An exhibition of architectural photographer Ezra Stoller’s work will open at the Yossi Milo Gallery tonight in New York and runs through February 12. A few of the photos are instantly recognizable, such as a photo of the Guggenheim lobby featuring women in pillbox hats standing in the foreground. But the gems of the show are those taken off the beaten path, like the roof of the Seagram’s Building or a parking garage in Miami. “We see it as a mini-retrospective,” said Milo. “We wanted to show more than the slam-dunk photos, to give it more depth.” The images show not only Stoller’s precise technical ability, but also reveal the self-effacing nature of architectural photography: that of an artist recording work of another artist. But the depth of Stoller’s appreciation for art and design makes it easy to forget that one is looking at a stand alone work of art. Not only is the genius of Mies, Wright and Saarinen observed, but the works of Picasso, Kandinsky, and Miro peer out from building interiors as well. The artworks act as a magnet, pulling the viewer further in. In a single shot of a Seagram interior one of Rothko’s “Red” paintings hangs next to the next to an Eames sofa which sits across from a Franz Kline. “These were such new ideas. Now people sit with an iPhone and think that’s modern,” Milo said gesturing to the photograph. The gallery owner noted that some photos that didn’t make it into the show revealed the photographer’s intense interest in the building process. “There are photos from the beginning of when the U.N. was being built. He kept going back and going back,” he said. The images show buildings shot at all times of day and in all kinds of weather, taken at night, in the rain, after the rain, or, as in one photo of Saarinen’s TWA terminal, as a lightning storm approaches. That particular silver print holds varying tones of white within the building interior, while simultaneously retaining all the grays and blacks of the approaching storm.
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BEFORE SUBZERO, REFRIGERATORS WERE WHITE (OR AVOCADO) Eavesdrop jetted to pollen-crusted Raleigh, NC, with an eclectic herd of reporters from the likes of Sculpture magazine and The Jewish Daily Forward to tour the North Carolina Museum of Art expansion designed by Thomas Phifer. We were not disappointed. The 127,000-square-foot museum is an elegant, single-story box penetrated by courtyards, pools, and gardens. The interior and exterior details are so deliciously subtle that they seemed to elude some of the mainstream press, who asked him why he didn’t site the building to dominate the street. Articulate and precise, Phifer hypnotized the skeptics by explaining every strategy convincingly, and they hung on his every word. (Check out AN correspondent Thomas de Monchaux’s own critical appraisal in our next issue.) Later, as the tour wound down, and journalists were milling about in the lobby, Eavesdrop overheard two gentlemen relaxing on a bench and discussing the building’s aesthetics. The one with deep architectural insight commented to his older companion: “White. All the walls are white. Everything is white! I wondered what that was about, and then I remembered that Phifer worked for Richard Meier for years. That’s where he got his refrigerator-door palette!” Eavesdrop almost collapsed. CHANNELING WARHOL Attention, iPhoneys. “Is This Art?” is a new iPhone app “designed for people who have questions about the artistic integrity of their surroundings.” Using the iPhone’s camera, the app’s Pittsburgh-based developers claim they will instantly provide users with an “authoritative declaration of artistic importance.” This could work for architecture, thought Eavesdrop, which found three architecture-related submissions in its reservoir. The bloated, rainbow-colored “Hell, Yes!” barnacle on the New Museum in New York was panned with “I do not understand it; therefore, THIS NOT ART.” The merit of W.R. Dalzell’s apparently out-of-print book Architecture: The Indispensable Art was confirmed with “This work’s materiality is immaterial; therefore, THIS IS ART.” What is art, the cover or its contents? The same approval rating was bestowed on a bland window wall of a building that looks like a stillborn Dwell house. First one to submit a picture of Danny Libeskind’s Dresden Military History Museum wins. FAREWELL FEUD Raimund Abraham, who died in a car accident on March 4 in Los Angeles, had been a faculty member at Cooper Union since 1971, along with other long-timers such as Lebbeus Woods, Diane Lewis, and Kevin Bone. And while a memorial for Abraham in Vienna at the MAK Museum is planned for June 11 (including Peter Eisenman, Michael Rotondi, Wolf Prix, and Woods as speakers) in spite of his renouncing Austrian citizenship in 2002, factions at Cooper Union have proved so fractious that no date or program for a memorial in New York has yet been set. Send vintage Kelvinators and Frigidaires to email@example.com
With an iPhone app already proffering the city that never was, how about the one that is, or is about to be? That is the charming task of Designnear. (That's design-near, not design-ear.) From the fine folks at Hopnear, which also has a cool Artnear app, too, Designnear maps out nearby contemporary buildings of interest, replete with lots of cool photos and renderings and vital info. And forget where that cool, new project you just read about in The Architect's Newspaper is? There's a search, function, too, that'll map it out and let you find it. Better yet, anyone can log-on and submit their own projects—that's you, up-and-coming architect—hopefull leading to a comprehensive iPhone catalog of all the city's nifty buildings. UPDATE: A Hopnear rep emailed us to say that Designnear now has landmarks listed for most U.S. cities, and they're poised for a roll out in Asia and Europe.