After moving this past July, the A+D Museum in Los Angeles is now fully settled in its new home at 900 East 4th Street in the developing Downtown Arts District. The exhibit that opened March 24 features the work of creatives like product designers KILLSPENCER x Snarkitecture, to architects/gamers Ozel Office, to sculptor Vincent Tomcyk. A+D was founded in 2001 by architects Stephen Kanner and Bernard Zimmerman and focuses on contemporary architecture and design exhibits, educational programming, kid-focused design workshops, and outreach. The museum originally opened in the Bradbury Building and was nomadic for much of its first decade. In 2010, the museum thought it found a permanent space at 5900 Wilshire Boulevard on Museum Row near the Los Angeles County Museum of Art (shout out to one former exhibit Never Built: Los Angeles co-curated by AN contributing editor Sam Lubell). But eminent domain forced A+D to look for another spot. Soon after moving in, the Metropolitan Transportation Authority announced plans to demolish the Museum Row building to make space for the future Fairfax station that is part of the in progress 3-phase Purple Line extension. The complete extension is estimated to open, if on schedule, by 2035. Gensler designed A+D’s new digs, renovating an 8,000-square-foot old brick building that could have been a bowling alley. The new arts district location means the museum is across from the downtown L.A. architecture school, SCI-Arc. These recent developments are part of a larger effort to convert an area that was once mostly empty warehouse into a new neighborhood celebrating art and design.
Posts tagged with "Los Angeles Arts District":
The March 2016 opening of Hauser Wirth & Schimmel’s Arts District complex is getting closer and the gallery just announced its inaugural Los Angeles exhibition: Revolution in the Making: Abstract Sculpture by Women, 1947–2016. The all-female show will fill the galleries and outdoor spaces of the former Globe Mills complex retrofitted by Annabelle Selldorf of New York City's Selldorf Architects with Creative Space, Los Angeles. The campus will include a bookstore, a publications lab, a bar and restaurant, a garden and courtyards, and commissioned permanent artworks that engage the architecture. Co-curated by Paul Schimmel, former chief curator at MOCA, and art historian and critic Jenni Sorkin, Revolution in the Making highlights 100 works that illustrate a changing approach to practice, abstraction, installation, craft, and tactility. The press release makes a case for contemporary lessons from many of these now-historical works: “The exhibition examines how elements that are central to art today—including engagement with found, experimental, and recycled materials, as well as an embrace of contingency, imperfection, and unstructured play—were propelled by the work of women who, in seeking new means to express their own voices, dramatically expanded the definition of sculpture.” Featured artists include postwar practitioners Ruth Asawa, Lee Bontecou, Louise Bourgeois, Claire Falkenstein and Louise Nevelson, as well as radical influencers from the 1960s and '70s: Eva Hesse, Sheila Hicks, and Yayoi Kusama. The curators also included groupings of work by “postmodern” and contemporary artists working in environmental, installation, and performance modes, including Isa Genzken, Liz Larner, and Jessica Stockholder. Jackie Winsor’s sculpture 30 to 1 Bound Trees will be exhibited in center of Hauser Wirth & Schimmel’s outdoor courtyard. A 20 foot-high mast of white birch saplings and hemp rope, the piece is being recreated for the first time since 1971.
Hennessey + Ingalls is a rarity in an age when bookstores that survived the rise of Amazon are often indistinctive superstores or exercises in hipster curation. Los Angeles’ long-established mecca for art and architecture is neither. Fans were nervous when the store shuttered its Hollywood annex in Space Fifteen Twenty last spring. While the Santa Monica store on Wilshire and 2nd will close at the end of the year, it will reopen in a new space at One Santa Fe, the mixed-use development complex designed by Michael Maltzan Architecture. When Reginald Hennessey first set up the store in 1963, it catered to an up and coming community of artists, architects, and art enthusiasts. The tradition of stocking its wooden shelves with rare, sometimes out-of-print books has continued to enthrall readers from around Los Angeles and has even managed to attract the attention of design institutions from all over America. The family owned store was passed down from Reginald to his son and finally grandson, Brett, who now runs the business. He was responsible for computerizing the operations and increasing the store’s online presence. Initially based out of Santa Monica with a branch in Hollywood, the business had to close down the latter due to an increase in rent and a smaller customer base. The store, currently 8,000 square feet, is downsizing to a smaller, but better-located 5,000-square-foot location in the Arts District. “We were focusing on Downtown L.A. and crossed paths with Michael Maltzan. It just turned into a really good partnership because One Santa Fe is right up our alley. The curation of businesses there are kind of what we like most about it,” said Brett Hennessey. The bookstore anticipates a bigger customer base at its new location, located right across the street from SCI-Arc, a few minutes away from FIDM, and even close by to the University of Southern California. “People can drive in from 360 degrees around us. The problem with Santa Monica is that only half the side can drive to the store” quipped Hennessey. Hennessey + Ingalls will celebrate the last holiday season out of Santa Monica and will open its doors again in February 2016. This time in DTLA.
Art and architecture book nirvana Hennessy + Ingalls closed its Hollywood location on Sunday after just six years in business. The store had been situated in a bow truss structure inside Space 15 Twenty on Cahuenga Boulevard, just north of Sunset. "It's been a struggle from the get-go," said store owner Mark Hennessey, who bought the location a few months before the economy collapsed and finally "decided to pull the plug" after Space 15 Twenty substantially raised the rent. "People are still buying books but they're not buying them in bookstores," he added. "We need a new generation of architecture and design lovers. Right now they're not coming in as often." Hennessy + Ingalls will maintain its Santa Monica location, which Hennessey said is the largest of its kind in the country, but he acknowledged that he's been looking for smaller, more affordable space in Los Angeles's Arts District.
Tomorrow, Saturday, March 28, is the last day to enjoy Nike's Air Max Box pop up at 735 East 3rd Street in LA's Arts District. The installation, inspired by one of the company's shoe boxes and designed to show off the brand's Air Max Zero, is covered with an array of LED displays, projecting kinetic Nike-related graphics. You can even walk inside if you make a reservation, checking out shoes (some viewable under a glass floor, others suspended in what look like pneumatic tubes), and getting a look at working sketches from some of the company's top designers. (Video courtesy Joey Shimoda)
Last week, AN reported on the development of Alameda Square in Los Angeles, the 1.5-million-square-foot mixed use project being designed at the old American Apparel factory site on the southwest edge of LA's Arts District. Movement on projects like this beg the question: Just how hot is LA's Arts District? AN's West Coast Editor Sam Lubell sat down for a short chat with James Sattler, a Vice President of Acquisitions at JP Morgan Asset Management, to find out. The Architect's Newspaper: What potential do you see in the LA Arts District? Do you see it as one of the major development areas of the city? James Sattler: Clearly there is a lot of development activity in the area, and this mirrors the pattern we are seeing in many parts of Downtown. I think the Arts District has the potential to become a terrific example of LA’s current wave of post-industrial urban renewal and can ultimately mature into a veritable live/work/play neighborhood with a deeper array of housing, office, and retail uses. Why is it such a major draw for real estate investment? I think the residents, artists, and businesses here today are attracted to the Arts District because it is such a truly authentic urban environment that is connected to the energy and grittiness of Downtown but with a very approachable, pedestrian-friendly scale. Access to a rapidly improving public transport system is also a big plus. It’s hard to find this combination of characteristics in a neighborhood here in Southern California, yet people appear increasingly drawn to the type of urban lifestyle that the Arts District offers. Investors are drawn here for similar reasons. Are there any particular projects in the area that you see as transformative? I think the LA MTA’s Regional Connector project will be huge. When complete it will provide much more convenient access from the Little Tokyo/Arts District station to the rest of the Metro Rail system which will ultimately link to other parts of LA County like downtown Santa Monica, and potentially LAX and UCLA. I also think that the city’s plan to revitalize the LA River corridor, which runs along the east side of the Arts District, will have a big positive impact. Some people call this the next Meat Packing District, ala Manhattan. Do you agree? While I think there are some parallels in terms of an industrial neighborhood in transition, I think it’s too facile to compare them like that. I think one of the reasons for the success of the Meat Packing District is that the city took a very active role in developing the High Line and helping to preserve historical elements of the neighborhood that create its unique sense of place. Time will tell if the Arts District evolves similarly in LA.
Our favorite new naming triumph: SCI-Arc’s “Hispanic Steps.” The new indoor amphitheater, paid for in part by a recent ArtPlace grant and located in the middle of the SCI-Arc building in Los Angeles, is used for lectures, performances, symposia, film series, and community meetings. At a recent meeting to discuss SCI-Arc's Arts District plans that are also part of the $400,000 ArtPlace grant, officials posed on the newly completed steps for a photo. Included are SCI-Arc's Chief Advancement Officer, Sarah Sullivan (front center) and Chief Operating Officer, Jamie Bennett (upper right).