The Museum of Modern Art (MoMA) has announced that Martino Stierli has been appointed as the Philip Johnson Chief Curator of Architecture and Design. Mr. Stierli is currently a professor at the University of Zurich where he teaches the history of modern architecture. Previously, he has organized or co-curated exhibitions at prestigious venues around the world, taught at multiple Swiss universities, and published multiple essays on various topics relating to design. He steps into his new role in March, 2015.
What was the most popular architecture or design exhibition in 2013? If you guessed MoMA’s Le Corbusier spectacular or SFMOMA’s landmark Lebbeus Woods: Architect (coming to New York’s Drawing Center April 15) you’re close but off the mark. In fact the most popular architecture exhibition in the world, according to The Art Newspaper‘s 2013 Visitors Figures was MoMA’s Henri Labrouste exhibition that drew 438,680 viewers (4,100 a day) compared to the Le Corbusier show that had 405,000 visitors (4,010 a day).
An unusually vertical Frank Lloyd Wright building in Wisconsin will open its doors to the public for the first time since its construction in 1950. The Research Tower in Racine, Wisconsin has housed SC Johnson for 32 years, anchoring its 153-foot tall mass with a distinctive “taproot” foundation.
Isa Genzken: Retrospective
Museum of Modern Art
Through March 10, 2014
In the home stretch before it closes on March 10, Isa Genzken: Retrospective at MoMA shows a sculptor whose work is infused with architecture from her sleek early works of lacquered wood in the engineered Hyperbolos and Ellipsoids series to rougher experiments in plaster, concrete, and steel which resemble architectural maquettes on pedestals including Bank (1985), Rosa Zimmer (Pink Room) (1987), Galerie (1987), Kleiner Pavilion (1989), and Fenster (Window) (1990).
Frank Lloyd Wright and the City: Density vs. Dispersal
Museum of Modern Art
11 West 53 Street, New York, NY
February 1 to June 1
Frank Lloyd Wright and the City: Density vs. Dispersal will represent the first exhibit resulting from the recent join acquisition of the architect’s archives by MoMA and Columbia University’s Avery Architectural and Fine Arts Library. The models, drawings, and films found within the extensive collection will allow the museum to illustrate the tension in Wright’s urban thinking in the 1920s and 30s.
Even as he undertook projects that contributed to the increasingly vertical nature of American cities, he created a radical horizontal vision of urban life known as Broadacre City. The elaborate model of this agrarian metropolis created by Wright and his students will be displayed alongside the architect’s designs for the San Francsico Call Building, Mahattan’s St. Mark’s-in-the-Bouwerie Towers, and a largely theoretical mile-high skyscraper.
Diller, Scofidio + Renfro announced today that their reorganization of the Museum of Modern Art will include the replacement of Tod Williams and Billie Tsien’s former American Folk Art Museum at 45 West 53rd street. Liz Diller said in her briefing that DS+R hoped to save the Folk Art building and repurpose it into a usable exhibit space or a connecting bridge between the new Jean Nouvel tower (which will have three floors of MoMA galleries) and the older parts of MoMA. However, “saving” the structure with its misaligned floors (to MOMA existing galleries) would mean compromising the integrity of the Williams Tsien structure.
One can imagine the logic of DS+R’s decision, but Williams and Tsien are, like any architects, sad to see the demise of their 2001 building that Herbert Muschamp said “transcend(s) cultural categories even as it helps define them.”
Dante Ferretti: Design and Construction for the Cinema
Museum of Modern Art
The Roy and Niuta Titus Galleries and the Film Lobby
Dante Ferretti: Designing for the Big Screen
The Roy and Niuta Titus Theaters
Through February 9, 2014
When you enter the Film Entrance to the Museum of Modern Art at 11 West 53rd Street, you are greeted by two large lions. No, you are not 11 blocks south at the New York Public LIbrary, nor are you in Venice, Italy. You are entering the world of Dante Ferretti, the 70-year old multi–Academy Award–winning art director of films, opera, exhibitions, and even two New York City restaurants, Salumeria Rosi (design inspired by a scene in Federico Fellini’s Satyricon). Large, muscular, physically confident objects dot the floor—the clock-face from Hugo (Martin Scorsese, 2011), Art Deco chandeliers from Salò, or the 120 Days of Sodom (Pier Paolo Pasolini, 1975), and Arcimboldo figures comprised of vegetables, fruits and flowers (Milan World Expo, 2015). But these are actually lightweight, ephemeral objects made of fiberglass and not meant to last beyond the creation of the film or duration of the event. The clock and chandeliers were on the cusp of being tossed when curators Jytte Jensen and Ron Magliozzi salvaged them.