Richard Rogers Theater
226 West 46th Street, New York
Scheduled to play through October 12, 2014
THINK OF EACH PLAZA, PIER, AND PUBLIC PARK—
HOW MANY SIT THERE EMPTY, LONELY, DARK—
The Broadway musical If/Then starts in Madison Square Park with its unmistakable folding seats, tables, and umbrellas, a signature of Janette Sadik-Khan’s overhauling of public spaces during the Bloomberg administration. In this musical by Tom Kitt and Brian Yorkey (the team behind Next to Normal) city planner Elizabeth (Idina Menzel) returns to New York from Arizona where she’s just gotten out of a failed marriage—and urban sprawl.
With the plethora of contemporary art on view in New York during Armory Arts week, it has been instructive to note the contribution by architects to the design of these temporary exhibition spaces, and the use of interesting architectural spaces. The fairs are often held in structures originally used for other purposes — piers, parking facilities, drill halls — so the task has been to not only carve out space for display, but to move viewers (and buyers) with flexibility and ease and to provide an enticing environment. Fair organizers have turned to young architects for these interior layouts, or have chosen compelling venues.
Elizabeth Duffy & Cheryl Yun: Apartment 2B
dm contemporary NYC
39 East 29th Street, 2nd Floor
Ended March 15, 2014
On the 2nd floor of a luxury 34-story highrise between Madison & Park avenues designed by architect H. Thomas O’Hara is a gallery called dm contemporary NYC. Although the gallery is located in an apartment, it is usually a white-walled exhibition space without the trappings of a domicile, save for the kitchen island. Artists Elizabeth Duffy and Cheryl Yun decided to transform the space back into a domestic environment with a twist for her recent exhibition Apartment 2B.
Isa Genzken: Retrospective
Museum of Modern Art
Through March 10, 2014
In the home stretch before it closes on March 10, Isa Genzken: Retrospective at MoMA shows a sculptor whose work is infused with architecture from her sleek early works of lacquered wood in the engineered Hyperbolos and Ellipsoids series to rougher experiments in plaster, concrete, and steel which resemble architectural maquettes on pedestals including Bank (1985), Rosa Zimmer (Pink Room) (1987), Galerie (1987), Kleiner Pavilion (1989), and Fenster (Window) (1990).
The Oculus book talk on the new book, How to Study Public Life, at the Center for Architecture with Jan Gehl and his co-author Birgitte Svarre was like seeing the documentary The Human Scale come to life—only with a sense of humor.
Gehl’s urban theories have gained a lot of traction, not least in New York City. Jeanette Sadik-Khan went to Gehl’s native Copenhagen two weeks into her job as commissioner of NYC’s Department of Transportation (along with fellow commissioner of City Planning, Amanda Burden) and experienced the city’s pedestrian-over-cars public plazas, rode bicycles on protected bike lanes, and absorbed the lessons of the city that is repeatedly named the most livable in the world.
Up in the Air
Whitney Museum of American Art
Through February 9, 2014
Circles and squares; past and present; inside and outside. These are some of the elements that combine architecture and the moving image in T.J. Wilcox’s Up in the Air, a contemporary cyclorama of his Union Square penthouse studio view installed in Marcel Breuer’s Whitney Museum building.
Dante Ferretti: Design and Construction for the Cinema
Museum of Modern Art
The Roy and Niuta Titus Galleries and the Film Lobby
Dante Ferretti: Designing for the Big Screen
The Roy and Niuta Titus Theaters
Through February 9, 2014
When you enter the Film Entrance to the Museum of Modern Art at 11 West 53rd Street, you are greeted by two large lions. No, you are not 11 blocks south at the New York Public LIbrary, nor are you in Venice, Italy. You are entering the world of Dante Ferretti, the 70-year old multi–Academy Award–winning art director of films, opera, exhibitions, and even two New York City restaurants, Salumeria Rosi (design inspired by a scene in Federico Fellini’s Satyricon). Large, muscular, physically confident objects dot the floor—the clock-face from Hugo (Martin Scorsese, 2011), Art Deco chandeliers from Salò, or the 120 Days of Sodom (Pier Paolo Pasolini, 1975), and Arcimboldo figures comprised of vegetables, fruits and flowers (Milan World Expo, 2015). But these are actually lightweight, ephemeral objects made of fiberglass and not meant to last beyond the creation of the film or duration of the event. The clock and chandeliers were on the cusp of being tossed when curators Jytte Jensen and Ron Magliozzi salvaged them.
New Film, Reaching for the Moon, Traces Life of Poet Elizabeth Bishop and Architect Lota de Macedo Soares
The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.*
At this year’s Tribeca Film Festival, Reaching for the Moon by Bruno Barreto, one of the most celebrated filmmakers from Brazil (Dona Flor and Her Two Husbands) was originally titled “The Art of Losing.” That is the refrain of Elizabeth Bishop’s poem, “One Art” which chronicles ever-increasing losses—keys, names and places; then personal mementos; escalating to homes, cities and continents; and finally love. The love and then loss of this film is Bishop’s affair with self-taught architect Lota de Macedo Soares, the woman behind Flamengo Park in Rio de Janeiro.