On View> White Cube, Green Maze: New Art Landscapes

Midwest
Thursday, October 25, 2012
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Ground floor of Adriana Varejão Gallery by Rodrigo Cerviño Lopez, showing installation Linda do Rosário (2004–2008) by Adriana Varejão. (Iwan Baan)

Ground floor of Adriana Varejão Gallery by Rodrigo Cerviño Lopez, showing installation Linda do Rosário (2004–2008) by Adriana Varejão. (Iwan Baan)

White Cube, Green Maze: New Art Landscapes
Carnegie Museum of Art
4400 Forbes Avenue
Pittsburgh, PA
Through January 13, 2013

With the exhibition White Cube Green Maze at the Heinz Architectural Center in the Carnegie Museum of Art in Pittsburgh, curator Raymund Ryan moved beyond the predictable white enclosed gallery, creating a maze, which forces viewers to navigate museum space and interact with art in new ways. The exhibition presents a series of six innovative designs from around the world that blend landscape design, modern architecture, art, and environment. The sites are shown with photos, presentation models, sketches by various artists and historical designs and redesigns of the sites, offering an understanding of how collaborative the design processes were. Visitors can wander through the exhibition’s different pavilions that open to beautiful outdoor spaces. The sites in the exhibition include the Olympic Sculpture Park (USA), Stiftung Insel Hombroich (Germany), Benesse Art Site Naoshima (Japan), Instituto Inhotim (Brazil), Jardín Botánico de Culiacán (Mexico), and Grand Traiano Art Complex (Italy), all captured in architectural photographs by Iwan Baan.

More images after the jump.

On View> MoMA presents 9 + 1 Ways of Being Political

East
Monday, October 15, 2012
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(Courtesy MoMA)

(Courtesy MoMA)

9 + 1 Ways of Being Political
Museum of Modern Art
11 West 53 Street
New York
Through March 25, 2013

In the early part of the last century, political engagement and social uplift were central goals of modern architecture and design. By midcentury those ideals were largely lost, as modern architecture became associated with the very power structures avant-gardists had long critiqued. A new exhibition at MoMA, 9 + 1 Ways of Being Political, drawn from the Museum’s current collection, examines the neo-avant-garde of the 1960s and 1970s (such as Jason Crum’s Project for a Painted Wall, 1969, above), which sought to revive progressive practice, as well as contemporary examples that continue that project today.

On View> Naoya Hatakeyoma: Natural Stories at SFMOMA

West
Friday, October 12, 2012
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Lime Hills #22916, 1988. (Naoya Hatakeyoma / Courtesy Taka Ishii Gallery)

Lime Hills #22916, 1988. (Naoya Hatakeyoma / Courtesy Taka Ishii Gallery)

Naoya Hatakeyoma: Natural Stories
San Francisco Museum of Modern Art
151 Third Street
San Francisco
Through November 4

Naoya Hatakeyoma’s award winning photography contrasts the reciprocal impact of human industries on the natural world and that of natural forces on human activities. His photographs, ranging in topic from German coalmines to the underground Tokyo sewer systems, chronicle manmade industrial formations from their time of creation to their degeneration and ultimate decay, all captured in a seemingly objective yet sublime manner. Through this impartial method, devoid of speculation and sentiment, Hatakeyoma’s images garner the greatest impression on the viewer. Hatakeyoma was born in Rikuzentakata in Iwate Prefecture in 1958. His latest work, Rikuzentakata illustrates the devastation caused by the 2011 Tohoku earthquake and tsunami in his birthplace. In the first ever solo U.S museum exhibition, curated by Lisa J. Sutcliffe, SFMOMA showcases more than 100 photographs and 2 video installations spanning Hatakeyoma’s entire career.

More photos after the jump.

On View> Andrea Zittel: Fluid Panel State

East
Thursday, October 11, 2012
.
(Courtesy Andrea Rosen Gallery)

(Courtesy Andrea Rosen Gallery)

Andrea Zittel: Fluid Panel State
Andrea Rosen Gallery
New York
524 West 24 Street
Through October 27

Andrea Zittel’s tenth solo show, Fluid Panel State, at the Andrea Rosen Gallery, her expands on her previous ideas that our culture is fixated on assigning order to a chaotic world by defining the personal and social significance of objects and by creating a distinction between everyday objects and art. Zittel demonstrates through a panel, a nebulous form, how an object can exceed functional properties, such as shelter or clothing, to convert into an art object, such as a tapestry or a painting. The gallery is compiled mostly of handmade textiles, designed by Zittel, but also includes large enamel paintings, smaller framed paintings on paper, and a large carpet placed in the center of the installation. A PowerPoint presentation further discusses the properties of the fluid panel state expanding on the importance positioning has in attributing meaning to a flat panel. Ultimately the exhibit leaves viewers to decide if they are experiencing art or object.

Read More

On View> “Layer: A Loose Horizon” at the Pasadena Museum of California Art

West
Monday, October 1, 2012
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(Art Gray)

(Art Gray)

Layer: A Loose Horizon
Pasadena Museum of California Art
490 East Union Street
Pasadena, CA
Through October 14, 2012

While digital design and fabrication continue to transform architecture, architect/artists Lisa Little and Emily White have decided to challenge these trends. Although digital forms expand the horizons of design and create intricate patterns, these designs often boils down to mere eye candy. This idea sparked White and Little, the founders of the Los Angeles-based architecture practice Layer, to take the computational approach of digitized aesthetics combined with a perceptual method to create both a physically and intellectually engaging space. The result of this can be seen at their exhibit Layer: A Loose Horizon. Beginning on the exterior of the museums facade, visitors see a web-like structure that toys with depth and proportion while also bridging the exterior and interior space of the museums lobby. Upon entering, guests experience a continuous interaction with the exhibit and become enveloped by the surrounding shapes. To understand the artists’ process, sketches and early digital iterations of the project are also be on view.

On View> From Farm to City: Staten Island 1616–2012

East
Thursday, September 20, 2012
.
(Courtesy MCNY)

(Courtesy MCNY)

From Farm to City: Staten Island 1616–2012
Museum of the City of New York
1220 Fifth Avenue
Through January 21, 2013

From Farm to City: Staten Island 1616–2012 explores the history, evolution, and future of New York’s often overlooked fifth borough. The island has served as the city’s breadbasket, a pastoral escape for the city’s elite, an industrial center, an international port, and a toehold for new immigrant communities. Divided into four sections—Farms, Pleasure Grounds, Suburbs, and City—the exhibition examines the major forces that have shaped land use on the island, including the development of the Verrazano-Narrows Bridge. The exhibition includes historic photographs, maps, and other ephemera and objects, as well as an online mapping component tracing the chronology of major developments on the island.

More images after the jump.

On View> Field Conditions at the San Francisco Museum of Modern Art

West
Monday, September 17, 2012
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Lebbeus Woods' Conflict Space 3, 2006. (Lebbeus Woods)

Lebbeus Woods’ Conflict Space 3, 2006. (Lebbeus Woods)

Field Conditions
San Francisco Museum of Modern Art
151 Third Street, San Francisco, CA
Through January 6, 2013

Blurring the distinction between conceptual art and theoretical architecture, San Francisco Museum of Modern Art investigates the conception and experience of space by using the notion of “field” as a reference. Curator Joseph Becker describes the pieces in the exhibition as “spatial experiments,” united by the use of architectural devices to describe a spatial condition. The term “field conditions” derives from the 1996 essay by architect Stan Allen in which he describes a shift from traditional architectural form toward an understanding of systems and networks, a “field” being described by the interconnections of discrete points that constitute the whole. Many works in the exhibition deploy a process of serializing and accumulating, describing spatial qualities through deformation (such as Conflict Space 3, 2006, by Lebbeus Woods, above).

On View> Frank Lloyd Wright and the Prairie School

Midwest
Friday, September 14, 2012
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(Courtesy Art Institute of Chicago)

Utagawa Hiroshige’s Sparrows and Camillia in Snow from 1831. (Courtesy Art Institute of Chicago)

The Formation of the Japanese Print Collection at the Art Institute:
Frank Lloyd Wright and the Prairie School
The Art Institute of Chicago
111 South Michigan Avenue
Through November 4

Frank Lloyd Wright visited Japan for the first time in 1905, inspired by the country’s pavilion at the 1893 World’s Columbian Exposition. He lived in the country while working on Tokyo’s Imperial Hotel, soaking in Japanese art and culture. It had a lasting impact on his own work, especially the development of the Prairie Style as well as his renderings and presentation drawings. During his time in Japan, Wright became a pioneering collector of Japanese prints, and often supported himself as an art dealer. Clarence Buckingham purchased numerous prints from Wright in 1911 (including Utagawa Hiroshige’s Sparrows and Camillia in Snow from 1831, above), which became the foundation of the Art Institute’s print collection. This exhibition is composed of prints purchased by Wright, photos of an exhibition of his collection he staged in 1908 at the Art Institute, and drawings from Wright’s studio.

On View> Frank Lloyd Wright’s Usonian House and Pavilion

East, Newsletter
Wednesday, September 12, 2012
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(Courtesy Guggenheim / Frank Lloyd Wright Foundation)

(Courtesy Guggenheim / Frank Lloyd Wright Foundation)

A Long-Awaited Tribute: Frank Lloyd Wright’s
Usonian House and Pavilion
Guggenheim Museum
1071 Fifth Avenue
Through February 13, 2013

In the years just before Frank Lloyd Wright’s Guggenheim Museum forever altered the face Fifth Avenue, the directors of the museum went on a charm offensive. In 1953, they presented the exhibition Sixty Years of Living Architecture: The Work of Frank Lloyd Wright. The show introduced Wright’s Usonian House to New Yorkers by building the Prairie-style home on the construction site of where the architect’s tour de force museum would soon rise. Now through February 13 the museum presents a scaled-down version of the exhibition, which originally included the Usonian and a dramatic Wright-designed pavilion holding models, drawings, and watercolors by the master. This exhibition, A Long-Awaited Tribute: Frank Lloyd Wright’s Usonian House and Pavilion, celebrates the two structures that won over a somewhat skeptical New York audience to the work of America’s modern master.

Event> Chris Payne’s “One Steinway Place,” Lecture September 13

East
Friday, September 7, 2012
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Piano frames at the Steinway factory. (Courtesy Christopher Payne)

Piano frames at the Steinway factory. (Courtesy Christopher Payne)

Chris Payne: One Steinway Place
Bonni Benrubi Gallery
41 East 57th Street
New York
Through September 29
Lecture
6:30-8pm
South Street Seaport Museum
September 13

One Steinway Place, the address of the venerable Steinway & Sons piano factory in Astoria, Queens, is also the title of photographer Chris Payne‘s latest show at the Bonni Benrubi Gallery in midtown Manhattan.  The series of large-format photographs are the result of  his days and weeks spent in the factory, to which Steinway gave him full access. Payne captures the unexpected and striking forms, patterns, and textures that emerge when he turns his lens to pianos-in-the making. “A piano is something we all think of and love as a whole, but like anything complex, it is really just a kit of parts, built up gradually out of raw, messy materials. And yet, the deeper I look into its construction, the more I revere it as one of the supreme accomplishments of the human hand and imagination,” said Payne.

On September 13 at the South Street Seaport Museum, Payne will speak about his Steinway project as well as his photographic series about North Brother Island. The lecture (6:30-8pm) is hosted by Open House New York.  For information and tickets, click HERE.

On View> Grete Marks: When Modern Was Degenerate

Midwest
Thursday, September 6, 2012
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(Courtesy Milwaukee Museum of Art)

(Courtesy Milwaukee Museum of Art)

Grete Marks: When Modern Was Degenerate
Milwaukee Art Museum
700 North Art Museum Drive Milwaukee, WI
Through January 1

Grete Marks was born in Cologne in 1899 to an artistic Jewish family, and she enrolled in the ceramics program at the Bauhaus School in 1920. In 1923 she left the school to marry a young industrialist with whom she founded the Haël Factory for Artistic Ceramics to produce her designs. These works are composed of simple geometric shapes, glazed with striking colors and patterns in the style of Soviet Constructivist painters and showcasing the Bauhaus ideal of uniting industrial mass-production with Modernist aesthetics. Marks’ legacy as a potter was cut short by the Nazi party when in 1935 they declared her artwork “degenerate,” and her avant-garde pottery career ended with the onset of World War II. This will be the first American exhibition to explore Marks’ work and the circumstances that have prevented her name from entering the list of Bauhaus greats.

More images after the jump.

On View> California’s Designing Women, 1896 to 1986

West
Tuesday, August 28, 2012
.
(Courtesy The Autry)

(Courtesy The Autry)

California’s Designing Women
The Autry in Griffith Park
4700 Western Heritage Way
Los Angeles
Through January 6, 2013

It was uncommon for women to practice industrial design throughout late 19th and early 20th centuries. However, California’s newness and frequent population growth provided various opportunities for women to get involved with the creation and production of design. Autry National Center’s California’s Designing Women, 1896–1986 with works from over fifty women designers from California celebrates female designers who made major contributions to Californian and American design. The exhibition displays approximately 240 examples of textiles, ceramics, furniture, lighting, tapestries, jewelry, clothing, and graphics all inspired by California’s amalgam of society which include Indigenous American, Chinese, Japanese, Anglo, and Mexican cultures. Upholding California’s reputation for unlimited creativity, the displayed work includes materials such as wood, abalone, glass cotton, steel, silver, acetate, acrylic, and fiberglass, spanning a century of design movements from arts and crafts to art deco to mid-century modern and beyond.

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