Eventually Everything: The 2012 D-Crit Conference
Wednesday, May 2, 12:30–7:00 p.m.
Visual Arts Theatre
333 West 23rd Street
No charge for admission; Registration required
On May 2 the School of Visual Arts Design Criticism MFA program, a.k.a. D-Crit, presents its third annual thesis conference, and this year’s line-up promises to be intriguing, covering an array of subjects–”Main Street, USA and the Power of Myth,” “Graphic Ornament in Interior Architecture,” “Towers to Town Homes: Public Housing, Policy, and Design in the US” to “Missing the Modern Gun: Object Ethics in Collections of Design,” to name a few. The list of thesis topics alone makes a statement about the possibilities of design criticism and how D-Crit aims to push its limits.
The Architecture Billings Index (ABI) has registered promising gains since late last fall, and, according to the AIA’s latest report on March billings, the ABI continues to find its footing in positive territory—but just barely. The overall March score was 50.4, indicating slight growth in demand for services (any score above 50 reflects increase in billings) but less growth than the previous month (the ABI was 51.0 in February).
When New Yorkers seek an island of calm within the city, they usually think of finding a patch of grass in a park, not making a beeline to the streets of Jackson Heights. But stillspotting, a series of programs sponsored by the Guggenheim, promises pools of respite in the most unusual places.
Selected artists and architects are paired with each of New York five boroughs and asked to create “spots” of stillness–what that might mean seems to be completely at their discretion. Last June artist Pedro Reyes’ Sanitorium project in Brooklyn offered visitors a selection of “urban therapies”; in September the architects of Snoehetta teamed up with Estonian composer Arvo Part to create To a Great City, a series of installations deploying weather balloons accompanied by Part’s music in a handful of spaces around Manhattan. Now, the architecture firm SO-IL is defining stillness through time, specifically the time it takes for a writer to read a short story. Read More
“I don’t have time to read, because I trot about with the gardeners. And the little monk’s garden at Fenway Court is very dear too,” Isabella Stewart Gardner wrote to her art advisor Bernard Berenson in 1908.
The walled “monk’s garden” flanks the Gardner Museum‘s Venetian-style palazzo (the house originally known as Fenway Court that became today’s museum) and was first planted in 1903 in an Italianate-style with elegant evergreens running along the walls and pathways. In the 1940s museum director Morris Carter resdesigned the Monks Garden using a Japanese style plan but seeding it with New England wildflowers. For the garden’s last update in the 1970s, Sasaki Associates added bluestone pavers and wooden benches. And the recent addition to the Gardner campus by Renzo Piano included a repositioning of the museum’s main entrance, a move that gives the Monks Garden a much higher profile, warranting another facelift. Read More
Are you on KPF’s holiday mailing list? If so, think twice before you toss their annual card into the recycling bin. You’re now the owner of a limited edition print by an artist who is represented by one of London’s poshest galleries, the Belgravia, and whose work was featured this fall in a one-man show in Hong Kong. The signature is in the bottom right corner: Kohn ’11.
The Museum of Modern Art has confirmed that the Portuguese architect, curator, and writer Pedro Gadanho will join MoMA’s Department of Architecture and Design as a curator of contemporary architecture.
According to MoMA’s release: “In his new role, Mr. Gadanho will be responsible for a broad portfolio that reinforces the Museum’s commitment, since 1932, to contemporary architecture. In addition to building the Museum’s holdings of contemporary architecture, he will oversee the annual Young Architects Program (YAP), co-organized with MoMA PS1, and the two-year-old YAP International Program in conjunction with the MAXXI in Rome and Constructo in Santiago, Chile; organize further exhibitions in the Museum’s “Issues in Contemporary Architecture” series; and develop larger scale exhibitions of contemporary architecture, including exhibitions that explore relationships between architecture and other contemporary art practices.”
“Banality,” the theme of Storefront‘s Critical Halloween costume fundraiser, was manifested in an array of clever–and occasionally perplexing–forms on Saturday evening at the 3-Legged Dog in Manhattan. Blizzard-like conditions did not deter a group of over 250 design-o-philes and at least one (in)famous party crasher from getting decked out in spandex, foam, plush, rubber, tulle, and acres of cardboard. The weather did prevent Liz Diller from arriving to judge the costume contest, but her fearless partner Charles Renfro stepped into the breach, and channeling Damien Hirst in a rhinstone-studded skull mask (“Greed”), took his place alongside judges Wangechi Mutu (embodying Pantone’s “Bluebird”) and Justin Davidson (dressed as an architecture critic).
The closest thing we have to Carnival in the US, Halloween offers a chance for type A-types (yeah, we’re looking at you, architects) to blow off some steam. Tomorrow night, Storefront for Art and Architecture’s hosts its Critical Halloween costume soiree at the 3-Legged Dog at 80 Greenwich St. The theme? Banality!
Lest you thought this might be an eggheads-’round-the-punchbowl affair, be aware that this party just made New York Observer‘s list of New York’s 10 Hottest Halloween Events to Die For alongside fetes hosted by the likes of model Miranda Kerr and V Magazine. Read More
At 7am on August 1, Genevieve White headed to work. Dressed like any personal trainer—zip-up track jacket, shorts, cross-trainers—she made her way down Wall Street. But White didn’t have an appointment to stand over a high-powered exec doing crunches. Bypassing the monumental entry of the neighborhood Equinox gym, she stationed herself on the sidewalk near William Street, stripped off her clothes, leaving on only her shoes and mirrored aviator sunglasses, and began doing jumping jacks.
Hiroshima: Ground Zero 1945
International Center for Photography
1133 Ave. of the Americas at 43rd St.
Through August 28
An abandoned suitcase, a house fire, strange markings on old photographs. These were the key clues in a mystery that Adam Harrison Levy began to unravel almost ten years ago when researching a BBC documentary about the bombing of Hiroshima. Levy’s intriguing narrative now serves as the backdrop for the black-and-white photographs in Hiroshima: Ground Zero 1945, an exhibit running through August 28 at the International Center for Photography in New York. On July 20 at the Van Alen bookshop, Levy read from his essay in the exhibition catalogue while ICP curator Erin Barnett discussed her research for the show of 60 photographs, all drawn from an ICP collection of almost 700 images that once belonged to Robert L. Corsbie.