Winter makes Chicagoans crave a sense of escape. An intriguing new exhibition of Maya Lin’s work at the Arts Club of Chicago provides a timely opportunity to visit, visually at least, some fascinating terrain. With its small and large-scale sculpture and installations, viewers can travel from mountain peaks to the bottom of the sea. Chicago’s streetscape is flat, melding almost seamlessly with the shores of Lake Michigan. Lin’s work challenges the viewer to explore topography and geologic phenomena of greater depths and heights, pushing us to consider the natural environment far beyond our immediate surroundings. Through April 23, the public can view eleven of Lin’s works, including the room-filling Blue Lake Pass (2006) and Flow (2009), the latter mimicking the undulation of wave swells. Much of the work is a continuation of the solo exhibition Maya Lin: Systematic Landscapes that was organized by the Henry Art Gallery in Seattle, WA and traveled to several major museums. For the show at the Arts Club, Lin created a site-specific work, Reversing the Flow (2010), where the Chicago River is cast with straight pins in its two dimensional map shape. And at first glance, one might confuse the three-dimensional plywood model next to Flow as a sonar reading of Lake Michigan, when it is actually Caspian Sea (Bodies of Water series, 2006). Maya Lin The Arts Club of Chicago 201 E. Ontario Street Monday – Friday, 11-6 Through April 23
Posts tagged with "Exhibitions":
Increasingly becoming home to Boston's architectural community, pinkcomma gallery opened its third Fall season on with two exhibitions: Heroic and Publishing Practices. Heroic takes a closer look at the material that re-shaped Boston, concrete, and the idealistic architects that used it from 1957-1976. The exhibit consists of a selection of local concrete buildings intertwined with essays by some of the architects who built them, material experts, historians, and voices from a new architectural generation who seek to put this work in context. Heroic, however, boasts a larger and weighty agenda: to educate the public at large on the innovations and ideals of Boston's concrete architectural legacy to save endangered buildings. On pinkcomma's second room Publishing Practices traces a history of practices that use publication as part of the tools available to them to think about and produce built form. Perhaps as interesting are the results of a survey on contemporary attitudes towards publishing conducted by curator Michael Kubo. Not surprisingly, Kubo finds that most people get their architectural news from websites and blogs while a great majority of respondents say that the physical book will always have a place in their studios. The results begin to show practices more comfortable using digital-physical media hybrids in their publishing projects. During the opening the crowd enjoyed the interactive yet low-tech nature of the exhibit. Heroic, for example, consists of over thirty 11" x 17" pieces of paper that the gallery encourages its visitors to collect and asks them to participate by suggesting additions to their growing list of notable concrete buildings. Both shows run through October 15.
Yesterday, we posted the feature from our current California issue, "On Their Mark," about a new show at the Museum of Contemporary Art San Diego highlighting seven local firms. While sending over the pictures of the exhibition, Mix: Nine San Diego Architects and Designers, that went into our slideshow, the fine folks at MCASD also sent along these nice photos from the opening party, which were taken by Lauren Radack. In case, like us, you couldn't make it. (And if you know anyone in these photos we may not have mentioned, do tell).
It's hard to imagine an industry by which humans could have changed the natural landscape more so than through the business of getting crude out of the ground, refining it, and shipping it around the globe. Which makes the oil industry a perfect subject for the Center for Land Use Interpretation (CLUI), a Culver City, California-based research organization that conducts studies into the nature and extent of human interaction with the earth's surface. And where better to examine what oil hath wrought than in Texas? Beginning on January 16th and running through March 29th, the CLUI will exhibit just what it has learned in the Lone Star State with Texas Oil: Landscape of an Industry at the Blaffer Gallery, The Art Museum of the University of Houston. The research on display at the exhibition was gathered over the past year while the CLUI acted as the University of Houston Cynthia Woods Mitchell Center’s first artist-in-residence. The show will open with an aerial video, picturing fly-by views of the expansive stretches of the region's oil refineries. In addition to this projection, the gallery's walls will be decked with photographs and texts that describe many different sites across the vast state, from west Texas oil towns such as Odessa and Kermit to petrochemical processing centers on the Gulf Coast. The CLUI's photos pay special attention to places where evidences of previous uses or historical events underpin the oil industry's installations. And if you do find yourself in the Bayou City this spring, be sure to call the Mitchell Center's hotline (713-743-5548) for a boat tour of Buffalo Bayou.