Tribeca’s R & Company gallery at 82 Franklin Street is highlighting two Brazilian greats: Lina Bo Bardi (1914–1992) and Roberto Burle Marx (1909–1994). But act fast! Furniture by Bo Bardi and tapestries by Burle Marx are on display through the end of this week—the exhibit closes April 30.
In January Louisville Mayor Greg Fischer implored local designers and developers to propose ideas for 250 of the city’s several thousand vacant lots. Last week they announced four winners, which included gardens of dye plants for local textile production; a Habitat for Humanity–style homeownership program; environmental remediation via lavender fields; and meditation gardens made of recycled materials.
This March, Wolf-Gordon will launch a collection of upholstery and wallcoverings featuring the designs of Danish textile designer Grethe Sørensen. The offerings highlight the artist’s ground-breaking technique of translating pixels to threads, most recently displayed in her exhibition Rush Hour/Shanghai 5 at Fuori Salone in Milan. Sørensen’s work often features variations of light and color found in night settings and urban landscapes, which she manipulates in Photoshop before translating on to fabric. Cooper-Hewitt plans to acquire her work once its new building opens in late 2014.
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Wolf-Gordon’s “Force of Nature” spirals through Chicago’s Merchandise Mart during NeoCon 2013.
Based on the success of Wolf-Gordon’s inaugural NeoCon installation in 2012, chief creative officer Marybeth Shaw commissioned yet another show-stopping design piece for 2013. With the working title “Forces of Nature,” she turned once again to New York City–based design studio karlssonwilker and Brooklyn-based design-build collaborative The Guild to create a sculpture that would showcase the breadth of the company’s textiles and wall coverings. “The title ended up being quite appropriate to the final form, as the sculpture is a geometric construct with all of the resulting physical forces that might spin it out of the Mart’s ‘town square,’” Shaw recently told AN.
Karlssonwilker initially conceived of a kinetic sculpture, but Shaw wanted a large installation—nearly 30 feet long and 14 feet wide. At that size, there was no room for movement within the given space, a double-height ceiling over an escalator that would carry 42,000 show attendees. “We wanted it to rotate like a rotisserie chicken, but we went for a larger form,” said Graham Kelman, creative manager for The Guild. Ultimately, the team decided on a static sculpture resembling a twisted spine that gives a sense of movement through color and form. “I lost sleep over whether it would fit because if there was flex in the spine, it wouldn’t work.”
Andrea Zittel: Fluid Panel State
Andrea Rosen Gallery
524 West 24 Street
Through October 27
Andrea Zittel’s tenth solo show, Fluid Panel State, at the Andrea Rosen Gallery, her expands on her previous ideas that our culture is fixated on assigning order to a chaotic world by defining the personal and social significance of objects and by creating a distinction between everyday objects and art. Zittel demonstrates through a panel, a nebulous form, how an object can exceed functional properties, such as shelter or clothing, to convert into an art object, such as a tapestry or a painting. The gallery is compiled mostly of handmade textiles, designed by Zittel, but also includes large enamel paintings, smaller framed paintings on paper, and a large carpet placed in the center of the installation. A PowerPoint presentation further discusses the properties of the fluid panel state expanding on the importance positioning has in attributing meaning to a flat panel. Ultimately the exhibit leaves viewers to decide if they are experiencing art or object.