Ends of the Earth: Land Art to 1974
The Geffen Contemporary at MOCA
152 North Central Avenue
Los Angeles, CA
Through September 3
The Land Art movement emerged in the 1960s as a mode of expression that used the earth as a medium and removed art from traditional context of galleries and museums. Focusing on the early years of experimentation to the mid-1970s when Land Art became an institutional category, Ends of the Earth will provide historical context to the movement. The exhibition reveals the movement’s social and political engagement, understanding Land Art as a media as well as sculptural practice shaped by language, photography, film, and television. Works by more than 80 international artists and projects will be on display, including Michael Heizer’s renowned work Double Negative (1969–70) from MOCA’s permanent collection. An illustrated catalogue accompanies the exhibition, featuring reflections from curators, critics, and dealers who contributed to Land Art and its development in the 1960s and ’70s as well as contemporary scholars who position Land Art in the critical discourse of today.
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
Frank Gehry and Related Companies’ left-for-dead Grand Avenue project in Downtown LA (now known as “The Grand”) may be getting a new lease on life, reports the LA Times. The $3 billion, mixed-use development, which includes condos, hotels, shops and a 12-acre park (Grand Park, which is opening this summer), was supposed to begin construction in 2007, yet no shovel has touched earth, at least not for a building. But now Related is reportedly rethinking the project’s “luxury aspirations,” toning down some of the most expensive elements and lowering rates on condos to get things moving. “We still believe we can create some of the highest values downtown….But do I think we have to be a little bit less ambitious? Yes, I would agree with that,” Related president Bill Witte told the Times. He would not comment on whether Gehry’s wavy towers would remain, but Witte did say that the project’s “dimensions, scope and scale” could be adjusted. Meanwhile Grand Park’s web site doesn’t provide a definitive completion date, so stay tuned for more on its opening.
BOFFO is an arts and culture non-profit fostering collaborations between artists, designers, communities, and theorists to inform and engage the public in participatory arts programs. In late May, it launched a show house at a Lower East Side public school building turned apartment house, called The Madison Jackson. It turned out to be a clever draw getting people to a neighborhood that is lower and farther east than more popular sections of the LES. I speak from familiarity as I live in a perch overlooking the venue. The glam show house is unusual for a neighborhood comprised largely of public housing blocks next to tall towers that formerly were union cooperatives and as close to socialist housing as we’ve had in NYC.
Zak Kyes Working With…
4 West Burton Place
Through September 22
The first American solo exhibition of Swiss-American graphic designer Zak Kyes, founder of the design studio Zak Group and art director of London’s Architectural Association, will be on view at the Graham Foundation. Representing a wide array of his work, the show will feature projects arranged and presented not as a chronological body of work, but as collaborations with architects, artists, writers, curators, editors, and graphic designers. These working relationships highlight the impact of graphic design on its related fields, but also show how it is simultaneously shaped by those disciplines. By focusing on the intimate intellectual, formal, and business links of the collaborations, from conceptual to pragmatic, urgent to abiding, and ephemeral to long lasting, the exhibition focuses on the creative potential of collaboration to transform our understanding of graphic design, art, and architecture.
D.B. Kim has joined Daroff Design as a principal and will lead the firm’s luxury hotel and resort practice. Kim was previously at Pierre-Yves Rochon and prior to that at Starwood Hotels and Resorts.
Design Trust for Public Space‘s executive director Susan Chin was elected Vice President of the 2013-2014 AIA National Board at the recent national convention in Washington, D.C.
Ball-Nogues Studio: Yevrus 1, Negative Impression
960 East 3rd Street
Los Angeles, CA
June 1–July 8
On display at the SCI-Arc Gallery is Los Angeles–based architecture practice Ball-Nogues Studio’s Yevrus 1, Negative Impression, which attempts to call into question the current fashionability of abstracted and digital forms. Through an assemblage of non-architectural objects represented very literally, the project represents a new type of site survey. The objects selected to be part of the structure were picked from the Los Angeles suburban landscape (a pool, above) and become the elements of an installation. The architects used digital scanning technology to make biodegradable paper-pulp castings of 1973 Volkswagen Beetles and speedboats for a lookout tower in the gallery. Yevrus (“survey” spelled backwards) is a new technique pioneered by the firm that rethinks the site survey by utilizing it not as a tool for construction and engineering, but as a methodology of deriving form, creating structures, and realizing meaning.
“I see nothing in space as promising as the view from a Ferris wheel,” E.B. White once remarked. After the dismantling of the Seattle Center Fun Forest and Ferris wheel—closed in January 2011 to make way for the Chihuly Garden and Glass museum—Seattle will finally get its Ferris wheel back. The nearly-completed privately-funded wheel at Pier 57, with 8 supportive legs and 21 spokes, will weigh 280,330 pounds. Built by Chance Morgan Rides Manufacturing Inc. and funded by developer Hal Griffith, the 42 six-person gondolas will bring riders 175 feet into the air, with views of the Olympic Mountains to the west, Mount Rainier to the south, and the Cascade Mountains and the city to the east. Open year-round, the cars will be enclosed, heated, and air-conditioned, so no need to worry about the Seattle drizzle.
One Day on Earth Benefit Screenings
June 1 to 7
The Quad Cinema
34 West 13th Street
between 5th and 6th Avenue
On October 10, 2010 (10.10.10), 19,000 filmmakers around globe shot the daily life unfolding around them. Their subjects ranged from people, to plants to bugs to the heavens. Over 3,000 hours of collective footage was edited down into one hour and 45 minutes, and the result is a stunning cinematic snapshot of our world today: the rhythms of nature and life (in that 24-hour period 363,000 babies were born), quotidian human habits, and the rites of passage in different civilizations.
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A 34,000-square-foot kinetic media facade represents the themes of Korea’s international exhibition
Opened last month in the coastal city of Yeosu, South Korea, the 2012 International Exhibition’s theme, “The Living Ocean and Coast,” is a way for attendees to examine challenges and solutions to development on oceans and coastlines. As the architect of the expo’s thematic pavilion, Vienna-based Soma Architecture designed a kinetic media facade to act as a counterpart to the show’s location by the water and to its multimedia presentations. Working with Stuttgart- and New York-based structural engineering firm Knippers Helbig as facade consultant, the team developed a constructible solution for building one of the largest adaptive structures in the world.
It would seem that the the once humble blue stone, quarried in New York State, is getting some renewed respect. We recently saw it cleverly cladding 41 Bond by the design-build firm DDG Partners, now artist Nobuho Nagasawa it calling attention to it underfoot in Red Hook, Brooklyn. Nagasawa’s installation elevates an everyday visual experience to the level of art, namely tree shadows on a Brooklyn blue stone sidewalk.