New York-based artist Leo Villareal is creatively illuminating the constructed form. In Madison Square Park, Villareal’s LED light-up geodesic dome, Buckyball, stands tall, undamaged but unlit after Hurricane Sandy. The Madison Square Park Conservancy told AN that the lights are expected to be back on tonight. And soon, Villareal also plans to light-up a far larger construction on the West coast: the San Francisco Bay Bridge.
Now this looks like a good idea: a group of architects and engineers called Urban Air are trying to turn a billboard next to LA’s 10 Freeway into a suspended bamboo garden. The technique: they remove the signage, install planters and then the bamboo, and then install water misters and sensors to make sure it’s properly irrigated. Voila! If it’s successful with the first sign the group wants to create similar gardens across the country. The ambitious plan is being crowd-funded through Kickstarter and with 46 days left has raised nearly $6,000 of its $100,000 goal as of this publishing. You can check out their Kickstarter campaign and contribute here.
If you ride your bike along Flushing Avenue in Brooklyn on your way to or from Williamsburg, you may have noticed a splash of color along the bike lane’s barrier. Similarly, the Flushing Bay Promenade in Queens got some color recently in efforts to bring art to the public. The New York City Department of Transportation, New York Cares and the Community Affairs Unit organized the event in collaboration with two Brooklyn-based artists Deanna Lee and Kara Lynch.
This Syracuse mural project, S.Alt City, was sent to AN over the summer just as we were preparing our live coverage of the Venice Biennale and went unreported in the paper. But the mural by Cheng and Snyder Architects is a smart project that deserves more attention than it has received. The mural depicts a local waterside salt barge that alludes back to Syracuse’s industrial heritage but it also imbedded QR codes throughout the work. These QR codes are becoming more ubiquitous in the world of art making and were in fact used in the Russian pavilion at the recent Venice Biennale in a grandiose and very expensive installation in their pavilion.
Even as Berlin loses green space, the city remains Europe’s greenest with more than 400,000 trees. One of the grandest, a 100-year-old chestnut tree towering over Montbijoupark, was the center of Tree Concert, a public art project that took place in September to bring light, literally, to the city’s diminishing greenery with a glowing LED sculpture circling the trees trunk.
In an ongoing endeavor to blend public art, architecture, and urbanism by artists Siyuan and Hwee Chong, The Doors Project subversively projects a series of doors onto public spaces in Singapore, reflecting the struggles of the urban poor and underprivileged. But while commenting on despair, the real message is one of faith, hope and empowerment. “We wanted to make a statement about life, and jolt people to think,” the artists said in an interview at Yolo. “Instead of following the light at the end of the tunnel, why not carry our own lights, and create our own doors! It’s really about rolling up our sleeves, and creating the opportunities we want for ourselves.”
We already knew that DDG Partners could pull together a classy “product,” as they say in real estate parlance. But now the group has upped the ante by teaming with Yayoi Kusama, the 83-year-old Japanese show-stopping pop artist. Kusama’s blockbuster at the Whitney has already spilled over into cross-marketing at Louis Vuitton with her ubiquitous dots climbing up the facade of their 57th Street Store. Downtown the artist’s Yellow Trees will sprawl across protective netting on construction scaffolding at DDGs 345meatpacking, the group’s new 14th Street project which could rival their comparatively quiet 41 Bond Street project. 345 promises to make a much splashier entrance, but with a hand laid Danish Kulumba brick facade, it could be Bond Street’s equal in craftsmanship. The public won’t see the results until September 30th, when the Kusama curtain will fall and the Kulumba will be revealed.
On any typical day, the pedestrianized Rua Luís de Camões in the small Portuguese town of Águeda is a charming place to experience the city, but this July, a cultural festival called AgitÁgueda (Stir Agueda) rolled out the green carpet, suspended hundreds of colorful umbrellas overhead, and invited residents to see the city in a whole new light.
“What if mobile, self-sufficient living units were the building blocks for future cities?” asked New York artist Mary Mattingly. She explored this question in her Flock House Project, experimenting with migratory living solutions through fantastical inhabitable installation art. The project is going on throughout the city this summer.
Mattingly’s series of four “Houses” have been traveling around the five boroughs since June. Individually titled the Microsphere, Terrapod, Chromasphere, and Cacoon, they are now on display at the Bronx Museum, Snug Harbor, the Maiden Lane Exhibition Space, and Omi Sculpture Park in Ghent, NY.
It’s a bird! It’s a plane! No, it’s actually a plane. On the corner of 60th Street and 5th Avenue in Manhattan, a six-seat, twin-engine Piper Seneca aircraft balances on two vertical steel posts positioned at the end of its wings, playfully rotating on its own axis and likely confusing visitors to Central Park. After doing a double take on the surreal scene, find a plaque located nearby and you’ll learn that this mysterious aircraft is actually an installation by artist Paola Pivi, whose portfolio includes scenes of zebras on snowy mountaintops and arenas of screaming people. Working with the Public Art Fund, an organization dedicated to present artists’ work throughout New York City, Paola Pivi opened her newest installation featuring the Piper Seneca, How I Roll last Wednesday, June 20th.
On the night of June 3rd, 2012, Tom Fruin’s newest sculptural artwork, Watertower, was installed on a rooftop near the Manhattan Bridge in DUMBO. The colorfully constructed Watertower features approximately a thousand pieces of foraged plexiglass mounted on a steel skeleton. The monumental patchwork of colored glass also includes an interior and exterior ladder and an operable roof hatch. The great amount of plexiglass used for the piece, which measures 25 feet in height and 10 feet in diameter, was collected all throughout New York City. The use of recycled materials is not new to Tom Fruin Studio, as Watertower is the fourth scavenged artwork of the “Icon” series dedicated to creating tributes to the world’s architectural and sculptural icons using reclaimed materials. Read More