Posts tagged with "parrish art museum":

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Peter Marino to open foundation, art museum

Architect Peter Marino is opening his contemporary art collection to the public and has revealed plans for an eponymous art foundation and accompanying museum in Southampton, New York. The architect, who was recently stripped of awards by the AIA because of harassment charges, is no stranger to designing gallery spaces, but Marino is also well known as a collector, having amassed several thousand pieces of art from across the late 20th and 21st centuries. Marino announced the creation of the Peter Marino Art Foundation during the opening ceremony of Counterpoint: Selections from The Peter Marino Collection at the Southampton Arts Center. The show, which runs from July 28 through September 23, pulls from Marino’s personal collection and includes work from artists that range from Robert Mapplethorpe to Damien Hirst. The show also includes sculptures and photographs from Marino’s completed architectural projects and gardens. The Peter Marino Art Foundation will be housed in the building next to the Southampton Arts Center, in what was originally the Rogers Memorial Library. The two-story, 8,000-square-foot red brick building at 11 Jobs Lane was designed by R.H. Robertson and completed in 1896. The building has been used to house pop-up retail and an interior design firm after the Parrish Art Museum, which had been using the library as an annex, departed for the neighboring town of Water Mill in 2012. Marino has purchased the building and plans to begin renovating the former library in September 2019, with an estimated opening date sometime in 2020. The foundation will focus on exhibiting work from local visual artists in addition to showcasing Marino’s own collection and will host rotating shows from guest artists as well as workshops and educational programming. When asked for comment, Marino mentioned the tight-knit nature of communities in the Hamptons. “When the Parish museum left for Watermill it unfortunately left a hole in Southampton, in terms of dedication to the visual arts within the village,” said Marino. “We intend to restore 11 Jobs Lane to its original purpose. Counterpoint: Selections from The Peter Marino Collection is a taste of the art that will be at the Peter Marino Art Foundation. Hopefully it will be a premier spot for art, for anywhere in the world. “My wife and I have been here since the early 90s and we came here because we love the village of Southampton. We love the village, we love the trees, we love Lake Agawam, the inlet, the ducks and the swans. I’ve been working on architectural projects in the Hamptons for over 30 years. For my own home, I’ve been working on its gardens (in Southampton) for over 20 years.” No cost estimates for either the purchase of the building or construction have been given. Marino has stated that he hopes the foundation will be able to work in tandem with the adjacent Southampton Arts Center to further both institutions.
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Editor-in-Chief William Menking in dialogue with Iwan Baan this Saturday

The Parrish Art Museum in Watermill, New York is housed in a simple but at the same time grand exhibition space designed by Herzog & de Meuron in 2012. When it was finished, the Swiss architects asked Dutchman Iwan Baan to photograph it for publication. As Jonathan Hilburg reported in AN, the way the museum “was sited, the photographs that Baan took of the building, and the long, uninterrupted views down the museum’s 'wings' all stoked questions of how photography proliferates the ideas behind buildings." Further, these were all inspirations for the museum's current exhibit, Image Building: How Photography Transforms Architecture. Iwan Baan’s always stunning images have made him one of the most sought-after architectural photographers in the world. As part of the exhibition, I will be interviewing Baan at the Parrish about how he started as a young photographer with Rem Koolhaas and his practice that has him flying to every continent to shoot many of the most important buildings of the day. The interview will begin at 5:00pm this Saturday, April 14 at the Parrish. More information on the talk can be found here.
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Photography’s power to shape the experience of architecture goes on display at the Parrish Museum

Buildings have been reliable photography subjects since the medium’s invention, and a new exhibition at the Parrish Art Museum in Southampton, New York, tracks how architectural photography sells a narrative as much as the buildings themselves. Through careful selection by guest curator Therese Lichtenstein, Image Building: How Photography Transforms Architecture examines how architectural photography inherently creates subjective experiences. From now until June 17, 2018, patrons can view 57 images by 17 renowned and lesser-known photographers who shaped a language of architectural photography that’s survived well into the age of Instagram. Organized thematically intro three sections, Cityscapes, Domestic Spaces, and Public Places, Image Building places historical photographs alongside contemporary images to track an evolution in style, technique, and places themselves. Modernism has proven an especially rich vein for these comparisons. Image Building places Julius Shulman’s carefully staged Case Study House photos against images of quotidian features from cookie-cutter, low-income housing. Each series is trying to sell something, whether it be an idealized life of post-war leisure, or commentary on the alienation that mass-produced housing induces. This dichotomy is on display throughout the exhibition, and hammers home the heightened artificiality of architectural photography. Buildings are three-dimensional structures and flattening them hands the narrative over to the photographer. For instance, Hiroshi Sugimoto’s fragile, out-of-focus takes on famously photographed architectural landmarks are a commentary on their now-lessened status in the world, having been sidelined and (literally) overshadowed in the years since their construction. But this series serves another purpose, as it highlights how vital the technical aspects–light, depth of field, the use of color–are to each photograph's meaning. Take Iwan Baan’s delirious photos of Torre de David in Caracas, Venezuela. Devoid of people, but featuring the scattered items they’ve left behind, Baan captures the chaotic energy present in the half-finished Torre de David skyscraper, now overrun with squatters, from the perspective of its inhabitants. Looking at The City and the Storm, Baan’s aerial photo of a Manhattan plunged into darkness following Hurricane Sandy, Baan singles out what he calls the “electricity haves and have-nots,” as viewers are drawn to the centers of finance that serve as islands of light in a darkened city. The Parrish Art Museum, designed by Herzog & de Meuron and shaped like an extruded “M,” built from simple materials and completed in 2012, played an important part in the foundation of Image Building. As Lichtenstein told AN, the Parrish itself was partly the inspiration for the show. The way it was sited, the photographs that Baan took of the building, and the long, uninterrupted views down the museum’s “wings” all stoked questions of how photography proliferates the ideas behind the buildings themselves. As it becomes easier and easier to proliferate images of buildings, looking back to the history of the form may provide an important tool for the professional and amateur architectural photographer alike. On Saturday, April 14 2018 at 5:00 PM, the Parrish Museum will host a dialogue between The Architect's Newspaper's Editor in Chief William Menking and photographer Iwan Baan on the use of photography to instill buildings with feeling and meaning. More information on the talk can be found here.
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How art and architecture hit the water in the 1960s and beyond

In 2005, a group of Brooklyn artists working under a loose collaborative called “Bruce High Quality Foundation” (BHQF) fashioned a small boat with a single replica of one of Christo and Jean-Claude’s bright orange post-and-lintel Central Park “gates.” They then motored around Manhattan, orange gate fabric flapping in the wind, as they chased another large-scale work of art: Robert Smithson’s Floating Island to Travel Around Manhattan, which the artist had conceived 35 years earlier, but was realized posthumously in 2005. Here, Smithson recasts Central Park as a detached, unreachable fragment of the city, floating counterintuitively around the island that keeps it landlocked. The reformation of Central Park as an island reframes not only the natural environment of the park but also its relationship to the city, and the city itself. This absurdist scenario—a small motorboat trailing a landscaped barge behind a tugboat—is the jumping off point of the catalogue for Andrea Grover’s Radical Seafaring, which recently closed at the Parrish Art Museum in Water Mill, NY. Grover told The Architect's Newspaper (AN) that she was “born to curate this show,” because “my father started out as a commercial fisherman in the late 1930s and then ran a marina for 50-plus years. My mother was a painter and a sculptor. The two sensibilities merged in my childhood. In 1985 my father crossed the North Atlantic in an outboard-powered boat of his own design, and my mother helped him create some of the safety features that helped him survive the nearly 3,000-mile journey.” The catalogue is a gorgeous silver edition that, like the BHQF’s affection for Smithson, connects the radical water-based art and architecture of the 1960s and 70s with today’s contemporary seafarers. It shows the works indexically, with accompanying essays that elucidate the four categories:

Exploration (the quest for new experiences, the ineffable, and living in an exhilarated state), Liberation (self-reliance, freedom from terrestrial social contracts, the desire to shape one’s world, and utopian (impulses), Fieldwork (hands-on, methodological intelligence gathering about the environment, such as an artist laboratory at sea), and Speculation (waterways as a tabula rasa on which other realities can be built).

Within these headers is a collection of architectural works that have taken maritime themes, from large-scale housing projects to a structure that would facilitate humans' diplomatic relations with marine life. Conceptually, the show has a range of connections to architecture. All of the categories deal with the sea as a new territory where we can redefine ourselves and how we relate to one another and nature. It is not only defined by a different ground plane (water), but also by a different set of rules due its extra-legal, non-sovereign state. Once outside of the limits of “the law of the land,” new possibilities arise from this tabula rasa condition. Dutch studio Atelier van Lieshout (AVL) built a floating abortion clinic for Women on Waves, a Dutch health nonprofit that provides reproductive health services to women in countries with restrictive laws. A-Portable was a gynecological unit that helped women from Ireland, Morocco, Poland, Portugal, and Spain. The Brooklyn collective Mare Liberum takes its name from the 1609 treatise by Dutch jurist and philosopher Hugo Grotius that described the sea as “one of the last free spaces in this densely occupied urban landscape.” The artists channel Grotius as they work to explore and inhabit New York City’s waterways and waterfronts, the last open spaces where the artists feel they can be marginal and ambiguously outside of civilization. An essay by Dylan Gauthier, a founding member of Mare Liberum, can be found in the front of the book and elucidates how the collective’s two-year occupation of a yacht on the Gowanus Canal was possible due to ambiguous law and overlapping bureaucracies. The group is experimenting with new territories and space-making outside of the traditional realm of architecture or urbanism. Mare Liberum’s work also provokes new ways of living, as does Buckminster Fuller’s proposal for Triton City in Baltimore, where large housing blocks would be built on autonomous ships, and anchored in the ground. The 100,000 units were stacked like blocks within a large superstructure. If this sounds like Metabolism, it is because Fuller and Japanese architect Shoji Sadao originally designed the project for Tokyo Bay, typical of other water-based architectures of the 1950s and 1960s in Japan. When its client died, the team was commissioned by HUD and President Lyndon Johnson. It never was realized, despite being verified by the U.S. Navy as fit for building. The model is now on view at the Johnson Presidential Library. Building out onto the water is a popular proposal these days, as Diller’s Island in New York and the Garden Bridge in London compete for most controversial territory. Also projecting new forms of interaction is Ant Farm’s Dolphin Embassy. The speculative underwater diplomatic center was conceived for exploring interspecies communication. This dolphin research platform DOLØN EMB 1 took multiple iterations, as it grew from a simple catamaran-like vessel to a futuristic, technology-driven vessel called Oceania. While the group published numerous articles and received grants for the research, the project was abandoned when they broke up in 1978. The architectural works in the show fit in well, as they are the spatial manifestation of the pioneering and experimental attitude of the whole exhibition. The works by Pedro Reyes, Mary Mattingly, and Dennis Oppenheim could easily have been included in an architectural survey, because of the territorial and social implications of the art that blur the distinctions between architecture and performance. In a way, getting in a boat is an architectural act and a performance at the same time. This speaks to not only the breadth of the Radical Seafaring catalogue but also to its aesthetic and conceptual clarity.