At the Aronson Galleries at the New School, a wall of pickle jars taped with black-and-white cutout portraits of twenty dictators lines the windowsill. A standard 8 ½ x 11 paper sign invites visitors to Pick Your Own Dick by placing a poker chip in a jar. Chairman Mao, a world-class “dick” whose Cultural Revolution starved and murdered millions of Chinese, and Turkish President Erdogan, an elected Muslim fundamentalist morphing into a military strongman, handily won opening night.
Romancing True Power: D20, the mischievous exhibition and book designed by Srdjan Jovanovic Weiss of NAO and conceived by Nina Khrushcheva, associate dean and professor of International Affairs at the New School, cheekily invites public debate about the nature of and difference between types of dictatorship, taking special glee in thumbing its nose at ostentatious symbols of power.
Mayor Rahm Emanuel‘s announcement that Chicago would launch an international festival of art and architecture—its own take on the famous Venice biennale—drew jeers and cheers from the design community both near and far from The Second City. AN called for the show aspiring to be North America’s largest architectural exhibition to go beyond tourism bromides.
Now the upstart expo has a name, as well as its first show. Read More
Maggie’s Centres: A Blueprint for Cancer Care
New York School of Interior Design, NYSID Gallery
161 East 69th Street, New York.
Gallery Hours: Tuesday – Saturday, 11am – 6pm
Through April 25, 2014
These are the requirements that were put to Richard Rogers, Zaha Hadid, Piers Gough, Steven Holl, Rem Koolhaas, Frank Gehry, and thus far eleven other architects when asked to design Maggie’s Centres, buildings in the U.K. where “free practical, emotional, and social support to people with cancer, their family and friends” are provided.
What was the most popular architecture or design exhibition in 2013? If you guessed MoMA’s Le Corbusier spectacular or SFMOMA’s landmark Lebbeus Woods: Architect (coming to New York’s Drawing Center April 15) you’re close but off the mark. In fact the most popular architecture exhibition in the world, according to The Art Newspaper‘s 2013 Visitors Figures was MoMA’s Henri Labrouste exhibition that drew 438,680 viewers (4,100 a day) compared to the Le Corbusier show that had 405,000 visitors (4,010 a day).
4 West Burton Place
Through April 5
Judy Ledgerwood’s Chromatic Patterns is a site-specific work that transforms the lower galleries of the Graham Foundation’s historic Madlener House in Chicago. The house was designed by Richard E. Schmidt and Hugh M. G. Garden and built in 1901–02. Judy Ledgerwood is a Chicago-based painter and educator. She is the recipient of numerous awards, including The Richard H. Driehaus Foundation Award, an Artadia Award, a Tiffany Award in the Visual Arts, a National Endowment for the Arts Award, and an Illinois Art Council Award. This exhibition surrounds the visitor in vibrant colors with a vibrant floral motif that almost mimics the house’s prairie style ornamentation. This installation examines the effect of paint on architecture, specifically the wall covering’s ability to produce new effects and feelings about a space. In this work, Ledgerwood uses ornamentation to change visitors’ perception of the ornamentation in the Madlener House’s lower galleries, highlighting the divergent ways that pattern, color, ornamentation, and surface have been coded, gendered, repressed, and embraced in art and architecture.
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).
Opening this week at Rome’s MAXXI is an exhibition honoring the late Alessandro Anselmi. Curated by his son and associate Valentino Anselmi and Valerio Palmieri, this important exhibition consists of 100 exquisite drawings, models, and watercolors from the 1960s through 2002. The show is organized thematically to lead the viewer through various aspects of Anselmi’s ouerve: the Architect’s Dream, the Geometry of Memory, the Figuration of the Modern, Fragments and Enclosures, Geometrized Nature.
Among the projects on view are his cemetery of Parabita in Puglia, the State Archive in Florence, the restructuring of Piazza dei Navigatori in Rome. The exhibition highlights an architect who was in many ways radical, but fully inserted into the dynamics of the contemporary debate, but always guided by a passion for history, and intensely sensitive to issues of place and context. One senses his profoundly Roman formation. His vision—intimate and almost oneiric—allowing us to speculate on its possible metaphysical influences.
Frank Lloyd Wright and the City: Density vs. Dispersal
Museum of Modern Art
11 West 53 Street, New York, NY
February 1 to June 1
Frank Lloyd Wright and the City: Density vs. Dispersal will represent the first exhibit resulting from the recent join acquisition of the architect’s archives by MoMA and Columbia University’s Avery Architectural and Fine Arts Library. The models, drawings, and films found within the extensive collection will allow the museum to illustrate the tension in Wright’s urban thinking in the 1920s and 30s.
Even as he undertook projects that contributed to the increasingly vertical nature of American cities, he created a radical horizontal vision of urban life known as Broadacre City. The elaborate model of this agrarian metropolis created by Wright and his students will be displayed alongside the architect’s designs for the San Francsico Call Building, Mahattan’s St. Mark’s-in-the-Bouwerie Towers, and a largely theoretical mile-high skyscraper.
When Andres Lepik was a curator at the Museum of Modern Art in New York, he organized and curated Small Scale, Big Change: New Architectures of Social Engagement (2011). It was a landmark show for MoMA and identified a developing design trend of socially engaged projects aimed not at “grand manifestos” but to ones committed to “radical pragmatism.” Now back in Germany, Lepik has curated an equally ground breaking exhibition on social design. The exhibit Afritecture: Building Social Change at the TU Munich Architecture Museum rightly focuses on the African content as the most exciting and creative place for todays architecture of social engagement.