Founder and Chair of the Pulitzer Arts Foundation, Emily Rauh Pulitzer, announced today that Cara Starke, the director of exhibitions at Creative Time, will step into the role of director at the St. Louis–based cultural institution, beginning this July. During her years at Creative Time, Starke spearheaded some of the organization’s more elaborate, large-scale projects and exhibitions, including this past summer’s popular installation, A Subtlety, by artist Kara Walker.
This year’s Park City offerings at the Sundance and Slamdance film festivals ranged from portraits of architects, a mayor with architectural dreams, a victim of the foreclosure crisis, those trapped in physical and dreamed spaces, and individuals exploring the cultural landscape. Always a harbinger of what is coming up, look out for these films and media projects coming to a screen near you.
On Friday night at Riverfront Studios, motion-picture soundstages on 3 acres of East River waterfront between the Williamsburg Bridge and the Navy Yard, the newest art project by Doug Aitken called Station to Station was launched. Aitken did the “destruction” of Gallery 303 last year, Creative Time’s Broken Screen Happening at the Essex Street Market and Sleepwalkers projected on the wall of MoMA’s Sculpture Garden.
On the site of the former Schaefer Brewery, spotted in the crowd was Agnes Gund, Klaus Biesenbach, Chrissie Iles, Roxana Marcoci, Linda Yablonsky, Lisa Phillips and other art world luminaries. This event marked the inaugural nomadic “Happening” that moves in an Aitken-designed train from the Atlantic Ocean to the Pacific Coast stopping at nine different locations each time for a one-night-only live event in September. The scene was set for live performances that included a colorful site-specific smoke bomb installation by Olaf Breuning; food happening created by artist Rirkrit Tiravanija; and an original performance choreographed by Jonah Bokaer inspired by Robert Rauschenberg’s Pelican (1963) on the occasion of work’s 50th anniversary and more.
What do you do if a building is slated for demolition? If you’re the artist Doug Aitken and the building is your gallery, you devise a “time-based destruction installation.” Which is precisely what Aitken, who is known for wrapping the facade of the Hirschhorn Museum in with a 360-degree video installation to the tune of “I Only Have Eyes For You,” installing a video “land art” installation on the Seattle Art Museum, and the video “Sleepwalkers” projected on the facades of MoMA, “a cinematic art experience that directly integrates with the architectural fabric of the city while simultaneously enhancing and challenging viewers’ perceptions of public space” did.
This past Sunday evening, Seattle officials closed First Avenue. It wasn’t for road repairs, but to celebrate the unveiling of the Seattle Art Museum’s facade refresh by multimedia artist Doug Aitken. Two giant LCD screens projecting kaleidoscopic images of the Seattle region now wrap the north and west facade of the museum, with emanating vertical bands of lights.
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.