Now we're really confused. Amidst reports that LA's MOCA might be taken over by LACMA or USC, now we hear via the New York Times that the struggling institution might now join forces with the National Gallery in Washington D.C. According to John Wilmerding, the chairman of the Gallery's board of trustees, MOCA is "close to working out a five-year agreement...to collaborate on programming, research and exhibitions." The deal wouldn't include fundraising assistance, but would obviously bolster MOCA's ability to raise money with the National Gallery's high profile assistance on programming, exhibitions, research, curation, and staffing. Oh, and guess who approached the National Gallery, according to the story: MOCA board chair Eli Broad, who has made it clear he doesn't want to be swallowed by LACMA. Stay tuned as this saga plays out.
Posts tagged with "Museums":
The Grand, the multi-million-dollar, mixed use project on top of LA’s Bunker Hill, is finally… slowly… moving forward with an Arquitectonica-designed residential tower, which just broke ground. But it appears that Frank Gehry’s days on the project may be numbered. After a recent call with Related, we got no assurances that the starchitect was still part of the project. A report in the Downtown News got similarly uncommitted answers. Just across the street from the Grand we hear that The Broad (what’s with all the THEs?)—Eli Broad’s multi-million-dollar art museum—is getting ready to add an upscale market to its rear, just above the parking lot. If it’s even close to as successful as Chelsea Market in New York, Downtown LA could have yet another hit on its hands. Meanwhile, decking is being laid for a new park to The Broad’s south, but still no renderings of the park have been unveiled. Let’s make this public, Mr. Broad. We can’t wait to see your plans, which could single-handedly make or break Grand Avenue.
[Editor's Note: Following the publishing of this story, the Speed Art Museum and tree researchers studied the tree, determining that it was, in fact, not three centuries old, nor a Valley Oak. The tree in question is now believed to be a 60-year-old English Oak. Read the update here.] The Speed Art Museum in Louisville, Kentucky, is currently closed to visitors until 2015 while a dramatic stacked-box addition is built to the north of the institution's original 1927 neo-Classical building on the University of Louisville's Olmsted-designed Belknap Campus. The $50 million expansion, designed by Culver City, CA-based wHY Architecture with Reed Hilderbrand Landscape Architects, who were later dropped from the project, will triple the museum's gallery space and add to the already robust arts scene in Louisville. This week, one alert writer at the student newspaper, The Louisville Cardinal, noticed something missing at the construction site: the University's oldest tree. The approximately 309-year-old Valley Oak had been cut down when the site was cleared late last year. Only a stump now remains behind the construction fence. The author, Wesley Kerrick, noted the tree pre-dates not just the University, but the city, state, and country in which it resides, as it sprouted sometime in the late 17th or early 18th century. Kerrick expressed frustration over the fact that the tree couldn't have been saved. Dr. Tommy Parker, Director of the Urban Wildlife Research Lab (UWRL) at the University of Louisville, has been observing the University's urban forest for the past several years. The University's 309-acre Belknap Campus contains over 2500 trees, which Parker and his students have been studying and mapping to build a Tree App that geo-locates every tree on campus with information on each tree's species, age, height, environmental contribution, and even monetary value. The mapping project has documented 1,140 trees on campus so far. "This project is useful for understanding wildlife habitats," Parker said. "It allows for real-time analysis in the field." Dr. Parker and his students first collect measurements of each tree, feeding the information through a computer program that estimates its age, value, and environmental benefit. Next, teams geo-locate each tree, finding the exact coordinates using a GPS device. The mapping process helped Parker and Kerrick recognize the Valley Oak's history and that it had been removed. "She was a beautiful tree. I just happened to come in one day and it was gone," Parker said of the three-century-old tree. He lamented the loss of such a historic tree, but noted, "I didn't have a problem with removing the tree. Just that there was no conversation about it. That was the only problem I had." Parker explained that, like other living things, different tree species have different lifespans, and at the end of their prime they can become susceptible to root rot and disease, sometimes requiring removal. "Many people think all trees are like Sequoias," Parker said, "but most trees have a distinct lifespan." For instance, Oaks and Maples, Parker said, can readily live to be 200 to 250 years old, depending on the region in which they're growing. In a southeastern city like Louisville, trees can grow even older. Parker estimated that if the Valley Oak had not been cut down, it could have lived for decades to come. "It was in good shape," Parker said. "That tree could have lasted easily another 50 years." In human terms, Parker said the tree would be about 50 years old given an average human lifespan of 72 years. To replace the old tree with new young trees of the same species and maintain what Parker called the tree's "environmental services" (it's ability to absorb cardon dioxide), the University would have to plant 35 new two-inch-diameter trees. The old tree's diameter measured 51.5 inches, but Parker said the real benefit of such a large tree is its crown, where the leaves are scrubbing the air. Still, Parker is less concerned with the loss of one iconic tree and is helping to push a tree-planting campaign to keep the University's urban forest healthy. In the past two years, the University added 380 trees to its campus, and Parker said it's on target to plant another 300 this year. "We need to think of tree turnover and plan for the next 50 years," he said. "We can't have ten or 15 year gaps in the tree canopy" from trees dying and no new trees being planted. He hoped the loss of the Valley Oak might inspire others to get involved in taking care or and expanding Louisville's urban forest.
An artistic selection committee Thursday selected three semi-finalists for the Ohio Statehouse Holocaust Memorial in Columbus. Jaume Plensa of Chicago, Columbus’ Ann Hamilton, and Daniel Libeskind will visit the site, meet with the committee and then have six weeks to submit a proposal for review. The committee will pick the final project artist in May. Libeskind designed Berlin’s Jewish Museum, one of the most prominent memorials of its kind. Ann Hamilton has home-turf advantage, so to speak, and is coming off a spectacularly reviewed show at the Armory, The Event of a Thread. Spanish-born Jaume Plensa's evocative sculptures are pensive and humanistic, often involving glowing lights, and seem well suited to such a project.
The Menil Collection in Houston, Texas, has been honored with the 2013 AIA Twenty-Five Year Award. Renzo Piano designed the museum to house Dominique de Menil’s impressive collection of primitive African art and modern surrealist art in the heart of a residential neighborhood. The design respected Ms. de Menil’s wish to make the museum appear “large from the inside and small from the outside” and to ensure the works could be viewed under natural lighting. Click on a thumbnail to launch the slideshow.
Next Tuesday, January 8, The Broad in Downtown Los Angeles (not that Broad Museum), Eli Broad's new contemporary art museum with an arresting net-like "veil" facade by Diller Scofidio + Renfro, will top out at the corner of Grand Avenue and Second Street. The project is set to open next year and will contain 120,000-square-feet over three-levels, including 50,000 square feet of gallery space on two floors, a lecture hall for up to 200 people, a public lobby with display space and a museum shop. As usual, the topping-out ceremony will include a theatrical event: in this case, the "flying of the beam," in which a 294-foot crane lifts the final steel beam to the top of the structure. (In the meantime, take a fly-through of the new building in this video rendering.) In addition to Broad and DS+R, others on hand will be LA Mayor Antonio Villaraigosa as well as 100 construction workers for the project. You can watch a live construction cam of the project here. AN also learned that Related California will break ground on its new Arquitectonica-designed apartment tower on January 10, just two days after the Broad event. The 19-story building is the first major piece of the long-delayed Grand Avenue project. No more details on the event, but there are sure to be some fancy shovels and some bigwigs on hand. That's some heavy symbolism for the transformation of downtown's long-troubled Grand Avenue. Yes, it's really happening.
Three design-build teams have been shortlisted to design the $30 million Jan Shrem and Maria Manetti Shrem Museum of Art at the University of California, Davis. They are: WORKac and Westlake Reed Leskosky with Kitchell; Henning Larsen Architects and Gould Evans with Oliver and Co; and SO–IL and Bohlin Cywinski Jackson with Whiting-Turner. Each team had four months to prepare a bid for the museum. The museum will be named after Jan Shrem, operator of Clos Pegase winery in the Napa Valley, and his wife Maria Manetti Shrem.
Daniel Libeskind’s second contribution to the Jewish Museum Berlin since 2001, the Academy of the Jewish Museum Berlin, will open this Saturday, November 17. The 25,000 square foot Academy is located just across from the original museum and now houses the museum library, a growing archive, and will also house lectures, workshops, and seminars. The design is named “In-Between Spaces,” alluding to the voids between three cubes that make up the Academy. The cubes mirror Libeskind’s original museum design with sharp angular forms combined with dramatic intersections. Entry into the Academy is gained through a large slash in the first cube, which leads to a middle space between the other two cubes. With large skylights and front and rear access the Academy is connected with its outside spaces. Libeskind is proud to celebrate Jewish history in his design with windows shaped like the Hebrew letters Alef and Bet, and with a quotation from the famous Jewish scholar Moses Maimonides printed across the façade: “Hear the truth, whoever speaks it,” written in English, German, Hebrew, Arabic, and the Judeo-Arabic of medieval Spain.
The famous clipper ship Cutty Sark was recently rehabilitated by Grimshaw Architects, who also built an exhibition hall around the vessel. The project, which opened in April, has just received the dubious distinction of winning Building Design’s 2012 Carbuncle (a.k.a. “ugliest building”) Cup award. Parked in Greenwich, England and categorized as a World Heritage site, the ship now floats on a blue glass base intended to suggest water. But the resulting effect is more bateau-en-gelée, prompting BD executive editor Ellis Woodman to write that the project had “the best of intentions and yet has tragically succeeded in defiling the very thing it set out to save.”
The University of California Davis is becoming a cultural force. The school already has three art museums (and arts alums include artist Bruce Nauman and sculptor Deborah Butterfield), and is getting ready to add another, just releasing the shortlist for its new Jan Shrem and Maria Manetti Shrem Museum of Art. The list is impressive, including the following design/build teams: wHYArchitecture and Gensler with BNBT Builders; HGA and DPR; Allied Works with Hathaway Dinwiddie; Westlake, Kitchell, WORK; Gould Evans, Henning Larsen, Oliver; Olson Kundig, Olveraa; and Bohlin Cywinski Jackson, SO-IL, Whiting Turner. The list was culled from an initial list of 19. The 40,000 square foot museum, located on a 1.6 acre site that is part of a long-range master plan for the university’s new south entrance, is slated for completion in 2015,
If you read this column, you know Eaves loves a party. You also know we self-deprecatingly speak of mediocre Midwestern cities (we’re from Louisville). Even with summer winding down, there’s no need to stick out that lower lip. A slew of—well, ok, three–high profile openings will tickle even the slightest art and architecture enthusiast as Cleveland, East Lansing, and Cincinnati compete for the title of Bilbao of the Midwest. First up, the Museum of Contemporary Art Cleveland, designed by Farshid Moussavi Architecture, opens on October 6. Will the Mistake-on-the-Lake become the Rust Belt Riviera? On MOCA’s heels comes the Eli and Edythe Broad Museum on November 9. OK, we don’t know anything about East Lansing other than a school’s there, but—hey!—now they have a Zaha Hadid. And finally, Cincinnati, home to America’s first Hadid, will welcome 21c Museum Hotel by Deborah Berke & Partners. Their website says it will open late 2012. Which project will be an urban game-changer? We could be swayed by opening night invites, but right now my money’s on Cincy.
The U.S.S. Intrepid looks visibly pregnant, and it seems as though she still hopes to give birth to an offshoot of the museum in a parking lot directly across the street. About nine months ago, New York's Intrepid Sea, Air and Space Museum revealed that it had its eye on a prime parcel owned by New York State adjacent to the museum on 12th Avenue to house its newest attraction, the Space Shuttle Enterprise. Most of the recent attention on the shuttle has focused on the herculean effort to get it onto the deck, where it rests in a temporary pavilion that sits on the bow looking like a bulbous balloon about to burst. A spokesperson for City Planning said that the city's zoning laws extend out to piers but requirements for permanently docked structures are a bit nebulous. In an interview, museum president Susan Marenoff-Zausner said that the goal remains to get the Shuttle onto dry land. She was quick to note that the renderings on display in the temporary pavilion were merely a concept for the new building, not a final design. The display is part of a fund raising effort for the new complex called “Sponsor a Star.” The master plan calls for a permanent home with all of the amenities required of a cultural institution today, including classrooms, an auditorium, retail, and a café. It would also become the entry point to process the expected one million visitors each year. The lot is already connected to the museum by a pedestrian bridge that spans 12th Avenue. Marenoff-Zausner said that Jones Lang Lasalle, a real estate services company, is conducting a feasibility study based in part on the interest generated by the new star attraction over the next year. Asked about about the project's feasibility, the museum president said, “The State has been wonderful."