The Metropolitan Museum of Art has announced the appointment of Beatrice Galilee, 31, as associate curator of architecture and design. She will work within the department of Modern and Contemporary Art. According to a job posting in The Art Newspaper, the curator will develop collection and research strategies for the department as well as organize collection and special exhibitions, among other duties. Galilee is a writer and curator, most recently of the Lisbon Design Triennial in 2013, called Close, Closer. She was co-curator of the Gwangju design biennale in 2011 and 2009 Shenzhen Hong Kong Bi-City Biennale of Architecture and Urbanism. She was previously the architecture editor of Icon magazine, and holds a MSc in the History of Architecture from the Bartlett School of Architecture at University College London. Galilee will have a wonderful piece of architecture to work in. The Met is taking over the Marcel Breuer–designed Whitney Museum building uptown to show works from the Modern and Contemporary Art department. “Beatrice Galilee will join the staff of our Department of Modern and Contemporary Art as it expands to embrace a more global program and mandate,” stated Thomas P. Campbell, the Met's director, in a statement. “She brings to the position her strong international experience in the presentation and study of architecture and design-related work. Hers is one of two positions in the department that were endowed recently by Dan and Estrellita Brodsky. Their commitment to modern and contemporary art at the Met has been visionary, anticipating the new opportunities for programming in the Marcel Breuer-designed building on Madison Avenue that will be vacated by the Whitney Museum in 2015 and then occupied by the Met.”
Posts tagged with "Metropolitan Museum of Art":
Ken Price’s colorful, sensual ceramic sculptures have always posed the question as to whether they are art or craft. But the blur may also include the architectonic. His signature forms—cups and eggs—set up a tension between exterior and interior. New York Times art critic Roberta Smith has written: "Their forms oscillated between the biomorphic and the geometric, the geological and the architectural." Price’s friend, Frank Gehry, designed the installation of the exhibition, Ken Price Sculpture: A Retrospective, currently on view at the Metropolitan Museum of Art through September 22. He lives with Price’s ceramics, his first purchase being a cup festooned with snails. Gehry wrote of Price’s work, "They were like buildings." He cited a cup with a twisted piece at the top, and sees the similarity to his California Aerospace Museum, 1982-84, featuring an airplane jutting out of the structure. "I think the similarity of form was totally unconscious. Now I think a lot of architects must have been looking at those cups…the relationships are amazing." The relationship was probably both ways. The catalogue makes compelling visual analogies between Price’s Untitled (Slate Cup) from 1972-77 with Frank Lloyd Wright’s Fallingwater; the blocky orange flats perched on yellow sides of Hawaiian from 1980, are compared with cliffside pueblo dwelling (both have small dark cutout “windows” set into rectangles) as well as OMA’s Seattle Public Library. Think of the openings into his sculptural forms, whether small or large, as the mysterious entrance to a darkened, monumental temple. With Price, scale is relative—Price quoted artist Joseph Cornell, whose boxes he admired: “Tiny is the last refuge of the enormous.” Ken Price Sculpture: A Retrospective on view at the Metropolitan Museum of Art, 1000 Fifth Ave., through September 22.
Four residents of New Jersey and two public interest groups have pledged to appeal the court ruling upholding the grant of a variance to allow LG Electronics USA to build an 8-story headquarters in Englewood, NJ. If built, the HOK-designed office complex (pictured) will rise above the tree-line and forever change the view of the Palisades from the Cloisters, the Metropolitan Museum of Art's outpost in northern Manhattan, that sits along the Hudson River facing New Jersey. “We have reviewed the decision and believe that it is erroneous. We plan to appeal,” said Angelo Morresi, attorney for the public interests groups, in a statement. (Rendering: Courtesy HOK)
Conciliatory efforts have failed in the fight over LG Electronic's plans to build 143-foot-high, HOK-designed office complex atop New Jersey's Palisades across the Hudson River from Manhattan. The new headquarters, to be located in Englewood, has been the subject of much debate as several advocacy groups, individuals, and officials from the Metropolitan Museum say that the 8-story building would disrupt the idyllic view of the wooded Palisades from the Cloisters, the MET's outpost in northern Manhattan. Earlier this year, a coalition of groups and individuals—including Scenic Hudson, the New York-New Jersey Trail Conference, and the New Jersey State Federation of Women’s Clubs—filed a lawsuit against a variance and zoning in hopes of encouraging a redesign of the building. The two opposing parties agreed to meet with a court-supervised mediator this spring, but according to LG Electronics, these negotiations were unsuccessful. LG claims that the parties had agreed "not to discuss the matter in the media while the process was underway, yet at several points during the sensitive negotiations, groups aligned with the intervenors undertook activities that broke the spirit of the court’s instructions and repeated many inaccurate statements about the project." John Taylor, Vice President of LG Electronics, said that "the players themselves might not have been directly involved," but there was "a stepped up campaign by the opposition during very sensitive negotiations of the mediation and it was not helpful to the process." Now that the parties have failed to come to a resolution, the case will go through court proceedings. "As we said we are confident that we’ll prevail in the courts," said Taylor. "We hope the judge will make a decision later this summer."
Cambodian Rattan The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY Through July 7 Sopheap Pich is a contemporary Cambodian painter and sculptor known particularly for his unique rattan and bamboo sculptures. He uses these two culturally meaningful materials to create organically flowing, three-dimensional, open-weave forms. Most of his works emulate the naturally fluid forms of human anatomy and plant life. For example, “Morning Glory,” a mesh sculpture inspired by the blooming vine that served as an important source of nourishment for the Cambodian population during the 1970s, gently slinks across the floor before gracefully opening into a delicate flower. This exhibition features ten of the Cambodian artist’s most important works, which appear to be weightless, but deliver deep and complex statements about culture, faith, nature, the rich, and the sometimes-tragic history of Cambodia.
At War With The Obvious: Photographs by William Eggleston Metropolitan Museum of Art Howard Gilman Gallery 852 New York Through July 28 William Eggleston, one of the first American photographers to experiment with modern color photography in the 1960s, is known for his ability to capture the essence of southern life through photographs of ordinary people, scenes of everyday life, and commonplace objects, such as a child’s tricycle or a sign reading “Peaches!” set against the backdrop of a cerulean blue sky. Eggleston produced much of his color photography with a dye transfer printmaking process, a technique that was previously used solely for commercial and advertising purposes, and established it as a prominent artistic medium in the American tradition. The Metropolitan Museum of Art exhibition, At War With the Obvious, celebrates Eggleston’s work by presenting together for the first time thirty-six dye transfer prints he created in the 1970s. It also features his first portfolio of color photographs, fifteen prints from his landmark book, and seven other of his most recognized photographs.
The Cloisters museum and gardens, the Metropolitan Museum's outpost for Medieval architecture and art in northern Manhattan, faces the tree-lined cliffs of the Palisades across the Hudson River in New Jersey. The view is picturesque, uninterrupted by the built environment—nary a single building in sight. But soon, a 143-foot-high office complex designed by HOK could rise above the treetops, a change some say will spoil the idyllic natural view. The New York Times reported that LG Electronics USA's plan to build an eight-story headquarters in Englewood Cliffs, New Jersey, has sparked protests from environmental groups, the Met, and Larry Rockefeller—whose grandfather donated four acres of land for the museum and park in New York and purchased 700 acres along the cliffs on the other side of the river to keep the view unmarred. According to the New Jersey Record, LG is among the largest taxpayers in the area, and therefore has some clout with local government officials in Englewood. The Record reported that LG was granted a variance to exceed a 35-foot height limit in the area, a move later challenged in court. The property was subsequently rezoned to again allow for additional height. The development was also approved last fall by the New Jersey State Department of Transportation and Department of Environmental Protection. The new 493,000-square-foot headquarters will cost an estimated $300 million, which LG said will yield jobs and bring in more than a million dollars in tax revenue. Several groups and individuals are taking action, however, to prevent the new development from blemishing their much-loved, pristine views. The Met wrote a letter to LG requesting that they “reconsider the design,” and Rockefeller has spoken with LG officials to explain the significance of the landscape. In addition, environmental groups and Englewood residents have filed two separate lawsuits against the project. Still, LG plans to begin construction on the new campus this year, with construction wrapping up in 2016. Rockefeller told the New York Times he's optimistic a resolution will be found, saying, "No one’s opposed to the building per se. I’m certainly not. It’s just the design of it being tall and so visible.”
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The artist’s first major U.S. commission lands at the MetOn Monday, the Metropolitan Museum of Art held a preview of the latest installation to take root in its Iris and B. Gerald Cantor Roof Garden. Designed by Tomás Saraceno, the installation is the largest of the artist’s Cloud Cities/Airport Cities series, and his first major commission in the United States. Under overcast skies and a sprinkling of rain, the installation’s first visitors—or at least those wearing rubber-soled shoes—clamored through its 16 interconnected modules. Some paused to sit or lie in the structure’s uppermost areas, while others were content to view the constellation of mirrored acrylic forms and nylon webs from the ground. The experience of boarding the structure is disorienting, and the piece gives visitors the impression that it would float away from the rooftop and over Central Park if not tethered to the Met by steel cables. Saraceno, who participated in the Space Studies Program of the International Space University at NASA’s Ames Research Center in California, draws heavily from scientific inspiration in his work. He writes: "Cloud City’s composition is based on a complex three-dimensional geometry from Weaire-Phelan, which is an idealized foam structure resembling the perfect packaging of spheres with a minimal surface and maximum volume. This could be the best possible geometry for connecting solar flying city atmospheres. From solid to liquid or gaseous—Cloud City’s composition—a latent molecular foam structure with its infinite variations. It is not one precise arrangement (or explanation or size that matters) but rather their potential to be endlessly recombined and reconfigured, depending on the context of its use, and the interaction of their users yet to be discovered." Cloud City has been two years in the making. Fabrication of the 20-ton piece, which measures 54 feet long by 29 feet wide by 28 feet high, began in December, with installation starting in mid-April. Brooklyn Office Architecture and Design and structural engineer Arup consulted on the design, taking into account both wind loads and the weight of visitors. The polygonal steel modules consist of straight steel members that were assembled off site into individual globes, then hoisted by crane to the roof and bolted to each other and to internal stairs and platforms. Both transparent and acrylic mirrored surfaces are fastened with pop rivets to the structure. The installation's most organic forms—polyester spider webs that are a hallmark of the artist's work—were installed last, their placement and shape determined largely by Saraceno on site. The piece will be on exhibit through November 4, 2012, weather permitting. Because a limited number of visitors may enter the structure (each set of steep stairs accommodates only two people at a time), lines are sure to be long and guests are urged to wear pants and sunglasses because acrylic components are both transparent and reflective. But the payoff is a new view of the city and the experience of feeling the modules shift and react to the weight of those inside them. As Anne Strauss, the Met's modern and contemporary art curator, commented at the opening, “There’s nothing that is more rewarding and interesting than working with living artists.”
New Galleries of the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia The Metropolitan Museum of Art Permanent galleries opened November 1 After a hiatus of nearly eight years, the Metropolitan Museum’s Department of Islamic Art and its extensive collection—one of the most comprehensive gatherings of this material in the world—will permanently return to view this November in a completely renovated space of fifteen galleries. The suite of galleries was constructed by a fleet of Moroccan craftsmen (in action above) recruited specifically for their experience and the precision of their work. Nearly as impressive as the handiwork of different trades is the team of planners, architects, and scholars who collaborated with them. Nadia Erzini, Achva Benzinberg Stein, and other experts worked with Metropolitan’s own curators to create spaces of contextual authenticity. The galleries are arranged geographically, further highlighting the rich and complex diversity of the Islamic world and its distinct cultures within.
Rollin' on the River. After seventy years, the Los Angeles River is now open to use by residents and visitors. The LA Times reported that the EPA has designated the river a navigable waterway, and a pilot program, Paddle the Los Angeles, launched this Monday. Visitors can now tour the waterway by kayak or canoe on weekends. Unplugged Plugin. The new Sanya Skypump electric vehicle charging station is off the grid; it uses a combination of wind and solar energy, says Engadget. It is also a streetlamp, providing safe, green, parking illumination. Urbanized Ablaze. Among of the casualties of the London Riots are the cousins of the upcoming documentary, Urbanized. According to the project's blog, looters broke into a Sony distribution warehouse containing 20,000 DVDs of the Helvetica and Objectified films, took what they could and burned the rest. Many other independent films were also lost in the blaze. Suburban dreams. The 2000 Census indicated that young Americans ages 25 to 34 were fleeing the suburbs and moving to cities, but polemic writer Joel Kotkin argued in Forbes that new census data analyzed by Wendell Cox points to a reversed trend. He said the demographic is returning the suburbs as they grow older and have kids. Money McQueen. The Alexander McQueen retrospective at the Metropolitan Museum of Art, which closed this past Sunday at midnight, was the Met’s 8th most popular exhibit of all time. Over its three-month showing, 661,508 people visited. Jezebel estimated the Met netted a minimum revenue of $14,603,862.
In addition to their scholarly and artistic value, many historic houses and period rooms are the rescues of the nascent preservation movement. On view since 1938 at the Museum of the City of New York (MCNY), two 1880s Aesthetic Movement rooms from the Rockefeller Mansion on 54th Street are finding new homes at the Metropolitan Museum of Art and at the Virginia Commonwealth Museum. MCNY deaccessioned the rooms as a part of its renovation, led by Polshek Partnership. The dressing room will go to the Met, as a part of their chronological sequence of period rooms, currently being reinstalled. The bedroom will go to Virginia, the home state of Catherine Arabella Duvall Yarrington Worsham, the woman who commissioned the firms Pottier & Stymus and Sypher & Co. to design the rooms. Shortly after their completion, Worsham sold the house to John D. Rockefeller, who kept the interiors intact. In 1937, John D. Rockefeller Jr. gave the two rooms to MCNY and a third to the Brooklyn Museum.