After reviewing 679 remarkable entries, a world-renowned jury on behalf of New York City’s Battery Conservancy and NYC Parks has selected the top 50 designs of the “Draw Up A Chair” design competition. The chair proposals are by students and professionals from nine countries around the world. The winning submission will be built and available for public use in Lower Manhattan’s Battery Park.
After nearly two years of intense debate and student protests, Cooper Union has announced that it will end its 155-year tradition of tuition-free education—a hallmark of the prestigious institution. The school’s board of trustees said in a statement that budget-cutting measures could not relieve the $12 million annual deficit it has on its hands. The new policy will cut the full tuition-free scholarship to 50 percent for the undergraduate class beginning in fall 2014. Depending on financial need, a student could pay nothing or up to $20,000. Industrialist Peter Cooper founded the school in 1859 on the premise of providing a first-rate, free education to the working classes.
The architect of the Bowery Mission John Young of Cryptome was invited by its director Matt Krivich in March to display an art work for the institution as part of The New Museum‘s just concluded IDEAS CITY street festival. Cryptome was restoring the mission’s underground vaults at the time and in August of 2012 put up a wall drawing by Deborah Natsios, a principal of the firm, on the street front scaffolding called Sidewalk Vaults. This original rendering was an illusion to the long history of the vaults as an important structural element of the Bowery, the city’s oldest thoroughfare. Natsios agreed to create a work and produced a series of eight panels in the style of Sidewalk Vaults that she called Partywall. This work was meant to question the relationship between the Mission and its neighbor the New Museum and the rapidly changing character of the Bowery.
New York City will be hit by a design storm this May. Along with the International Contemporary Furniture Fair (ICFF) taking place May 18 through 21 at the Javits Center, The New School is throwing its annual Parsons Festival, May 5 through 24, at locations across the city. Both events feature cutting edge design establishing NYC as a major design capital.
Yesterday, brilliant sunshine, a gentle spring breeze, and 65 degree weather set the scene for the inauguration ceremony of Orly Genger’s remarkable new art installation, titled Red, Yellow and Blue, in Madison Square Park. As you navigate your way through the park you will find yourself surrounded by a fanciful scene, as vibrant undulating walls arch into blossoming trees, spill onto lush lawns, and unfurl all around you.
“Orly Genger has woven her magic throughout the park,” said Mayor Bloomberg, who spoke at the inauguration ceremony. The large-scale project was installed as the latest chapter of Mad. Sq. Art, a public contemporary arts program presented by Madison Square Park Conservancy that aims to revitalize the park as well as the surrounding community. “[Red Yellow and Blue] is both innovative and environmentally sustainable. It is projects like this that are a big part of what gives New York City our identity and attracts visitors to our city,” said Bloomberg.
The gentle drumming sound of rainfall is one that many of us find soothing, but it is a natural phenomena that we can only experience at a safe distance without suffering the consequence of being drenched. With their one-of-a-kind installation, Rain Room, the designers at rAndom international made what you thought was impossible possible—presenting anyone who is curious for a new sensation with the opportunity to fully experience standing unprotected in the rain without ever getting wet.
Gutai: Splendid Playground
Solomon R. Guggenheim Museum
1071 Fifth Avenue
New York, New York
Through May 8
“Don’t imitate others!” and “Engage in the newness!” are just two of the signature slogans of the Gutai Art Association, founded in July 1954 by Jiro Yoshihara. The Gutai—which translates to “concreteness”—artists dared to breakthrough the boundaries presented by traditional Japanese art. As their name suggests, the artists directly engaged with concrete materials (such as remote-control toys, sand, light bulbs, and paper screens) to create a new, never before seen, kind of art. The creative genius of these avant-garde artists manifested itself in the form of various mediums including, but not limited to, painting, installation and performance art, experimental film, and environmental art. Gutai: Splendid Playground explores the works of these artists, created over a span of two-decades, and features an enormous installation by Motonaga Sadamasa composed of a series of plastic tubes filled with colored water. The structure, created specifically for the Guggenheim’s rotunda, invites visitors to look up and use these “brush strokes” to create their own individual composition.
Through April 28
Jon Kessler’s The Web, currently on view at the Swiss Institute through April 28, is an immersive array of monitors, enlarged MacBooks, cameras, mechanical and animatronic sculptures—the latter of the artist himself—set to a sound track of the eponymous Apple computer chime. Enabled through mobile technology, the environment plugs you into a closed-circuit feedback loop. You download an iPhone app that allows you to feed your experience of the installation into the system as your movements are also simultaneously tracked, captured, and fed into the system. Cleverly re-staging Jean Tinguely’s self destructive drawing machine for the digital age, you are only image. Caught in this web, you are broadcast at those moments when you think you are most in control. You appear only to disappear and then to reappear somewhere else again, and again. You have your images, but The Web has you.
At 7pm, Saturday, April 28 at the Swiss Institute, Jon Kessler will hold a press conference/performance announcing the launch of his latest business enterprise, GlblVlgIdiot, devoted to the creation of iPhone apps similar to The Web that “bridge the gap between life and art.” Click here for reservations.
At War With The Obvious: Photographs by William Eggleston
Metropolitan Museum of Art
Howard Gilman Gallery 852
Through July 28
William Eggleston, one of the first American photographers to experiment with modern color photography in the 1960s, is known for his ability to capture the essence of southern life through photographs of ordinary people, scenes of everyday life, and commonplace objects, such as a child’s tricycle or a sign reading “Peaches!” set against the backdrop of a cerulean blue sky. Eggleston produced much of his color photography with a dye transfer printmaking process, a technique that was previously used solely for commercial and advertising purposes, and established it as a prominent artistic medium in the American tradition. The Metropolitan Museum of Art exhibition, At War With the Obvious, celebrates Eggleston’s work by presenting together for the first time thirty-six dye transfer prints he created in the 1970s. It also features his first portfolio of color photographs, fifteen prints from his landmark book, and seven other of his most recognized photographs.
As the chorus of criticism swells against MoMA’s plan to demolish the former home of the American Folk Art Museum, designed by Tod Williams and Billie Tsien, a pair of petitions have been posted urging the Modern to reconsider its demolition plans. Also, a crowd-sourced tumblr, #FolkMoMA, is soliciting ideas for reuse of Williams and Tsien’s building. With all the action online, will anyone be taking to the streets for some old fashioned picketing? Will anyone chain themselves to the bronze facade? Has all this worry actually left the bubble of the architecture community?