Richard Rogers Theater
226 West 46th Street, New York
Scheduled to play through October 12, 2014
THINK OF EACH PLAZA, PIER, AND PUBLIC PARK—
HOW MANY SIT THERE EMPTY, LONELY, DARK—
The Broadway musical If/Then starts in Madison Square Park with its unmistakable folding seats, tables, and umbrellas, a signature of Janette Sadik-Khan’s overhauling of public spaces during the Bloomberg administration. In this musical by Tom Kitt and Brian Yorkey (the team behind Next to Normal) city planner Elizabeth (Idina Menzel) returns to New York from Arizona where she’s just gotten out of a failed marriage—and urban sprawl.
Apex: Tip Toland
Portland Art Museum
1219 SW Park Avenue
Through May 11
Washington-based artist Tip Toland creates larger than life figures with painfully accurate details that highlight her subjects’ imperfections: wrinkles, sunspots, and other blemishes. Toland’s work has always dealt with figurative subject matter, though her approach has ranged from the surreal to the super-real. This exhibition focuses on the plight of albino children in Africa, many of whom face a never-ending nightmare of bigoted, superstitious persecution at the hand of the communities into which they are born. Deeply rooted in psychology, Toland’s carefully crafted portraits seek to disturb viewers, teasing out their deepest human sympathies only to clobber them with the cudgel of political subtext. The artist has said that her work “softens our hearts to what we are afraid of.” Unflinching in the face of terrible realities, it is certainly provocative.
From the Village to Vogue: The Modernist Jewelry of Art Smith
Cincinnati Museum of Art
953 Eden Park Drive
Through May 18
From the Village to Vogue: The Modernist Jewelry of Art Smith consists of twenty-four pieces of silver and gold jewelry created by the Brooklyn-reared modernist jeweler Arthur Smith (1917–1982). Smith trained at Cooper Union and opened his first shop on Cornelia Street in Greenwich Village in 1946. Art was an active supporter of the black and gay rights movement and early black modern dance groups. He included these themes in his works.
The National Building Museum was smart to wait till April 2nd to announce their latest project, lest anyone think it was a cleverly crafted April Fool’s prank. The Washington, D.C.–based institution said today over Twitter (“A-MAZE-ING NEWS”) that Bjarke Ingels Group (BIG) will design an unconventional maze to be temporarily housed in its grand atrium. Perhaps inspired by the summer tradition of the corn maze, the BIG installation will debut in the West Court of the building’s cavernous Great Hall on July 4th, bringing new meaning to Independence Day to those wandering within its walls.
Edvard Munch: Symbolism in Print
Princeton University Art Museum
McCormick Hall, Princeton, NJ
Through June 8
Edvard Munch is best known for his 1893 painting The Scream. Like the majority of his work, this piece deals with psychological themes that were mainstays of late nineteenth century symbolist art, which greatly influenced German Expressionism. The symbols that Munch used contain universal meanings, but also meanings specific to his life.
On the Thresholds of Space-Making
Sam Fox School, Washington University
One Brookings Drive
St. Louis, Missouri
Through April 20
The work of Shinohara Kazuo (1925–2006), one of Japan’s most influential architects of the postwar generation, is surveyed in On the Thresholds of Space-Making. Shinohara gained popularity as an architect with his series of sublime purist houses designed over a thirty-year period that went through the 1980s. Shinohara scrutinized and reframed fundamental architectural conventions, such as public/private, body/space, and openness/enclosure.
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.
Elizabeth Duffy & Cheryl Yun: Apartment 2B
dm contemporary NYC
39 East 29th Street, 2nd Floor
Ended March 15, 2014
On the 2nd floor of a luxury 34-story highrise between Madison & Park avenues designed by architect H. Thomas O’Hara is a gallery called dm contemporary NYC. Although the gallery is located in an apartment, it is usually a white-walled exhibition space without the trappings of a domicile, save for the kitchen island. Artists Elizabeth Duffy and Cheryl Yun decided to transform the space back into a domestic environment with a twist for her recent exhibition Apartment 2B.
FOCUS: Fred Tomaselli
Modern Art Museum of Fort Worth
3200 Darnell Street, Fort Worth
Through March 23, 2014
FOCUS: Fred Tomaselli highlights works created by the artist in the past ten years, including his New York Times collages. Tomaselli is known for his work on wood panels where he combines unorthodox materials that are suspended in a thick layer of clear, epoxy resin. The materials used in these pieces range from field guides to marijuana leaves. In Tomaselli’s hands, they form a hybrid of subjects and cultural references. The artist tries to represent the transcendental and utopian capabilities available within art. His work comments on suburbia in the 1960s and 70s and the quest for escapism. The images that are depicted relate to his California upbringing during those decades. Of his work, Tomaselli said, “It is my ultimate aim to seduce and transport the viewer into the space of these pictures while simultaneously revealing the mechanics of that seduction.”
The upcoming 2014 Venice architecture biennale, Absorbing Modernity: 1914-2014, will question the notion of national identity in architecture and investigate the degree to which national styles have been “sacrificed to modernity.” To the credit of the Venice curators, they asked national pavilions to investigate ways in which this “seemingly universal architectural language… in significant encounters between cultures… can find hidden ways of remaining ‘national?’” Clearly the internationalization—and some would say flattening—of culture is one of the more complicated forces in contemporary culture.