We urbanites have all cursed the slow-moving, camera-toting tourists, snapping photos of the iconic buildings in the cities we hustle through daily. As residents, with the dulling nature of time, our appreciation of these structures is diminished. As tourists, they are like vivid stage-sets captured in our minds, but, like all other memories, they are fleeting. We return home and try to explain them to our friends with words, charades-like gestures, and amateur photographs. Artist Susan Giles explores these ideas in greater detail with her current exhibition, Buildings and Gestures, currently on display at Kavi Gupta Gallery in Chicago through March 13. Read More
Winter makes Chicagoans crave a sense of escape. An intriguing new exhibition of Maya Lin’s work at the Arts Club of Chicago provides a timely opportunity to visit, visually at least, some fascinating terrain. With its small and large-scale sculpture and installations, viewers can travel from mountain peaks to the bottom of the sea. Read More
The British artist Richard Woods is known for using patterns from historical sources such as Tudor architecture and the designs of William Morris in his Pop inflected works. His new installation at Lever House, entitled Port Sunlight, wraps the ground level elements at Gordon Bunshaft’s mid-century masterwork in vibrant panels, and while there isn’t a snowflake in sight the effect is festive. Read More
Thirty-five years ago in Austin, Texas, Willie Nelson forged an historic accord between the hippies and the rednecks. Today, some 200 miles to the north in Arlington, Texas, Gene and Jerry Jones, owners of the Dallas Cowboys, are forming a similar pact, this time between the artists and the jocks. The Jones family has kicked off an ongoing initiative to commission contemporary artists to create site-specific installations for the newly completed Cowboys Stadium. The initial blitz of 14 works includes pieces by such art world luminaries as Franz Ackermann, Annette Lawrence, and Oafur Eliasson. See more after the jump.
From Germany via Dangerous Minds comes this stunning 3-D architectural illusion: A square building appears possessed, its facade rippling, segmenting and mutating. Giant hands manipulate the building’s surface and then dissolve. A wave ripples through the building’s bricks as if it were shivering. Read More
It’s not every day that a scary fire burns within a few miles of a major cultural institution. Well in LA it sort of is, but that’s beside the point. A recent drive on the 405 Freeway revealed to us what all the news reports are saying: There is a biggish blaze burning just one hill over from the Getty Center on LA’s west side. The smoke is thick and brown, and on first look bulged out at the top, not unlike a mushroom cloud. Yikes. Helicopters are running regular passes over the thing, which is spreading in thin lines along the mountains facing the Getty, moving southward down the Sepulveda Pass. But fortunately it appears that firefighters have it under control (in California terms a 10-acre fire is only a mini conflagration), despite a forced evacuation of the Getty and nearby Mount St. Mary’s College. Stay tuned… We hope we don’t have to see if all that marble and granite will hold up to a good ol’ California disaster. And for now, the biggest concern of drivers on the 405 is the threat of imminent traffic. Now that’s scary.
Yesterday, we posted the feature from our current California issue, “On Their Mark,” about a new show at the Museum of Contemporary Art San Diego highlighting seven local firms. While sending over the pictures of the exhibition, Mix: Nine San Diego Architects and Designers, that went into our slideshow, the fine folks at MCASD also sent along these nice photos from the opening party, which were taken by Lauren Radack. In case, like us, you couldn’t make it. (And if you know anyone in these photos we may not have mentioned, do tell). Read More
Friend of AN Jeremiah Joseph visited an exhibition of interest in New York’s gallery district.
Et in Arcadia Ego, a new exhibition at the Thornton Room in Chelsea, examines the intersection and overlap of natural and man-made landscapes. With the title, roughly translated from Latin, “I am in pastoral utopia,” the show, curated by Blanca de la Torre and Juanli Carrion, could easily devolve into a Nature equals Good, City equals Bad equation. Instead, the way the six artists explore the topic is not so divisive or stale. The work tends to engage the subject from the side, generating surreal results. At the end any answers are farther off than before viewing the work, and this ambiguity is show’s strength. It prevents the viewer from standing too sure-footed and jumping ahead to conclusions and prejudices. Read More