Posts tagged with "On View":

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On View> Sacred Spaces in Profane Buildings

SACRED SPACES IN PROFANE BUILDINGS Storefront for Art and Architecture 560 Broadway Through November 5 How do we practice our religions, beliefs, or spiritual ideas in New York City outside of established churches, synagogues, and mosques? In the newest exhibit at the Storefront for Art and Architecture, architect and researcher Matilde Cassani explores how we celebrate and observe our beliefs in unconventional spaces: converted shops into prayer spaces, apartments turned into churches, and sidewalks into chapels. Cassani invited New York residents to submit photographs and descriptions of local places of worship to create an online archive, with highlights selected for the Center’s exhibition, such as the photograph of the Soho Synagogue converted from a Gucci store above, by John Hall.
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On View> Bertrand Goldberg: Architecture of Invention

Bertrand Goldberg: Architecture of Invention The Art Institute of Chicago 111 S. Michigan Avenue, Chicago Through January 15, 2012 Bertrand Goldberg has become known, and increasingly loved, for his expressive use of concrete, particularly his curved forms in projects like Marina City and the endangered old Prentice Women’s Hospital (an early design for that project is pictured at top, with a San Diego theater scheme). The first retrospective of his work shows there is so much more to admire about this one-of-a-kind Chicago architect who died in 1997 at 84. Drawn from the Art Institute’s Goldberg collection and several other collections, Bertrand Goldberg: Architecture of Invention includes more than 100 drawings, models, and photographs, including designs for housing, hospitals, urban plans, furniture, and graphics. Early in his career, he designed innovative, prefabricated solutions for low-cost housing. His later designs, like “the city within a city” attracted avant-gardes around the world, including the Japanese Metabolists and Britain’s Archigram.
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On View> DesigNYC presents Recharging Communities

RECHARGING COMMUNITIES desigNYC GD Cucine 227 West 17th St. Through October 1 DesignNYC, an organization connecting New York designers with nonprofits, community groups, and city agencies, presents its current cycle of projects under the banner, “Recharging Communities.” In designNYC’s second annual exhibition, eight teams showcase their in-progress collaborations including among others: Educating Tomorrow, which uses communications design to establish an online forum on sustainability issues for NYC educators; the Greenhouse Project, which creates an urban farm in an unused lot in East New York; Nostrand Park, on the development of an engaging urban corridor in Crown Heights; and PortSide New York (above), a project enhancing a boathouse and community center in Red Hook. Click on a thumbnail to launch the slideshow.
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On View> Ceci N'est Pas Une Reverie: The Architecture of Stanley Tigerman

Ceci n’est pas une reverie: The Architecture of Stanley Tigerman Yale School of Architecture 180 York Street New Haven, CT Through November 4 The exhibition Ceci n’est pas une reverie (“This is not a dream”) celebrates the work of architect Stanley Tigerman. Curated by Yale School of Architecture Associate Professor Emmanuel Petit, this retrospective tells the story of Tigerman’s professional career, beginning with his years at Yale as an undergraduate and then a graduate student in architecture. Organized around several motifs—utopia, allegory, death, humor, and division—the exhibition includes models and objects, documents, cartoons, sketches, and drawings, like an axonometric of formica, above. Video material from lectures and interviews also capture Tigerman’s eclectic style as it has evolved over the past 50 years, encompassing his early work at the Chicago-based firm Tigerman McCurry Architects and his return to Yale as a visiting professor. Ceci n’est pas une reverie will coincide with the publication of Tigerman’s collected writings, 1964-2011 Schlepping Through Ambivalence, Essays on an American Architectural Condition, and his autobiography Designing Bridges to Burn as well as a series of lectures at the Yale School of Architecture.
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On View> PIIOTOS_WTC: 22 Brazilian Photographers Capture the World Trade Center on Film

PIIOTOS_WTC 1500 Gallery 511 W 25th St. #607 Through September 17 In honor of the tenth anniversary of September 11th, 1500 Gallery in West Chelsea will present PIIOTOS_WTC, an exhibition of photographs of the Twin Towers taken by 22 of Brazil’s most notable photographers. The images, which all have the World Trade Center site as their subject, span the last three decades of the 20th century. Selected photographers include Victor Andrade, Ali Karakas, and Roberto Linsker, among others. The selection is diverse, with works ranging from distant portrait landscapes of the towers from the Hudson River, to bold aerial views, black and white night shots, glowing, hazy sunsets, andclose-up structural shots, like the work of Tuca Reines, above. Gallery 1500—the only gallery in the world to focus specifically on Brazilian photography—brings together these poetic works, capturing the power, strength, and beauty of the city as it is no longer. Click on a thumbnail to launch the slideshow.
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On View> Density Frames: Worship The Puffy Chapel

If you didn’t catch the giant inflatable pop-up chapel/igloo at Silver Lake's Materials & Applications gallery last year, now’s your chance to experience it in person.  Well, it’s cousin anyway. The 25-foot-tall second rendition, Density Frames was designed by USC’s architecture director Gail Peter Borden for the school’s Religious Center courtyard. The irregularly-shaped balloon-like structure will be on display through December 15. Based on a baldacchino, a traditional canopy used in cathedrals, the ethereal, undulating installation is made from metal electrical piping and plastic drop cloths. Visitors can turn on the blower and watch puffy arms burst to life and sway in the sky as they ponder the effects of light, space, and form. According to Borden the piece was designed to “evoke a primal spirituality founded in our own perception and relationship with ourselves.” The project was fabricated by Borden and four other students over four weeks at a cost of $1,000. The exhibit is free and open to the public daily. A map of USC University Park campus can be found here.
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On View> Brian Ulrich: Copia-Retail, Thrift, & Dark Stores

Brian Ulrich: Copia—Retail, Thrift, and Dark Stores, 2001–11 Cleveland Museum of Art 11150 East Boulevard Through January 16, 2012 Using only a hand-held camera, photographer Brian Ulrich captured the fluctuating economic climate’s impact on American consumerism in the last decade. Brian Ulrich: Copia – Retail, Thrift and Dark Stores, 2001–11 at the Cleveland Museum of Art features 50 color photographs, portraying anonymous commercial excess in three distinct venues. Whether engrossed by the saccharine colors and limitless temptation of big box stores or by the discarded whimsies of thrift shops, the photographed subjects are caught in a vicious cycle of spending. The final phase highlights the absent consumer, focusing on the prevalence of ghost stores and dark shopping malls as a result of the 2008 financial crisis, such as J.C. Penney, Dixie Square Mall (above).
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On View> Noguchi: California Legacy at the Laguna Art Museum

Noguchi: California Legacy
Laguna Art Museum
307 Cliff Drive
Laguna Beach, CA
Through October 2

Noguchi: California Legacy features three bodies of work that capture the connection Los Angeles-born sculptor Isamu Noguchi had with the California landscape. California Scenario: The Courage of the Imagination celebrates the 30th anniversary of the Segerstrom commission at the South Coast Plaza sculpture garden; a gallery is illuminated by Noguchi’s famed Akari lights for the 1986 Venice Biennale in What is Sculpture?, shown above; and for Noguchi at Gemini G.E.L., his sculpture for atelier Gemini G.E.L. Los Angeles in 1982 are reproduced as flattened steel plates, described by Noguchi as “short poems pertaining to California where I was born, and to the world I have known.”

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On View> Process and Artistry in the Soviet Vanguard

  Process and Artistry in the Soviet Vanguard Smart Museum of Art 5550 South Greenwood Avenue Chicago Through December 11 In Process and Artistry in the Soviet Vanguard the Smart Museum examines Soviet propaganda of the 1920s and 1930s, including a number of art pieces that set the creative precedent for mass-produced works. The show features artists Gustav Klutsis and Valentina Kulagina, from their informal drawings, collages, and visual studies to completed designs, posters, and printed material. Concerned with the “politicization of art making,” the works of Klutsis and Kulagina begin to tell a story about artistic expression, political institutions, and mass production. The show presents both experimental modes of representation and what became the iconic graphics associated with propaganda, such as Klutsis’ Glory to the Red Army of workers and peasants – loyal guard of Soviet borders!, 1935, pictured above.
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On View> Lyonel Feininger: At the Edge of the World

Lyonel Feininger: At the Edge of the World Whitney Museum of American Art 945 Madison Ave. at 75th St. New York, NY 10021 T 212-570-3600 “The ultimate aim of all artistic activity is the building! Let us desire, conceive, and create the new building of the future together. . . [and it] will one day rise towards the heavens from the hands of a million workers as the crystalline symbol of a new and coming faith,” Walter Gropius boldly declared in his 1919 “Bauhaus Manifesto,” laying the foundations for a new architecture and a modern approach to design. Seeking to reunite the artist and artisan together, the founders of the Bauhaus looked to medieval guilds as a model for a new design school that would combine the arts and design under one roof. To illustrate the manifesto, Gropius selected a woodcut by American-born German artist Lyonel Feininger, titled, “Cathedral,” an abstracted depiction of a late Gothic church. This collaboration marked Lyonel Feininger’s first involvement with the Bauhaus—he would be later hired to teach printmaking—that would continue until the school was closed under pressure from the Nazis in 1933. Until October 16th, “Cathedral” is on display at the Whitney Museum of American Art as part of the retrospective, Lyonel Feininger: At the Edge of the World. It is the first show in the U.S. to include the full range of Feininger’s work. The exhibit begins with his whimsical street scenes filled with bright, saturated colors; there are also his Chicago Tribune “Kin-der-Kids” comics, his black and white photographs of the Bauhaus, hand-carved miniature buildings, and his prism-like, Cubist inspired portrayals of towns and seascapes. At the Edge of the World captures the expansive diversity of Feininger’s German and American subjects, formal expression, and mediums. The exhibit design is simple and fluid, if conventional for a contemporary retrospective: Feininger’s work is organized chronologically rather than thematically, arranged on white walls, with ample breathing space between pieces. A 1925 Time magazine review of a “Blue Four” exhibition in Manhattan, which included Feininger’s work alongside Alexej von Jawlensky, Wassily Kandinsky, and Paul Klee, straightforwardly declared that in modern art, “Artists should put down lines, lay on colors, with the simple purpose of giving the eyes an adventure.” The Whitney succeeds in conveying the exciting experimentation between art and design, so central to Feininger’s work and the Bauhaus vision.  
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On View> Light Pavilion by Lebbeus Woods & Christoph A. Kumpusch

Light Pavilion by Lebbeus Woods and Christoph A. Kumpusch: Construction Drawings & In-Process Photographs at the Mackey Garage Top MAK Center at the Schindler House 835 North Kings Road West Hollywood Through August 6 The Light Pavilion by Lebbeus Woods and Christoph A. Kumpusch was created for Steven Holl’s Sliced Porosity Block project now under construction in Chengdu, China, and will be Lebbeus Woods’ first built work of architecture. A physical intervention into Holl’s rectilinear structure, the pavilion consists of a series of columns and stairs that are illuminated from with and change color, and the luminous effect will be amplified by the pavilion’s mirrored interior walls. The MAK exhibition includes construction drawings and process photographs of the installation, as well as conceptual renderings of this project, above, and other work of Woods and Kumpusch.
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On View> Moveable Feast at MCNY

Ready access to fresh fruits and vegetables is seen as a key factor in improving public health. In many low income communities grocery stores are scarce. The Bloomberg administration is addressing these "food deserts" with an innovative, small scale program called NYC Green Carts, issuing extra permits to fruit and vegetable vendors in targeted neighborhoods throughout the city. The program is the subject of a photography exhibition at the Museum of the City of New York, organized with the Aperture Foundation. In Moveable Feast, photographers LaToya Ruby Frazier, Thomas Holton, Gabriele Stabile, Will Steacy, and Shen Wei document and interpret the program, using techniques ranging from still life to ethnography. The result more impressionistic than comprehensive, and viewers will need to read the wall texts in order to grasp the social impacts of the NYC Green Carts. Still, the exhibition brings attention to a laudable program, highlighting an instance when the Bloomberg administration is tackling a large scale problem in a humane, block by block way. The exhibition also includes historic images of street vendors taken from the Museum of the City of New York's collection.Moveable Feast is on view through August 22.