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.
Hurricane Sandy caused substantial damage to wastewater and drinking water treatment systems across the tri-state area. Today the U.S. Environmental Protection Agency (EPA) announced plans to provide a total of $569 million to New York and New Jersey to make wastewater and drinking water treatment facilities more resilient to withstand the effects of future storms.
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.
The Storefront for Art and Architecture and the New Museum in New York City have announced the winners of the StreetFest Tenting Competition for their upcoming IDEAS CITY Festival, arriving Saturday in front of the New Museum on the Bowery. The international competition asked architects to re-imagine the typical street fair tent with a more compelling and sustainable form. Winner Davidson Rafailidis—lead by Georg Rafailidis and Stephanie Davidson of Buffalo—were chosen for their entry, MirrorMirror, which will premiere at 6:00pm on Saturday May 4th.
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Experts in digital design will lead four days of workshops and dialog at ICFF.
The International Contemporary Furniture Fair (ICFF) is expanding its program offerings with DesignX, its first ever series of digital design and fabrication training workshops conducted by leading experts in field. The four days of educational sessions will cover digital tools, cloud-based apps, 3D printing, and other related topics.
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.
The Vera List Center for Art and Politics at the New School has—under its director Carin Kuoni—been an instigator in drawings links between artistic and design practices and the real world of politics. The Center sponsors symposia, lectures, and exhibitions that draw links that are often crucial and obvious but not discussed by professionals and academics in the design professions. Once again it is highlighting such an issue with a series of discussions, Who Builds Your Architecture?, that connects construction and labor.
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.