Sarah Morris: Points on a Line
The Wexner Center
1871 North High Street
Through April 15
Points On A Line, a 2010 film by artist Sarah Morris, takes two iconic buildings as its central characters, Mies van der Rohe’s Farnsworth House in Illinois and Philip Johnson’s Glass House in Connecticut (above). Commissioned by the National Trust for Historic Preservation, which owns both properties, the film is a meditation on the relationship between the buildings—Johnson, an acolyte of Mies and inspired by Farnsworth drawings, happened to complete his New Canaan house first—and the structures as they exist today. But it is the relationship of the architects themselves that becomes Morris’ narrative thread, serving as a springboard to explore their other architectural overlap: Johnson’s glamorized corporate interiors for the Four Seasons, the power-broker restaurant in the base of the Mies-designed Seagram building in Manhattan. Points on A Line underscores how our perception of a space is affected not just by its design but also its mythology.
The community planning process for the conversion of the elevated rail line known as the Bloomingdale Trail into a public park and recreational path is underway. The three mile embankment, twice the length of New York’s High Line, will feature 8 access points from adjacent pocket parks, and a mile and a half of the line will have separated pedestrian and multi-use paths (for bike riders and roller-blades). The trail winds through Chicago’s Logan Square, Wicker Park, Humboldt Park, and Bucktown neighborhoods. Read More
In the hustle and bustle of city life, sometimes it’s hard to find the time to visit a museum. Luckily for time-strapped New Yorkers, a massive copy of Michelangelo’s David was trucked around Manhattan on Tuesday, stopping off at the Storefront for Art and Architecture for a manifesto series called “Double” exploring the implications of creating copies, fakes, and replicas before heading to its new home at the 21c Museum Hotel in Louisville, Kentucky. This David, by conceptual artist Serkan Ozkaya is a copy of a copy of the original Florentine model, reimagined twice as tall and painted gold, making it the perfect centerpiece for the evening.
It’s a story that’s been told in city after city. If you build it, they won’t leave. Professional sports teams hold cities hostage, playing on the loyalty of fans to get expensive, taxpayer-funded facilities, while displaying little civic loyalty of their own. Anyway! In Minneapolis, the Vikings have said they won’t decamp for Los Angeles if the city and state agree to help build a new $975 million stadium on the site of the Metrodome, according to the Star-Tribune.
Stanley Tigerman: Ceci n’est pas une rêverie
Madlener House, Graham Foundation
4 West Burton Place
Through May 19
Curated by Yale School of Architecture Professor Emmanuel Petit, Ceci n’est pas une rêverie (“This is not a dream”), is a retrospective that examines the architectural and conceptual work of Stanley Tigerman (top, 1966). Occupying three floors of the Graham Foundation’s Madlener House, the exhibition is arranged in relation to nine dominant themes recurring throughout Tigerman’s 50 career: Utopia, Allegory, Humor, Death, Division, (Dis)Order, Identity, Yaleiana, and Draft.
A variety of media, including models, photographs, and archival documents, offer a sampling of the architect’s output, and the exhibition includes one of Tigerman’s best-known pieces, The Titanic, 1978 (above), a collage that explicitly critiques the state of architecture in the late 1970s with S. R. Crown Hall sinking into Lake Michigan.