NANCY HOLT: Sightlines
The Graham Foundation
Four West Burton Place
Through December 17
Beginning her artistic career in the 1960s, Nancy Holt helped pioneer the Land Art movement alongside artists like Richard Serra and Robert Smithson, who was her husband and occasional collaborator. Nancy Holt: Sightlines at the Graham Foundation presents documentation of over 40 of her monumental and ecologically-focused projects through photography, film, and artist’s books, revealing Holt’s eloquent mode of navigating the intersection of art and nature.
In Sun Tunnels, an installation and 1978 film (above), sunlight interacts with four concrete tunnels in the Great Basin Desert in Utah, exemplifying Holt’s interest in space and time by highlighting how the passage of the sun impacts each tunnel differently and in a way specific to that location. In addition to presenting previously unseen materials from the artist’s archive, the exhibition, which concentrates on the Holt’s work between 1966 and 1980, features the documentary Pine Barrens (1975) about undeveloped land in New Jersey, and documentation of the projects Swamp (1971, in collaboration with Smithson), Boomerang (1973, in collaboration with Serra), and the multi-monitor installation Points of View (1974), a piece that underscores the different perspectives we bring to viewing the landscape.
Unfrozen Music: Architects in Concert
Santa Monica Main Library
Saturday, October 22, 2011 at 7:00 PM
Tomorrow night a few talented Los Angeles architects—several featured on the pages of AN over the years—will be showing off their skills at the third annual Unfrozen Music, a concert at the Santa Monica Library‘s MLK Auditorium. Emcee’d by AN West Coast Editor Sam Lubell, the lineup ranges from chamber music to jazz to indie rock. And here’s a secret—they’re all really good.
194X–9/11: American Architects and the City
The Museum of Modern Art
11 West 53rd St.
Through January 2
Prompted by the United States’ entrance into World War II in 1942, Architectural Forum magazine commissioned pioneering architects to imagine and plan a postwar American city. At the tenth anniversary of the 9/11 terrorist attacks, 194X-9/11: American Architects and the City features the plans, renderings, and sculpture of Ludwig Mies van der Rohe, Louis Kahn, Paul Rudolph, and Rem Koolhaas and their ideas for cities of the future. Rarely displayed works, such as Mies van der Rohe’s collage Museum for a Small City Project (1942), above, reveal plans for cultural centers and urban life in uncertain times.
The American Style:
Colonial Revival and the Modern Metropolis
Museum of the City of New York
1220 Fifth Avenue
Through October 30
Following the U.S. Centennial of 1876, architecture in New York City was defined by what was known as “the American style,” a visual language referencing both the nation’s nostalgia for its beginnings and its progressive aspirations. A new exhibition reveals the impact of Colonial Revival on the cityscape through vintage photographs and objects like a 1926 mahogany settee by the Company of Master Craftsmen, whose volutes reflect a resurgence in classicism that is the trademark of the Colonial.
Architecture in Uniform: Designing and Building for the Second World War
Canadian Centre for Architecture
1920, rue Baile
Montréal, Québec, Canada
Through September 18
How did World War II impact the built environment? This new exhibit curated by Jean-Louis Cohen explores how 20th century architects contributed to the war efforts and how their work ultimately led to the modern structural and technological innovations that make some of today’s complex designs possible. WWII was an accelerator of technological innovation, and from 1937 to 1945 architects were frequently pressed to pursue the most modern solutions, which often meant the most cutting edge. Designed by New York-based WORKac, the exhibit is comprised of drawings, photographs, posters, books, publications, models, historical documents, and films that reveal how contemporary architecture left its mark on the landscapes of both the Axis and the Allied powers. Organized thematically, the exhibition focuses on wartime activity as well as architects and their projects in Canada, France, Germany, Italy, Japan, the Netherlands, Spain, the United States, and the USSR. Architecture in Uniform is part of a larger project at the CCA that examines the various roles of architecture from the Second World War to today called On the Natural History of Destruction.
Mark Handforth Plaza Project
Museum of Contemporary Art Chicago
220 East Chicago Avenue
July 8 through October 10
The formality of the plaza and entrance that Josef Paul Kleihues designed for the Museum of Contemporary Art Chicago has always stood in contrast to the institution’s experimental spirit. This summer the Miami-based artist Mark Handforth will debut four playful sculptures on the plaza and west facade of the building, including a giant brass coat hanger (above) hand bent by the artist. Other pieces, which mine Surrealism even more explicitly, include a giant streetlamp coiled like a snake, a monumental bone with a telephone handset hanging off the top, and a massive crumpled traffic cone topped with an English bobby’s hat.
Pipilotti Rist: The Tender Room
Wexner Center for the Arts
The Ohio State University
1871 North High St.
Through July 31
Swiss artist Pipilotti Rist makes her debut in Columbus with a new site-specific project drawn from the artist’s latest inspirations. The lush multimedia environment promises visitors a full-body experience, featuring kaleidoscopic colors, lulling soundtracks, and whimsical lighting, along with lounge chairs for taking in the sights and sounds. As usual, Rist takes a familiar starting point, such as the body, and plays with it (altering colors, speed, and sound) until it becomes unfamiliar and even fascinating. Drawing inspiration from her first feature-length film, Pepperminta (2009), Rist complicates the visitors’ environment, blurring the boundary between fantasy and reality. The exhibition also features Rist’s single-channel video Open My Glade (Flatten) (2000) outside the Wexner Center’s east entrance.
Los Angeles County Museum of Art
Through October 31
Best known for directing films like The Nightmare Before Christmas, Edward Scissorhands, Batman Returns, and Beetle Juice, Tim Burton and his work as an illustrator, writer, and artist are being honored with a retrospective at the Los Angeles County Museum of Art. This new show celebrates the way that Burton has managed to put his own spin on movies in an industry known for its fear of the unknown. With over 700 items on display, including drawings, paintings, photographs, film and video works, storyboards, puppets, concept artworks, maquettes, costumes, and assorted cinematic ephemera, visitors get a glimpse into the mind of this modern day Renaissance man.
Though the show debuted on the east coast at New York’s Museum of Modern Art, the LACMA version of the show, organized by Britt Salvesen, offers its own take on the Burbank native’s body of work. Burton collaborated with the exhibition designers to transform the museum’s Resnick Pavilion into an appropriately “Burtonesque” environment. He also created several new pieces for the exhibition, including what the museum describes as a “revolving multimedia, black-light carousel installation that hangs from the ceiling.”
Seemingly sliced into the asphalt of a Brooklyn street beneath the Manhattan Bridge is an unexpected glass-filled “tattoo” designed by landscape architect Paula Meijerink, founder of Boston-based WANTED Landscape. Meijerink is among eight landscape architects featured in Material Landscapes, a recently opened exhibition at the Sheldon Art Galleries in St. Louis running through January 21st, 2012. Work from the eight firms including D.I.R.T studio, dlandstudio, Stoss Landscape Urbanism, Legge Lewis Legge, PEG office, Kaseman Beckman Advanced Strategies, and ESKYIU is presented in photographs and drawings.
Curator Liane Hancock, senior lecturer at Washington University in St. Louis, chose projects ranging from a vertical container garden in Hong Kong to a waterfront in Milwaukee to reflect innovative use of materials in landscape architecture and to advance landscape design in St. Louis in light of major projects such as Citygarden and the redevelopment of the St. Louis Arch grounds.
Knoll Textiles, 1945–2010
Bard Graduate Center Gallery
18 West 86th Street
Through July 31
A new show at the Bard Graduate Center (BGC) takes a comprehensive look at the history and influence of Knoll Textiles, both as a brand and a company. It also aims to bring to light the importance of textiles in relation to modern design. Curated by a multidisciplinary team (Earl Martin, associate curator at the BGC; Paul Makovsky, editorial director of Metropolis magazine; Angela Völker, Curator Emeritus of Textiles at Vienna’s MAK; and Susan Ward, an independent textile historian) the exhibit features 175 examples of textiles, furniture, and photographs that explore the innovations, from production of materials to marketing, during the 1940s through the 1960s.