EVOL: Repeat Offender Jonathan LeVine Gallery 529 West 20th Street, 9th floor New York Through May 5 While his artwork might be hanging on the walls of a gallery in Chelsea, Berlin-based street artist Evol adds a distinct element of urban grit to his used-cardboard and spray-paint stencil works now on display as part of his Repeat Offender exhibition. The incredibly detailed views capture the abandonment of low-income German neighborhoods, using the texture of the cardboard base to enhance the paintings' architectural qualities. “Clean surfaces don’t speak to me, so recording these marks is a process of visually remembering the charm of a place that will soon be painted over,” Evol said in a statement. Besides his cardboard paintings, Evol is also showing paintings on metal and photographs on his 2009 installation from a slaughterhouse in Dresden, Germany. [h/t Colossal.]
Posts tagged with "On View":
Newly Drawn: Emerging Finnish Architects The Center for Architecture 536 LaGuardia Place Through April 30 A shift is occurring in Finnish architecture as a new generation of firms is emboldened by a unique competition culture that allows anonymous submissions from young and established architects alike. Helsinki is undergoing a major process of renewal with the transformation of former industrial and harbor areas to new uses; as such, large-scale commissions are available to otherwise inexperienced practices with new approaches to the city, such as Kilden Performing Arts Center by ALA Architects (above) and Kuokkala Church by Lassila Hirvilammi (below). As the 2012 World Design Capital, the city of Helsinki will stage events and initiatives that seek to examine the ways design can improve our lives. The AIA New York presents a collection of work by young Finnish designers in collaboration with the Architectural League of New York, the Finnish Cultural Institute in New York, the Consulate General of Finland in New York, and the Museum of Finnish Architecture.
Robert Adams: The Place We Live Los Angeles County Museum of Art 5905 Wilshire Blvd., Los Angeles Through June 3 In his 45 years photographing the American West, Robert Adams has documented the evolution of landscape and our relationship to it. In response to the rapid development of his surroundings in Colorado Springs and Denver, Adams began photographing a landscape marked by tract housing, highways, and gas stations. His photographs, Adams says, “document a separation from ourselves, and in turn from the natural world that we professed to love.” Nearly 300 prints showcase Adams’ career, from his early shots of Colorado’s desolate terrain to his recent works documenting migrating birds in the Pacific Northwest, with special focus on his portrayal of the Los Angeles region.
Fred Sandback: Decades David Zwirner 525 West 19th Street Through April 21 The drawings and sculptures of Fred Sandback are the subject of a new exhibition at New York’s David Zwirner gallery. The projects are arranged by decades, representing distinct periods in the artist’s career, spanning the years 1969 to 2000. Sandback created minimalist sculptures out of simple materials in response to the architecture of specific interiors. Installations made from thin lengths of material redefine spaces, creating objects and planes by simply implying their outlines. On display are early works from the 1960s made of metal wire and cord, permutational works of the ’70s, and reliefs and site-specific projects from his late career. Drawings are included, like 16 Variationen von 2 Diagonalen Linien 1972 (above), plus the Zwirner gallery has reconstructed the interiors of Galerie Heiner Friedrich, the Munich space for which many of Sandback’s works were designed. A rare copper wire sculpture, Proposal for Heiner Friedrich, Munich, Six Rectangles, Copper Wire (Sculptural Study), spans three rooms and is a highlight of the show.
Heather Hart: The Eastern Oracle Brooklyn Museum 200 Eastern Parkway, Brooklyn, NY Through June 24 For the fourth exhibition in its Raw/Cooked series displaying the work of budding Brooklyn artists, the Brooklyn Museum presents an installation by Heather Hart. Occupying the museum’s fifth-floor rotunda, the installation will consist of a single rooftop that lies flat on the ground, without walls and outside its original context. As Hart describes it: “A rooftop can refer to home, stability, or shelter, but in this context, it is also an action of reclaiming power.” The roof makes specific reference to the oldest architecture in the museum’s period room collection—the Jan Martense Schenck House, built in 1676, the second-oldest Dutch-American building in Brooklyn. Visitors are encouraged to physically interact with the structure, fulfilling Hart’s intention to create a place of self-reflection and self-empowerment.
Pedro E. Guerrero: A Retrospective WUHO Gallery 6518 Hollywood Blvd., Los Angeles Through April 25 At age 22, Pedro E. Guerrero made a spontaneous visit to Taliesin West to meet Frank Lloyd Wright; upon seeing his portfolio Wright immediately gave Guerrero the position of principal photographer. Guerrero’s relationship with Wright would define his career; nearly all publications about Wright include his work. Moving to New York, Guerrero went on to work for journals including Architectural Record and Vogue, documenting the works of modernists like Saarinen and Breuer. His photography approaches architecture as sculpture, displaying an eye for composition and form that led to close personal and working relationships with Alexander Calder and Louise Nevelson.
Let There Be Light: Low Line Exhibit Mark Miller Gallery 92 Orchard Street Through April 29th, 12-6pm The team of innovators continues to push forward with a proposal for the Delancey Underground, transforming an underground trolley terminal into a public park for Manhattan’s Lower East Side. An exhibit detailing the proposal for the so-called “Low Line” will be running throughout April at the Mark Miller Gallery. The show entitled Let There Be Light was organized by Delancey Underground co-founders James Ramsey and Dan Barasch in an effort to engage the public directly with the ideas and innovations underpinning the project. The design seeks to reclaim the abandoned Williamsburg Trolley Terminal beneath Delancey Street, transforming the derelict space with the use of innovative solar reflectors and fiber optic cables into a sunlit subterranean park teeming with plant life. The show offers an opportunity to examine in close detail this elegant solar technology as well as early design prototypes, sketches and 3-D renderings of the proposal. Visitors are also encouraged to provide comments and suggestions for the scheme which will be reviewed by the designers as the project progresses. The month long display is part of a larger effort to move the design forward, the next key stage of which will be a full-scale installation of a segment of the park at the Essex Street Market to be completed in September. This will allow the community to inhabit and experience the park as it may some day feel. The proposition is an admirable and earnest reuse of the city’s urban infrastructure and an unexampled way of considering public space. Initiatives such as this may help maintain enthusiasm and momentum for the project among supporters and continue the public dialogue. Editor’s note: A Kickstarter campaign to build a demonstration segment of the Low Line has entered the final stretch with only a few hours left to contribute to the project, which has already substantially exceeded its goal of $100,000.
Urban Visions: American Works on Paper, 1900-1950 Indianapolis Museum of Art 4000 Michigan Road Indianapolis, IN Through September 30 An upcoming exhibition at The Indianapolis Museum of Art’s Alliance Gallery will explore the ways in which artists dealt with the rise of industrial modernization and urbanity. In the first half of the 20th century, rapidly changing cities served as inspiration for new portrayals of human expression within these new environments. “The spectacle of metropolitan life” is presented through 25 works from IMA’s print collection, including lithographs, etchings, and engravings from well-known artists such as George Bellows, Childe Hassam, Edward Hopper, Reginald Marsh, and Isabel Bishop. The exhibition will display the art alongside vintage construction photos from the Chicago and New York skyscraper boom, providing context for these early interpretations of the city. Pieces from lesser-known artist and architect Gerald Kenneth Geerlings, whose aquatinted technical drawings of the emerging cityscape highlight the juxtaposition of emotional romanticism and technological progress, will be on display at IMA for the first time since 1970.
Breaking Ground: Chinese American Architects in Los Angeles (1945–1980) The Chinese American Museum 425 North Los Angeles St., Los Angeles Through June 3 As part of the Pacific Standard Time initiative, the Chinese American Museum presents Breaking Ground to showcase the pioneering contributions made by four Southern California–based Chinese American architects. These architects, Eugene K. Choy, Gilbert Leong, Helen Liu Fong, and Gin Wong, all made contributions to the development of postwar California architecture, from Choy and Leong’s playful Chinatown Modernism to Wong’s radical masterplan for LAX and Fong’s development of the Googie style (think neon signage and cantilevered boomerang-shaped roofs). Original and reproduced photographs, blueprints, renderings, and drawings of works by the architects are on display, including original photographs by architectural photographer Julius Shulman (above, The Choy House).
Architecture in the Expanded Field CCA Wattis Institute for Contemporary Arts 1111 8th St., San Francisco Through April 7 Theorist and critic Rosalind Krauss’s 1979 text “Sculpture in the Expanded Field” attempts to identify the scope of sculpture in a time when artists were redefining its traditional limits to include considerations of architecture, landscape, and space. The Wattis attempts a similar redefinition of the field of architecture; installations explore material, spatial, and perceptual concerns with emerging experimental technologies outside the limits of traditional architectural practice. A full-scale installation within and outside of the gallery transports visitors into the immersive environment, while a surface component presents the mapped expanded field of architectural installation.
City of Mirages: Baghdad, 1952–1982 Through May 5 Change: Baghdad, 2000–Present Through June 23 Center for Architecture 536 LaGuardia Place Two complimentary exhibits at the Center for Architecture capture an aspirational past and equally ambitious present in the Middle East. City of Mirages: Baghdad, 1952–1982 shows a flourishing cosmopolitan city that—whatever the regime—commissioned an impressive array of international design talent for much of the last century resulting in an architecture combing modernist ideas with interpretations of the local climate and culture. Through models and drawings, including Walter Gropius and Hisham A. Munir’s campus building (top) at the University of Baghdad, rather than photographs in order to emphasize the optimistic intentions of the period, City of Miracles sheds light on a significant but rarely seen corner of global modernism. CHANGE: Architecture and Engineering in the Middle East, 2000–Present surveys 123 contemporary works from 20 countries in the wider Middle East, including Asymptote and Dewan Architects’ Yas Marina Hotel in Abu Dhabi (above), gathered through an open call for submissions. The impact of rapid growth and instant globalization is evident through supertalls, man-made islands as well as UNESCO monument sites under siege.
Sarah Morris: Points on a Line The Wexner Center 1871 North High Street Columbus, OH Through April 15 Points On A Line, a 2010 film by artist Sarah Morris, takes two iconic buildings as its central characters, Mies van der Rohe’s Farnsworth House in Illinois and Philip Johnson’s Glass House in Connecticut (above). Commissioned by the National Trust for Historic Preservation, which owns both properties, the film is a meditation on the relationship between the buildings—Johnson, an acolyte of Mies and inspired by Farnsworth drawings, happened to complete his New Canaan house first—and the structures as they exist today. But it is the relationship of the architects themselves that becomes Morris’ narrative thread, serving as a springboard to explore their other architectural overlap: Johnson’s glamorized corporate interiors for the Four Seasons, the power-broker restaurant in the base of the Mies-designed Seagram building in Manhattan. Points on A Line underscores how our perception of a space is affected not just by its design but also its mythology.