Posts tagged with "Guggenheim":
[UPDATED] Protesters light up New York’s Guggenheim to challenge working conditions in the Gulf region
Every Day is May Day
A Storm is Blowing from Saadiyat Island
G.U.L.F.UPDATE Thu, Apr 28, 2016 at 4:52 PM The Guggenheim's Deputy Director of Global Communications Tina Vaz told AN in an email:
"This latest action by Gulf Labor is another example of their willingness to attack the Guggenheim for easy publicity versus pursuing a program of thoughtful advocacy. Their demands are not only beyond the Guggenheim's direct line of influence but beyond the influence of any single arts institution. We are leveraging our advocacy to its fullest, but the issues they are focused on are highly complex and involve many players. The Guggenheim and our UAE partner, the Tourism Development & Investment Company, have dedicated significant energy and resources to and made measurable progress on the issue of workers’ welfare."UPDATE Thu, Apr 28, 2016 at 6:08 PM Gulf Labor's Andrew Ross told AN in an email:
"Over the last six years, Gulf Labor members have devoted countless hours of uncompensated labor doing research in the field--taking testimony from workers and building contacts with them---writing reports, articles, and books (see The Gulf: High Culture/Hard Labor), making agit prop art (52 Weeks, and residency at the Venice Biennale), engaging in dialogue with a range of institutions, including NYU, the Guggenheim, and the Louvre, building partnerships with a range of NGOs (including Human Rights Watch, Amnesty, ILO, and ITUC), and spinning off initiatives like Who Builds Your Architecture? Andrew Ross of Gulf Labor told AN in an email:
By contrast, the Guggenheim, despite the vast power of its brand name, has done little but dragged its feet. In the face of all our cumulative efforts to raise labor standards in the Gulf, its shocking to hear a museum representative seek to denigrate committed, hard-working artists and writers as publicity-seekers.The museum leadership and trustees should be ashamed. And, if they do not take action soon, the Guggenheim name will be further tarnished by its association with human rights abuses."UPDATE Fri, Apr 29, 2016 at 12:16 PM Vaz told AN in an email:
"The facts do not support Gulf Labor's attempts to revise history. Those who are knowledgeable about the Guggenheim's engagement in Abu Dhabi - including artists, diplomats and NGOs - are all too familiar with the resources we have dedicated to this issue since 2007, including countless meetings, contributions to the Employment Practices Policy that governs working conditions on Saadiyat Island, and visits to see the workers' accommodation village ourselves. Meanwhile, most of Gulf Labor's work has been dedicated to generating media attention that is singularly focused on the Guggenheim, instead of a sincere effort to develop an advocacy program to address labor rights. Their continued attacks on us underscore the unproductive nature of their approach, which is precisely what led us to discontinue direct meetings."UPDATE Sat, Apr 30, 2016 at 2:56 PM Ross told AN in an email:
"Look behind the museum's PR facade and you will still find the grim reality of workers conditions in Abu Dhabi. Every investigative team to visit the Gulf states has reported that there is near-zero political will to enforce labor regulations. If the Guggenheim leaders continue to put their trust in the UAE authorities and shun NGO expertise, then they will be stepping away from the obligation to improve the welfare of hundreds of thousands of workers by setting a fair labor precedent."
GH-76091181 comprises a ring of slender, sculptural towers faced with timber shingles, reminiscent of vernacular architecture, gathered around a cathedral-like central space. The towers, with their play of light and shadow, create an architectural beacon, visible by land or sea, while the central space, sheltered from extremes of weather yet part of the quayside, provides an exceptional new site for public events on the waterfront. Exhibition galleries are housed in timber cabinets stacked within the towers. Bridges connecting the towers offer respite space for visitors between experiencing art and offer new viewing points over the city and harbor.From the design team:
GH-5631681770 reconfigures circulation and use of the East and West Harbors to establish an area of industrial activity and an area of cultural activity, with the museum as the link between the city and the waterfront. In a critical shift from the idea of a building as static object to a building that accommodates the flux of daily life, a city street runs through the interior of the museum, opening it to appropriation by the citizens and creating a combination of programs: a museum program and an unpredictable street program, in which visitors may become productive and creative users of the space.From the design team:
GH-04380895 links the museum to the rest of the city through a pedestrian footbridge to Tähtitorninvuori Park and a promenade along the port, including a food hall and a market during the warm months. The museum programs are housed in pavilion-scale buildings treated as independent, fragmentary volumes within this landscape, allowing for a strong integration of outdoor display and event spaces with interior exhibition galleries. The ensemble is made to stand out from afar by being composed around a landmark tower. The use of charred timber in the facade evokes the process of regeneration that occurs when forests burn and then grow back stronger than before.From the design team:
GH-121371443 drapes a skin of textured glass panels over a bar-like, two-story interior structure, creating an environmentally sustainable public space between the facade and the gallery volumes, with natural light diffused throughout. In an unusual innovation, the element that makes the building sustainable—the intelligent glass wrapper, which uses technology such as Nanogel glazing and rollable thermal shutters—is also the element that distinguishes the project visually, giving the building an ethereal presence. Within the building, an annex for the work of younger Nordic artists is paired with a market hall, and a service pavilion encloses a sculpture garden.From the design team:
GH-1128435973 creates two facilities in dialogue with each other. The ground floor is an adaptive reuse of the existing Makasiini Terminal, conceived as a public space that extends the pedestrian boardwalk into the building. This is a place for education, civic activity, and incubating ideas. The second floor is an exhibition hall on stilts, which hovers above the terminal building, partly removed from everyday life. The long rectangular volume offers a flexible space for all types of exhibitions and adheres to the notion of a museum as a space apart. Through this dual scheme, the proposed museum could engage its public to co- create value and meaning.From the design team:
GH-5059206475 reuses the laminated wood structure of the Makasiini Terminal to rebuild a wooden volume that exactly follows the geometry of the original, and preserves the current views from the park and the adjacent buildings. Within this structure—essentially an undisturbed network of existing conditions—the project creates 31 rooms: eight of them measuring 20 x 20 m, 18 of them 6.5 x 6.5 m, four of them 10 x 10 m, and one 40 x 100 m. This rigid set of spatial conditions is combined with a deliberate distribution of climates based on the program and principles of sustainability, with each room acclimatized independently so that the galleries together form a 'thermal onion.'
Mildred Friedman, the longtime design curator of Minneapolis' Walker Art Center and a prolific architectural author, died Wednesday at her home in New York City. She was 85. Friedman, whose friends called her “Mickey,” ran the Walker for 21 years with her husband, Martin, who was its director. Together they made it “America's leading design museum,” according to a tribute from Architectural Record on the occasion of the couple's “retirement” in 1990.
As the museum's design curator, Ms. Friedman also edited its publication, Design Quarterly, which she managed deftly, according to Andrew Blauvelt, the Walker’s senior curator of design, research, and publishing. "With its singular focus, generous reproductions, and smart design, it was decidedly not one of those dry and often poorly designed, peer-reviewed, academic journals,” wrote Blauvelt in a remembrance. “Although it’s been more than 20 years since DQ ceased publication, the void that it left has never been filled.”
Much of her work curating and editing Design Quarterly would spin off into publications. Friedman wrote or co-wrote dozens of books, including Graphic Design in America: A Visual Language History, the first large-scale museum survey of the field.
Since 1990, she and her husband had lived in New York City, where Ms. Friedman continued writing and curating at institutions including the Guggenheim Museum, the Canadian Centre for Architecture, and the Brooklyn Museum.
Under Friedman, shows at the Walker were not just shows but immersive experiences.
“In Mickey’s hands, a design show was never simply about a subject, but drew upon the principles and power of design itself to create a compelling experience,” wrote Blauvelt. “ This particular strategy of restaging, wherein visitors can not only look at works of art on view but also experience them directly and even viscerally, certainly drew upon Mickey’s skills and experience in interior design but also signaled a powerful new curatorial technique.”
Mickey was instrumental in defining the architectural landscape of the Twin Cities by connecting patrons to architects … She was the design maven of the Twin Cities for many years and she had a huge impact— huge.
Friedman's legacy is inextricably linked to those of many 20th century architects. Her 1986 exhibition of Frank Gehry's work bolstered the architect's career—a feat she replicated by championing the likes of Elizabeth Diller, Ricardo Scofidio, Tod Williams, Billie Tsien and César Pelli, whom she also helped win commissions in the region by suggesting them for local landmark projects.
Born Mildred Shenberg in 1929, Ms. Friedman grew up in California. She met Martin Friedman at UCLA, where her future husband was teaching drawing as a graduate student in art history and painting. They married in 1949.
In 1980 she started the Mildred S. Friedman Design Fellowship, a program to give recent design graduates experience in her design studio at the Walker Art Center.
Her survivors include her husband, three daughters, and six grandchildren.