The latest installation at Silver Lake gallery Materials & Applications, Warren Techentin’s La Cage Aux Folles, truly brought out the inner monkey in Los Angeles’ architecture community this weekend. The cage-like structure is made of a vast series of curved structural steel tubes, which simultaneously rigidify the piece and create unique spaces in and around it.
For those architects with an interest in theater, Wednesday was the West Coast premiere of Oren Safdie’s newest play, False Solution, at the Santa Monica Playhouse (tickets may be purchased here). Safdie earned an M.Arch at Columbia University and is the son of architect Moshe Safdie. He has now written three plays inspired by contemporary architecture, including The Bilbao Effect and Private Jokes, Public Spaces. False Solution, which also played in New York last summer, follows Anton Seligman, a successful architect whose latest commission, a new Holocaust museum in Poland, is aggressively challenged by one of his new interns, Linda Johansson. She also confronts his beliefs in himself, his career, his profession, and much more. Continue reading after the jump.
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.
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.