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.
Posts tagged with "Metropolitan Museum of Art":
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.