Posts tagged with "Museums":
While efforts to build the National Pulse Memorial and Museum at the site of the deadly Pulse nightclub shooting in Orlando, Florida, are moving forward, certain LGBTQ activists, survivors, and loved ones of victims are voicing opposition to the plan. Last month, organizers who are against the onePULSE Foundation’s initiative to establish the museum formed the Community Coalition Against a Pulse Museum (CCAPM), which aims to develop an alternative vision for how to remember the victims of the deadliest anti-LGBTQ act of violence in U.S. history.
As AN reported earlier this year, six major architecture firms have already been shortlisted from an initial 68 submissions for onePULSE’s international design competition. The finalists include Diller Scofidio + Renfro, MASS Design Group, MVRDV, and Studio Libeskind. While no winner has been announced yet, the process of soliciting proposals and selecting the designer has progressed steadily since the shooting in June 2016. The foundation’s plan for the site includes using the original nightclub building and constructing an additional 30,000-square-foot museum nearby. There is also an effort to integrate the memorial and museum into a broader urban design plan that would connect the former nightclub to downtown Orlando. If this is executed, visitors will be able to walk along the planned Orlando Health Survivors Walk, leading them to various sites involved in the aftermath of the shooting.
As for CCAPM, activists argue that funds used for the construction of the museum building should be directed towards victims’ families and survivors of the incident, not towards a tourist attraction. According to the organization’s website, opponents of the construction project maintain that: “All funds raised should be used to expand existing services and ensure that all survivors get the financial support, medical services, community support programs, and mental health care they need for life.”
The museum is expected to cost $45 million, including $40 million in construction costs and additional funds for staff salaries. As the Orlando Sentinel reported earlier this summer, onePULSE’s proposed budget includes a $150,000 annual salary for Barbara Poma, who established the Pulse nightclub in 2004 in memory of her brother, a victim of the AIDS epidemic. Poma is now the CEO of the onePULSE foundation.
“Once I heard that [Poma] didn’t want to sell Pulse to the city, I objected,” Casiano said. “I’ve stayed quiet for three years.[...]But seeing everything that’s going on, I can’t stay quiet anymore.”#NoPulseMuseumhttps://t.co/MT7PeoLyj1— NoPulseMuseum (@NoPulseMuseum) August 15, 2019
With an exhibition of the proposed designs set to open at the Orange County Regional History Center in Orlando this October, there is no sign that onePULSE will significantly alter its plan to construct the museum. According to NBC News, the foundation responded to continuing allegations that it is profiting off of victims’ traumatic experiences by assuring that it is listening to all concerns closely: “We respect the thoughts and opinions of everyone in the community who was affected by this tragic event and are taking them all into consideration on how we move forward.”
The memorial and museum are slated to officially open in 2022.
French-Italian art collector Jean Pigozzi has gifted New York’s Museum of Modern Art (MoMA) a substantial collection of contemporary artwork from across Africa. The 45 pieces included in the donation feature work by Sierra Leonean artist Abu Bakarr Mansaray, Malian photographer Seydou Keïta, and Congolese sculptor Bodys Isek Kingelez, whose fantastical models of cityscapes formed the retrospective exhibition Bodys Isek Kingelez: City Dreams at MoMA last year. According to MoMA, Pigozzi’s is the largest single gift of African art that the museum has ever received and will contribute significantly to future displays of its permanent collection.
Born in Paris to Italian businessman and Simca-founder Henri Pigozzi, Jean Pigozzi amassed his fortune through inheritance and a variety of enterprises, including photography and fashion design. He jumpstarted his collection of African contemporary art in 1989, soon after seeing the exhibit Magiciens de la Terre at the Centre Pompidou in Paris. Curator André Magnin lent considerable guidance as Pigozzi accumulated upwards of 10,000 pieces, now widely recognized as one of the largest collections of African contemporary art in the world. Pigozzi has maintained his holdings as the Contemporary African Art Collection (CAAC) in Geneva, which has no permanent galleries for exhibition. Pieces from the CAAC have been lent to museums and galleries across Africa, Europe, and North America for a range of temporary exhibits.
The move by Pigozzi sheds light on a broader effort by MoMA to overcome its longstanding focus on American and European modernism. The museum’s leaders have been appealing to donors with collections that highlight other regions of the world, including Patricia Phelps de Cisneros, who has given Latin American artwork to the institution twice since 2016. For MoMA, the acquisition may represent an opportunity for both redemption and growth. Between 1984 and 1985, the museum held an exhibit titled ‘Primitivism’ in 20th Century Art: Affinity of the Tribal and the Modern, which many have excoriated for promoting reductive, racist, and deeply ingrained notions of African inferiority. The Pompidou show that catalyzed Pigozzi’s collection was largely considered a rebuttal to MoMA’s own curatorial efforts, prompting Pigozzi himself to spend much of his life advocating for African contemporary art as on-par with, and often more interesting than, Western examples.
The growing stature of African contemporary art on the global stage extends well beyond MoMA’s walls. Earlier this year, the 1-54 Contemporary African Art Fair made its Manhattan debut at New York’s Industria, six years after its founding in London and four years after popping up in Brooklyn. In 2016, the international auction house Sotheby’s opened a department dedicated to African art in London, which has been frequented not only by Europeans but also by wealthy collectors from Nigeria, Kenya, and elsewhere in Africa. MoMA is likely looking to get in on the action, and Pigozzi’s gift presents the institution with its best opening yet.
While it is still unclear exactly how curators will incorporate Pigozzi’s pieces into the MoMA’s permanent collection displays, they are sure to play a role in the museum’s continuing growth. MoMA’s newly expanded facility, including its reconfigured permanent collection galleries, will open to the public on October 21, 2019.
Ennead Architects, the New York-based firm formerly known as Polshek Partnership, will team up with SmithGroup to redevelop the Newseum building in Washington, D.C. for Johns Hopkins University. The Baltimore-based university announced its plans to purchase the building from the nonprofit Freedom Forum earlier this year for $372.5 million. Johns Hopkins will consolidate its existing real estate holdings in the city at the new offshoot building on Pennsylvania Avenue, which will host various academic and administrative initiatives.
Ennead is an appropriate choice to head the project for obvious reasons. Led by architect James Polshek, the firm designed the current Newseum building before changing its name from Polshek Partnership in 2010. Opened in 2008, the building has several distinct features, including a 75-foot-tall marble slab engraved with an excerpt from the First Amendment. A so-called “window on the world” also occupies the structure’s Pennsylvania Avenue frontage, allowing for views between the street, the National Mall, and visitors inside the museum. Ennead has handled multiple high-profile museum projects around the world, such as the Rose Center for Earth and Space at New York’s American Museum of Natural History and the Clinton Presidential Center in Little Rock, Arkansas.
Ennead submitted initial drawings for the major remodeling to the U.S. Commission on Fine Arts (CFA) on July 3. Before construction can begin, the commission must provide informal feedback and officially approve of the final design. The filing sent to the CFA indicates that certain aspects of the building’s facade will change. The marble tablet with the excerpt from the Constitution, as well as the newspaper headlines that line the avenue, will be removed. The entrance will be reimagined as more transparent and open. Due to boundary line regulations on Pennsylvania Avenue, though, much of the structure’s original massing will remain in place.
The interior will undergo a significant transformation as well. The university has announced plans to reconfigure floor slabs and circulation within the building—currently, much of the museum is positioned around a large, multistory central void. With more than 400,000 square feet of floor space available inside, the facility will house classrooms, offices, and event spaces that will be open to the public. No plans for alterations to the 135-unit Newseum Residences have been released.
As for the Newseum itself, administrators at Freedom Forum have not yet announced where the museum will move. After years of serious budget deficits, the institution will close temporarily at the end of 2019. Employees will work out of a provisional office in Washington until a new home is found. Hopkins has suggested that construction on its facility could begin as early as 2020, and as late as 2023, with no estimated completion date.
“The design is informed by acoustical space," said Daniel Libeskind. "The idea was to treat each space as a distinct atmosphere and mood as you move throughout the museum. Every volume references the surrounding landscape—dune, mountain, desert, ocean.”The new museum will sit between two roadways leading into Iquique’s urban center, and on a serious grade. The topmost road is approximately 26 feet higher than the lower street. That means an elevated ramp was needed to unite both halves, creating a pass-through to the beach between the two streets for the first time. A sloped garden will rise from the lower side as well. Construction of the new museum is expected to begin in early 2020, though no completion date has been given yet.