Tomorrow, June 21, is the summer solstice. On the occasion, the Solomon R. Guggenheim Museum will open the doors on a major solo show of the work of James Turrell, called simply James Turrell. It's a fitting day to open an exhibition on the American artist. Since the 1960s, Turrell has developed a diverse body of work that uses light as material and medium. The centerpiece of the show is Aten Reign, a site-specific installation that fills Frank Lloyd Wright's famous rotunda. Made from a series of interlocking fabric cones that relate to the Guggenheim's interior ramps, Aten Reign interlaces the prevailing daylight with subtly changing color fields produced by concealed LED fixtures. Viewed from below, on reclining benches or lying flat on the floor, with the gentle bubbling of the Guggenheim's fountain providing aural accompaniment, the installation provides a meditative, perception altering experience. In addition to Aten Reign, the exhibition features several of Turrell's older works that focus on light and perception. Afrum I (White) (1967) presents viewers with a glowing white cube that, upon closer inspection, reveals itself to be simply two intersecting planes. The Single Wall Projection Pado (White) (1967) turns a section of wall into what appears to be a luminous opening to another realm. Litar, one of Turrell's Space Division Constructions, troubles the viewer with a rectangle of uncertain description. Is it a flat panel of color? A foggy void? Or an opening into another chamber? James Turrell runs from June 21, 2013 until September 25, 2013.
Posts tagged with "Exhibitions":
The Denver Architectural League asked architects and designers from across the world to reimagine the micro-apartment on a riverfront site by designing an eight-unit structure that diverges from the uninspired design of multi-family housing elsewhere in the community. Their Micro Housing Ideas Competition generated over 100 entries and a jury selected ten proposals for special distinction. The competition was inspired by a concern regarding a shortage of innovation present in Denver’s multi-family housing market. Members of the design community were given the opportunity to rework and establish the future of this specific sector. The first place award of $3,000 was presented to Studio de Arquitectura y Ciudad based in Querétaro, Mexico for a project titled “Micro Urban.” Tadeja Vidoni, Lea Ritonja & Inez Goessens of Alicante, Spain received second place for a projected called “Micro Units.” "Microhousing/Macropossibilities" by A43 Arquitectura from Vila Niva de Gaia, Portugal and a proposal by Ahmed Hamdi Architects from Cairo, Egypt earned Honorable Mention for their submissions. All of the entries are available for viewing online. An exhibition of all the submissions opened on May 10 in Denver at the Temenos Gallery inside the design studio of Roth Sheppard Architect and will remain open for viewing through June 21, 2013.
Tonight, Gowanus by Design (GbD), a community-based urban advocacy group, will launch a new exhibition showing award winners and other selected entries of its Water Works Competition at The Old American Can Factory Gallery in Brooklyn. The opening reception for the exhibit will be held on May 22 from 6:30 to 9:00p.m. The intent of GbD's competition was to design a new community resource to replace the site of the old Douglas Degraw pool with a Combined Sewer Overflow retention facility. After considering over 250 entries submitted from more than 20 countries, the jury, in search of entries that successfully dealt with matters of architectural design, community programming, and urban ecology, determined that no particular entry entirely addressed the numerous and complex challenges presented by the competition brief. Therefore, the jurors announced three winners in three categories: Urban Ecology, Architectural Design, and Community Programming. With an increased likelihood that the Douglass and Degraw Street pool will be demolished to suitably remediate the heavily contaminated soil underneath, the group jumped at a chance to contemplate a new urban typology. The competition jury included Richard Plunz, David J. Lewis, Robert M. Rogers, Andrew Simons and Joel Towers. The competition emphasized community advancement within a toxic waterway context: “Can a new community center and remediation facility on a heavily contaminated State Superfund site be designed to strengthen the urban infrastructure and educate the community about environmental challenges facing the area?”
The Museum of the City of New York presents A Beautiful Way to Go: New York’s Green-Wood Cemetery, a new exhibition that examines the Brooklyn cemetery’s astonishing 175-year history, on view from May 15 to October 13. As a National Historic Landmark that predates both of Olmsted's Central Park and Prospect Park, the cemetery grounds cover a vital 19th-century American public green space and remain a critical site in New York’s architectural history. The landmark landscape characterizes the “rural cemetery movement” and tells a complex narrative that links architectural, art, social, and cultural histories. The installation involves a gallery-sized map of the cemetery that serves as a guide for visitors to walk upon and as the framework for the arrangement of over 200 artifacts, sculptures, architectural drawings, and documents. The exhibit not only focuses on exploring the cemetery, but also its most eminent permanent residents. Burial at Green-Wood garnered considerable respect and attracted posh New Yorkers to choose it as the ultimate resting space. The cemetery also represents a new type of burial space: non-sectarian and not bordering a church. The rural burial ground concept, with its greenery and comfortable travel distance from the city, was first designed for Paris’ 1804 Père-Lachaise. The idea reached the United States by the 1830s and Mount Auburn in Cambridge was the country’s first such cemetery. Green-Wood Cemetery, designed by David Bates Douglass, followed in 1838 within the newly incorporated city of Brooklyn. Highlights of the exhibition include 19th-century landscape paintings by Asher Brown Durand and John William Casilear, chief Hudson Valley School artists who are buried at Green-Wood. The exhibition incorporates viewing machines with “stereographs” that provide popular period three-dimensional pictures of Green-Wood Cemetery and one of four zinc Civil War soldiers on site that were reproduced in cemeteries nationwide.
Starting Memorial Day, Chicago's Millennium Park will host the U.S. debut of a bright array of public design projects, many of which appeared at the 2012 Venice Biennale. Spontaneous Interventions: Design Actions for the Common Good will feature 84 works, including more than a dozen for Chicago and several that also appeared in Venice. One Venice Biennale carryover will be the slew of pull-down banners created by Brooklyn design studio Freecell and Berkeley-based communication design firm M-A-D. An “outdoor living room” for Millennium Park, designed by Wicker Park firm MAS Studio, is among the new installations. The space will serve as an outpost for the exhibition, according to MAS director Iker Gill, shading visitors with a canopy of more than 700 moving acrylic panels with a lively color palette. Local woodworker John Preus of Dilettante Studios will salvage lumber for the wood support structure and seating. The city’s Department of Cultural Affairs and Special Events brought the design contest to Chicago for its first U.S. showing. Programs will take place at the Cultural Center, in the pop-up pavilion in Millennium Park, and at various offsite locations through September 1. Here’s a video of Freecell and M-A-D’s banner project from the biennale:
What: Tracey Emin’s Roman Standard Where: Petrosino Square (Spring and Lafayette Streets, NYC) When: May 10 to September 8, 2013 This summer, Nolita’s Petrosino Square in New York will feature Roman Standard, a thirteen-foot-tall pole with a solitary bronze bird perched at the top. From the ground, the towering sculpture by Tracey Emin, sponsored by Art Production Fund, White Cube, and Lehmann Maupin in collaboration with NYC Parks & Recreation, is so lifelike that onlookers may mistake it for a real bird. According to the artist, the figure is a sign of “hope, faith, and spirituality” that should serve as a source of reflection. The showcase will be on view from May 10 to September 8, 2013. Emin pulls inspiration from the militaristic representations of traditional Roman Standards and desires to demonstrate the power that an outwardly unimportant creature can personify through stature and space. In an attempt to design a public display full of magic and mystery instead of oppression and supremacy, the artist suggests that successful works of this variety can be inspiring without being monumental. Roman Standard is Emin’s first public art project and was commissioned by BBC in 2005 as a part of the art05 festival. Following a lucrative Times Square appearance in February, the Petrosino Square exhibit marks her second public project in the New York City. She is a renowned contemporary artist and is globally recognized for her brutally honest approach to art. In concurrence with Roman Standard, Lehmann Maupin will host the two-part installation, Tracey Emin: I Followed You To The Sun. Highlighting more than 100 original works, the exhibition will be on view through June 22, 2013 at both of its New York galleries. The show will expose Emin’s most personal tales.
The gentle drumming sound of rainfall is one that many of us find soothing, but it is a natural phenomena that we can only experience at a safe distance without suffering the consequence of being drenched. With their one-of-a-kind installation, Rain Room, the designers at rAndom international made what you thought was impossible possible—presenting anyone who is curious for a new sensation with the opportunity to fully experience standing unprotected in the rain without ever getting wet. This novel, experiential installation has been on view in London at The Barbican’s The Curve Gallery since last October and received showers of praise from visitors, some of who determinedly waited on line for 12 hours just to see the installation. On May 12, the installation, which was allegedly well worth the wait, will move to New York City where it will temporarily make a new home for itself at the Museum of Modern Art. In order to create this surreal experience, the designers used a one hundred square meter grid of continuous pouring water. As visitors meander through the space, they are given the illusion that they are in control of the rain. The designers implemented a sophisticated tracking sensor that immediately responds to the movements and presence of a human body, instantly forcing the water valves overhead to seal (at super-high speeds) while all around them it continues to rain. Visitors are able to walk through the torrential downpour, enjoy the tranquil sound of a falling rain, and feel the moisture rise around them, without a drop of water ever touching their skin. This remarkable installation leaves people walking away dry and feeling as if they've witnessed a truly magical experience.
Lightfair International held its 2013 edition at Philadelphia’s Pennsylvania Convention Center from April 21–25. More than 500 exhibitors, including 80-plus first-timers, filled over 200,000 square feet of exhibition space with the latest lighting technologies, from solar fittings to roadway fixtures, and rounded out a robust conference program with ample networking opportunities. Following are a handful of standout products from Lightfair’s exhibitors. Fino Amerlux Designed for corporate and hospitality settings, the wall mounted Fino produces indirect light for washing floors or ceilings. Aluminum construction with an extruded latching system was designed to be set within sheet rock for hairline seams. Once installed, light from a replaceable LED board bounces off an internal reflector to produce a soft, even glow. Fino is available in increments of 6-inch lengths. Coastal Light Lighting Science Amber LEDs differentiate Coastal Light, which produces a glow effective for humans but safe for sea turtles and other animals sensitive to white light. In compliance with International Dark Sky Association requirements, as well as the Florida-based company’s state wildlife standards, Coastal Light’s illumination does not attract sea life and provides a solution for legal compliance in the protection of sea turtles. The luminaire is available in various configurations and mountings. Quantum Total Light Management System Lutron The Quantum Total Light Management System unifies all lighting controls, automated window shades, sensors, digital ballasts, and LED drivers under one system. With new additions to the Quantum system, electric light and natural sunlight can be managed, mitigated, and monitored under a single software umbrella to optimize performance and reduce energy use. New control interfaces incorporate slider controls, architrave keypads, and software features like conditional logic, user access rights, and and iPad app. The system’s new features and components will be available this summer. Lumiblade Philips The Lumiblade system utilizes organic light emitting diode (OLED) technology for even, glare-free illumination on a razor thin fixture at .13-inches in thickness. As a fixture, the OLED Panel GL350 measures 4.9 inches on each side with up to a 200-lumen luminous flux suitable for commercial settings. The same OLED technology is also applied to the LivingSculture 3D Module System: The modular system arranges any number of 3-by-3-inch tiles along rods of varying heights to create a uniquely illuminated surface texture. Flatlight Luminaire PIXI Lighting The PIXI company debuted at Lighfair with its Flatlight Luminaire series, which utilizes the same LED technology found in high definition televisions to prevent glare, flicker, and hot spots. The fixture utilizes an internal power source that enables flush mounting on any vertical, horizontal, or angled surface. It can also be installed into T-grid ceilings or suspended as a pendant. At .55 inches thick, it’s available in a variety of rectilinear shapes, sizes, finishes, and color temperatures.
This summer, the Whitney Museum of American Art will reinstall a work for the first time since its original conception in 1977. Robert Irwin (b. 1928) formed the large-scale Scrim veil-Black rectangle-Natural light, Whitney Museum of American Art, New York, especially for the Emily Fisher Landau Gallery almost four decades ago. The exhibition was central to Irwin’s career, as it determined the path for his ensuing practice, and will now be on display for the second time from June 27 to September 1, 2013. The work accentuates the Whitney’s renowned Breuer building and the natural light that reaches the interior from the single Madison Avenue window. Irwin’s installation involves a partially transparent white scrim weighted down by a black metal bar. The system is suspended from the ceiling and hangs five and a half feet above the floor, spanning 117 feet across the room. A thin black line mirrors the bar and borders the gallery walls. The elements accentuate the setting and sway visitors’ observations of the Museum’s fourth floor. In concurrence with the exhibition, the Whitney will digitize the 1977 exhibition catalogue and make it accessible online. It will contain images, plans, and information assembled by the 1977 exhibition’s curator, Richard Marshall. The updated report will include a new introduction by Whitney Chief Curator Donna De Salvo. Photographs and drawings associated with the display will be located in another fourth-floor gallery. Robert Irwin is a native of Long Beach, California and studied at the Otis Art Institute and the Chouinard Art Institute, where he trained in Abstract Expressionist painting. He was invited to join the Ferus Gallery in 1958, but soon after he began to create new minimalist works. As he fused his creative methods with his interests in science, philosophy, and religion, Irwin conceived that art must be conditional to its environment and must enhance viewers’ perceptions. He deserted the idea of the frame to create art in express response to certain settings. An artist at the forefront of the Light and Space movement, he continues to build site-specific works.
The Art Newspaper is out with its latest listing of top exhibitions and museum attendance for 2012 and in the category "Architecture and Design" there are some surprises. MoMA, the first museum in the world to have an architecture department, has led this category for many years and in 2011 as usual had the top three architecture and design exhibitions in the survey. But for 2012 St. Petersburg's Hermitage Museum's first show dedicated to a living architect, Santiago Calatrava: The Quest For Movement, broke MoMA's monopoly of the category and became the most popular exhibit in the world. The exhibit on the Spanish architect drew 430,000 visitors or 5,217 people per day during its run in St. Petersburg—making it the 23rd most popular show overall in the survey. The next two top-drawing shows were again at MoMA with their design show Century of the Child: Growing by Design and Foreclosed: Rehousing The Dream leading the way with nearly a million visitors for the two exhibits on 53rd Street. The Cooper Hewitt made the list this year with two exhibitions: Graphic Design: Now in Production and Design With the Other 90% coming in at number six and seven in attendance. Sadly as a result of its recent financial difficulties Rome's MAXXI Museum was nowhere to be seen in this years list though in 2011 it had two exhibitions in the top ten.
What do you do if a building is slated for demolition? If you’re the artist Doug Aitken and the building is your gallery, you devise a “time-based destruction installation.” Which is precisely what Aitken, who is known for wrapping the facade of the Hirschhorn Museum in with a 360-degree video installation to the tune of “I Only Have Eyes For You,” installing a video "land art" installation on the Seattle Art Museum, and the video “Sleepwalkers” projected on the facades of MoMA, “a cinematic art experience that directly integrates with the architectural fabric of the city while simultaneously enhancing and challenging viewers’ perceptions of public space” did. Aitken’s latest exhibition, which wrapped up at the end of March, entitled 100 YRS at Gallery 303 on West 21st Street was filled with word-based artworks such Plexiglas letters spelling “Art” with chocolate milk-like slurry cascading over the letters, black textured rock spelling “Sunset” and “Magic” featuring rear-lit images of the blowing up of Pruitt-Igo on each letter. Visitors were greeted by “Sonic Fountain” which is a round hole jackhammered out of the galley floor (since it was going to be destroyed anyway), filled with water from dripping pipes on the ceiling, and equipped with underwater microphones to amplify the dribbling sounds. The gallery walls and floors were gradually being destroyed around these artworks over the last week, not by construction workers, but by musicians. Three percussionists gently deconstructed the space climbing onto drywall, hacking away at rubble, and rising on scissor-lifts, making a music of sorts as they worked. The one-story building has been sold, and word from the gallery director Cristian Alexa is that Norman Foster has been retained to build a tower on the site.
Dialogues, the series of conversations between architects and artists that took place at the MAK Center in Los Angeles over the last couple of months, is finishing up tonight with an exhibit of the designers' work. The show features drawings, images, and models from a serious lineup at For Your Art on Wilshire Boulevard. Contributors include: Doug Aitken, Barbara Bestor, Escher Gunewardena, Fritz Haeg, Jorge Pardo, Linda Taalman, Xavier Veilhan, Pae White, Peter Zellner, and many many more. The show will be up until April 16.