. “The Biennial will also feature collateral exhibitions and events with partner institutions throughout the city, and will offer educational programming for local and international students.” Tigerman, whose 1977 exhibition is the inspiration for the 2015 show's title, sits on the biennial's International Advisory Committee, which also includes architects David Adjaye, Elizabeth Diller, Jeanne Gang, and Frank Gehry, along with critic Sylvia Lavin, Lord Peter Palumbo and Hans Ulrich Obrist. Ty Tabing, former executive director of the Chicago Loop Alliance and founder of Singapore River One, will serve as the biennial's executive director. Oil giant BP has agreed to donate $2.5 million for the show, but Mayor Emanuel is reportedly seeking $1.5 million more.
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Chicago announces inaugural architecture biennial to begin in 2015

Chicago, in a bid to boost its tourism industry and cultural cachet,  will host an international design exhibition next year modeled after the Venice Biennale, which every two years draws contributions from architects and artists from around the world. Mayor Rahm Emanuel announced the Chicago Architecture Biennial Tuesday. Speaking to the Chicago Tribune’s Blair Kamin, Emanuel said he hopes to use the city’s reputation as a hub for modern architecture to encourage economic development:
"Obviously there's an economic benefit in tourism and travel. Chicago will continue to be seen worldwide as an epicenter of modern architecture… The real question is: Why wasn't Chicago doing this before?"
The Chicago Department of Cultural Affairs and Special Events (DCASE) and the Graham Foundation will present the show, which will be based in the Chicago Cultural Center. The Chicago Architecture Foundation, whose annual Open House Chicago will coincide with the start of the initial biennial, will help coordinate the first exhibition, which is planned for October 1, 2015 through January 3, 2016. Oil company BP donated $2.5 million for the first show. Kamin reported that Emanuel personally solicited BP’s grant funding, and that the city’s still looking to raise $1.5 million more. While the Chicago event makes no secret of taking after its prestigious namesake in Venice, there will be several differences from that event, which reportedly drew more than 175,000 visitors in 2012. Admission to Chicago’s event will be free, and the show will not have national pavilions. It will have a theme, which has yet to be determined, and will seek to compete in an increasingly crowded field of international design exhibitions. Venice has mounted its exhibition 14 times in 34 years, deviating occasionally from its biennial schedule. If Chicago’s initial event is deemed a success, officials say they’ll duplicate it every two years. Joseph Grima, who co-curated the Istanbul biennial in 2012, and Graham Foundation Director Sarah Herda will co-direct the inaugural Chicago event. Another Chicago-based design curator, Zöe Ryan of the Art Institute of Chicago, is coordinating Istanbul’s next biennial, which will run concurrently with Chicago’s.
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St. Louis Exhibition Explores Street Design in Grand Center Arts District

St. Louis’ Grand Center neighborhood has gone through a lot of changes. Though it was hit hard by suburban flight during the 1950s, in recent years the historic and predominantly African-American community area has enjoyed an artistic revival bolstered by theaters and cultural institutions like the Pulitzer Foundation for the Arts. Now a confluence of development corporations and nonprofits want the midtown neighborhood “to become the premiere cultural and entertainment tourist destination in the Midwest.” Part of that plan involves sprucing up the urban fabric. With a Great Streets Projects grant from the East-West Gateway Council of Governments, local groups are looking to do some placemaking. Read the full Grand Center Master Plan, named The Growing Grand Plan. On a neighborhood scale, the plan envisions corridors of development along Spring and Theresa streets flanking the “spine & transect” of Grand Boulevard and Washington Avenue. Within that framework, the plan pinpoints several intersections and cross-block connectors that could be activated by public programming to function as “outdoor rooms.” Trees and green infrastructure are meant to alleviate some of St. Louis’ flooding issues by retaining and filtering stormwater. The Great Streets plan even describes a new catchment area for Grand Center. Branding, wayfinding, lighting, and transportation analyses are also a focus of the plan. To help spur discussion, The Creative Exchange Lab of the Center for Architecture is mounting an exhibition on the topic. Titled Great Streets Project: Grand Center, the show kicks off with two presentations on May 22 and May 23 at The Creative Exchange Lab of the Center for Architecture + Design STL, 3307 Washington Ave., from 6-8:30 p.m. both evenings.
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On View> 'CHGO DSGN' probes the past and present of Chicago Design

It looks like design history is in the air here in Chicago. The Chicago Design Museum is in the middle of a Kickstarter campaign to launch an exhibition looking back at 100 years of graphic arts. Chicagoisms just opened at The Art Institute—a meditation on Chicago’s architectural history and mythology that builds off a previous exhibition of unbuilt work reviewed here. Now another exhibit glances at Chicago's design history to better assess its present and future. Chicago’s design history will be on the menu at a new exhibition, CHGO DSGN: Recent Object and Graphic Design, which opens at the Chicago Cultural Center on May 30, from 6:00–10:00p.m. The exhibition runs through November 2, 2014. “Chicago has long been regarded as an international center for design, and this retrospective celebrates the region’s creative and innovative spirit,” reads a press release for the show. Curator Rick Valicenti, who won Cooper Hewitt’s 2011 National Design Award for Communications Design, and display designer Tim Parsons said in a statement that they want to celebrate Chicago’s design history, from early print developments through international modernism, and probe its future with more than 200 works that range from functional objects to theoretical proposals. Among the pieces on display will be Ania Jaworska's 8-foot-tall architectural model, Monument for Them, and an 80-foot print by Chicago photographer Sandro that includes 115 of the exhibitors—an homage to Richard Avedon's famous portrait of the Chicago Seven.  
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On View> Building the Picture: Architecture in Italian Renaissance Painting

Building the Picture National Gallery London April 30 through September 2014 At the end of April, the National Gallery will present a new exhibit spotlighting the handling of architecture in various paintings by prominent Italian renaissance artists. Building The Picture will feature works by Duccio, Botticelli, Crivelli and others chosen from the museum's permanent collection along with paintings gathered from other institutions in the U.K. These 14th, 15th, and 16th century images will be complemented by a series of five films that offer contemporary ideas on the theme of real and imagined architecture from Peter Zumthor, filmmaker Martha Fiennes, art historian T. J. Clark, film historian John David Rhodes, and computer game cinematic director Peter Gornstein. The Renaissance bore witness to several breakthroughs in terms of realistic representation, particularly in the realm of architecture. Techniques like perspective enabled artists to depict increasingly life-like architectural compositions. Such skills were used towards the rendering of real structures or the creation of imagined and compelling architectural scenes that still maintained believable spatial qualities. Despite these developments, the period was still largely lacking in the concept of an architectural education, meaning that prominent figures like Brunelleschi and Michelangelo trained in other artistic fields before venturing into building design. Exhibit curators see a contemporary resurgence in these blurred boundaries between art and architecture, a fluidity that is reinforced by the diverse roster of figures contributing to the show's film program. Within Renaissance Art History, architectural compositions traditionally receive second billing to the human figures that populate them. Building the Picture hopes to show how in many cases, buildings acted as foundations for the resultant paintings, dictating the layout and direction of the remainder of the work. The exhibit opens in London on April 30. It will be accompanied by an online catalog permanently available on the National Gallery website.
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On View> Exploring Maggie’s Centres' Architectural Approach to Cancer Care

Maggie's Centres: A Blueprint for Cancer Care New York School of Interior Design, NYSID Gallery 161 East 69th Street, New York. Gallery Hours: Tuesday – Saturday, 11am – 6pm Through April 25, 2014 These are the requirements that were put to Richard Rogers, Zaha Hadid, Piers Gough, Steven Holl, Rem Koolhaas, Frank Gehry, and thus far eleven other architects when asked to design Maggie’s Centres, buildings in the U.K. where “free practical, emotional, and social support to people with cancer, their family and friends” are provided. When diagnosed with breast cancer, Maggie Keswick Jencks suffered not only the disease and its treatment, but the environment where she spent many precious hours of her waning life. She wrote, “we waited in this awful interior space...waiting in itself is not so bad—[it] is the circumstances in which you have to wait that count. Overhead (sometimes even neon) lighting, interior spaces with no views out and miserable seating against the walls all contribute to extreme mental and physical enervation. Patients who arrive relatively hopeful soon start to wilt.” Determined to change that, garden designer and author Maggie Keswick, who married architect and critic Charles Jencks in 1978 after meeting at the Architecture Association in London, set about creating a new paradigm. After living with the last round of the disease for two years, she died in 1995 at age 53 and never lived to see the completion the next year of the first drop-in center in Edinburgh by Richard Murphy, although she worked closely with him on the design and developed a blueprint for the concept. (Maggie knew 14 of the Maggie’s Centre architects.) This first center was shortlisted for a 1997 RIBA Stirling Prize, setting the tone for quality architecture to improve the quality of life. The exhibition displays how the architects interpreted the brief differently. The concept for Rogers’s Charing Cross Hospital center is of a heart wrapped protectively by the optimistic orange-colored exterior walls and capped by a sheltering, overhanging roof. Built on a parking lot between a busy road and the large early 1970s grey, modernist hospital block, the building is inward looking to a world of courtyards and social space, more like a Roman or Islamic dwelling, according to Rogers. It won the 2009 RIBA Stirling Prize. Gehry’s center in Dundee, Scotland, is a white, cottage-like structure with a crenellated roofline and conical tower that has become so iconic it graced a postage stamp. Gehry’s stated goal was to make it “heymish,” Yiddish for homey. The heart is the kitchen, and the exterior garden designed by Arabella Lenox-Boyd is a concentric circular maze of stone and grass. Gough’s Nottingham centre was a collaboration with city-native fashion designer Paul Smith who designed the interiors. The building sports bright green symmetrical facades of interlocking ovals (the model in the exhibition resembles a soup tureen, but the building has been described as a green treehouse with Prince Charles ears). Koolhaas’s centre at Gartnavel Hospital, Glasgow, is a refuge nestled in a wood. Its interconnecting rooms obviate the need for a corridor. They are spun in a circle around a central courtyard. The facade is white concrete, and the interior garden by daughter Lily Jencks is like bones with mirrors. OMA project architect Richard Hollington wanted to achieve the spirit of their Maison Bordeaux, a house built around a hydraulic platform elevator for a wheelchair user. The as yet unbuilt St. Bartholomew’s in London by Steven Holl is planned as a 3-story contrasting lantern with colored light washing the interior walls and floors. The exterior of the building features matte glass organized in horizontal bands like a musical staff, while the internal concrete structure branches like the hand. The exhibition logo uses a Holl watercolor as its field. If cancer is a form of life, then Maggie’s Centres attempt to harness that power and turn it into healing force.
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Annual Ranking Lists the Top Architecture & Design Exhibitions of 2013

What was the most popular architecture or design exhibition in 2013? If you guessed MoMA's Le Corbusier spectacular or SFMOMA's landmark Lebbeus Woods: Architect (coming to New York's Drawing Center April 15) you're close but off the mark. In fact the most popular architecture exhibition in the world, according to The Art Newspaper's 2013 Visitors Figures was MoMA's Henri Labrouste exhibition that drew 438,680 viewers (4,100 a day) compared to the Le Corbusier show that had 405,000 visitors (4,010 a day). In fact, MoMA had the top three architecture exhibitions in the world last year with their 9+1 Ways of Being Political the third most attended exhibition with 2,594 visitors a day during its eight-month run on 53rd Street. Lebbeus Woods: Architect was the fourth-most-attended architecture exhibition with 210,122 (2,287 a day). With both Le Corbusier and Henri Labrouste in the top fifty exhibitions of any kind worldwide, clearly MoMA curator Barry Bergdoll has done something right in his time at the museum.
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On View> Pasadena's Williamson Gallery puts Ray Eames in the spotlight

Ray Eames: In the Spotlight Alyce de Roulet Williamson Gallery Art Center College of Design, Hillside Campus 1400 Lida Street, Pasadena Through May 4 Ray Eames: In the Spotlight features; letters, sketches, notes, photographs, paintings, films, process drawings, furniture, and collections that follow the great American designer’s interests and interactions with key places, people and institutions. Taken altogether, the presentation is an intimate study of Ray Eames’ world and seeks to get to the heart of her intensive hands-on creative process and the “way-it-should be-ness” that defined how Ray and Charles Eames lived and worked. In the Spotlight allows visitors to make their own connections to this great body of work, to explore their own creativity, and to apply Eames’ tools to their own lives.
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On View> The Graham Foundation presents "Chromatic Patterns" through April 5

Chromatic Patterns Graham Foundation 4 West Burton Place Chicago, IL Through April 5 Judy Ledgerwood’s Chromatic Patterns is a site-specific work that transforms the lower galleries of the Graham Foundation’s historic Madlener House in Chicago. The house was designed by Richard E. Schmidt and Hugh M. G. Garden and built in 1901–02. Judy Ledgerwood is a Chicago-based painter and educator. She is the recipient of numerous awards, including The Richard H. Driehaus Foundation Award, an Artadia Award, a Tiffany Award in the Visual Arts, a National Endowment for the Arts Award, and an Illinois Art Council Award. This exhibition surrounds the visitor in vibrant colors with a vibrant floral motif that almost mimics the house’s prairie style ornamentation. This installation examines the effect of paint on architecture, specifically the wall covering’s ability to produce new effects and feelings about a space. In this work, Ledgerwood uses ornamentation to change visitors’ perception of the ornamentation in the Madlener House’s lower galleries, highlighting the divergent ways that pattern, color, ornamentation, and surface have been coded, gendered, repressed, and embraced in art and architecture.
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On View> MoMA Presents "Isa Genzken: Retrospective" Through March 10

Isa Genzken: Retrospective Museum of Modern Art New York Through March 10, 2014 In the home stretch before it closes on March 10, Isa Genzken: Retrospective at MoMA shows a sculptor whose work is infused with architecture from her sleek early works of lacquered wood in the engineered Hyperbolos and Ellipsoids series to rougher experiments in plaster, concrete, and steel which resemble architectural maquettes on pedestals including Bank (1985), Rosa Zimmer (Pink Room) (1987), Galerie (1987), Kleiner Pavilion (1989), and Fenster (Window) (1990). The architecture of Berlin and New York inspired some of her most significant work. It tackles subjects like the disposable global culture, the relationship between architecture and site, form and space. Fuck the Bauhaus, New Buildings for New York (2000), New Buildings for Berlin (2004), and Der Amerikanische Raum (The American Room) (2004) are the result: colorful, energetic, and made of many found and industrial materials. Genzken has lived in New York and was there on 9/11, which prompted a series of installations, Ground Zero (2008), and a play called Empire/Vampire (2003) with two protagonists, the Empire State Building and Chrysler Building (video and sculptural set designs). On a more personal note, she has made architectural personification of artist friends including Dan Graham and Wolfgang Tilmans, titled by their first names: Andy, Isa, Dan, Wolfgang, Kai. Catch it.
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On View> Materials & Applications: Building Something (Beyond) Beautiful

Materials & Applications: Building Something (Beyond) Beautiful, Projects 2002 – 2013 University Art Museum, Cal State Long Beach Through April 13 On January 25th  a mix of architects, designers, collaborators, and previous staff showed up at the Cal State Long Beach University Art Museum to acknowledge ten years of exhibition work for Silver Lake–based outdoor gallery Materials & Applications. Over the past ten years M&A has been cultivating and showcasing the talents of experimental and young designers interested in testing architectural and landscape environments. Doris Sung, Jiminez Lai, Patterns, Oyler Wu Collaborative, FoxLin, Ball-Nogues Studio, NONDesigns, Anna Franke, Rob Ley, and Eddy Sykes are a few that have built work with M&A. At the center of the show sits the structure entitled S’more by New York–based Edmund Ming-Yip Kwong. This had been transported from M&A’s courtyard to the museum the week before. With a  mantra of collaboration and making things happen, M&A has made a practice of supporting ambitious proposals and teaming with designers, engineers, builders, set makers, students and interested community members to create a string of successful projects. The existing M&A gallery is at the modest scale of a front courtyard in a residential neighborhood off of Silver Lake Blvd. Even with small budgets, their ambition and execution could be compared to MoMA P.S.1's Young Architects Program. In fact M&A’s support in producing installations of new materials and spatial experiences has provided leverage for installation proposals at this level. They show that it can be done. Perhaps the quiet nature of the M&A installations mixed in with apartment buildings has kept them as a more insular gallery. Walking through the show, it is unmistakable that the quality and variety of projects deserves more attention. It isn’t until you see the timeline of executed projects that  you grasp the relevancy and significance of what they have achieved. In the next month, a large-scale, site-specific installation located at the north end of the CSULB campus will be built as a continuation of the exhibit and spirit of M&A.
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On View> Rome's MAXXI Museum Honors Alessandro Anselmi

Opening this week at Rome's MAXXI is an exhibition honoring the late Alessandro Anselmi. Curated by his son and associate Valentino Anselmi and Valerio Palmieri, this important exhibition consists of 100 exquisite drawings, models, and watercolors from the 1960s through 2002. The show is organized thematically to lead the viewer through various aspects of Anselmi's ouerve: the Architect's Dream, the Geometry of Memory, the Figuration of the Modern, Fragments and Enclosures, Geometrized Nature. Among the projects on view are his cemetery of Parabita in Puglia, the State Archive in Florence, the restructuring of Piazza dei Navigatori in Rome. The exhibition highlights an architect who was in many ways radical, but fully inserted into the dynamics of the contemporary debate, but always guided by a passion for history, and intensely sensitive to issues of place and context. One senses his profoundly Roman formation. His vision—intimate and almost oneiric—allowing us to speculate on its possible metaphysical influences.