Y’all remember poor old Art Chicago? Remember when we captured, in this very column, the life mimics performance art of young show-goers eating leftover pizza from the garbage? This city has struggled for years to create a world-class contemporary art show, but hopefully our highfalutin luck is about to change with the second annual Expo Chicago, opening on September 19. A few weeks ago, Bottega Veneta with the fancy PR-folks of Skoog Productions, threw a party for the host committee of Gallery Weekend (GW), which runs concurrently with Expo. Eaves isn’t exactly sure what GW is, but that’s probably because our annual art budget is only in the three figures. I think it’s for trying to convince out of town rich folks that we’re the Miami of the Midwest.
A new four-acre park opened this past weekend in downtown Newark providing public access to the Passaic River for the very first time. Flanked by the bay and river, the city is home to one of the nation’s largest containers shipping terminals, yet residents have long been cut off from the waterfront. This new stretch of parkland occupies the former site of the Balbach Smelting and Refining Worksone and is now part of the Riverfront Park that neighbors the 12-acre Essex County Riverfront Park. Designed by Lee Weintraub Landscape Architecture and the Newark Planning Office, the park features an orange boardwalk made of recycled plastic, a floating boat dock, sports fields, walking and biking paths, and an area for performances.
Los Angeles Mayor Eric Garcetti last week named Global Green CEO Matt Petersen as the city’s first-ever Chief Sustainability Officer. Peterson, according to the mayor’s office, will be tasked with “making the city’s departments greener and neighborhoods healthier, and fulfilling Garcetti’s campaign promise of creating 20,000 new green jobs.” Peterson should also have his hands full, not only getting each city department to cooperate, but on thorny issues like regulation of the city’s ports and transit corridors.
Global Green, if you’re wondering, is a non-profit dedicated to “advocating for smart solutions to global warming including green building for affordable housing, schools, cities and communities that save money, improve health and create green jobs.” Since its founding almost 20 years ago it has organized design competitions, testified in congress, hosted awards, and raised money on behalf of green causes.
While RVCA and Handel Architects‘ Capitol Records–blocking Millennium Hollywood towers have received LA city approval, the controversial $600 million project is now facing another obstacle: mother nature. Geologists say that the 35-story and 39-story towers may sit on top of the active Hollywood Fault, and the state is demanding more testing to find out if the location presents a threat.
Lake Shore Drive could look a lot different if a local design alliance gets its way.
The “Our Lakefront” plan, commissioned by 15 different organizations including the Active Transportation Alliance, the Alliance for the Great Lakes, the Center for Neighborhood Technology, and the Chicago Architecture Foundation, would reduce the speed limit on the north branch of Lake Shore Drive from 40 to 35 miles per hour; carve out lanes for bicycles and either bus rapid transit or rail; and replace parking spaces with greenery.
After a decade at the helm, Paul Gunther is stepping down as the president of the Institute of Classical Architecture & Art (ICAA). Under Gunther’s leadership the ICAA expanded to include 15 national chapters, and grew into a 14 person organization. In addition to holding lectures and symposia throughout the year, the Institute publishes the journal The Classicist, and it awards a summer fellowship for landscape painting. Last year the Institute held a provocative symposium reexamining postmodernism’s relationship to classicism, which drew a wide audience including senior members of the architectural community who rose to prominence in the pomo heyday of the 1980s as well as young designers drawn to the playful iconography of the period.
Since the Brooklyn-Queens Expressway (BQE) was constructed nearly 70 years ago, the inelegant thruway has callously split apart neighborhoods, leaving beneath it deserted stretches, visually unappealing and often vulnerable to crime. DNA Info reported that Myrtle Avenue Brooklyn Partnership is trying to revive one such blighted area in the Wallabout district of Clinton Hill. The strip right at Steuben Street and Park Avenue, which has been a site for dumping illegal trash, could soon host a farmer’s market, public art, dog run, and live music. The partnership is proposing a range of uses and looking to collaborate with local businesses—such as the creators of the now defunct DeKalb Market—to help bring activities and services to the area.
The effort to revamp the inhospitable corridor beneath the BQE has been part of an ongoing endeavor that has involved a number of organizations, spearheaded by the Myrtle Avenue Revitalization Project (MARP). MARP launched a planning initiative in 2009 utilizing experimental art collective, raumlaborberlin’s Spacebuster, and partnering with local institution Pratt Institute’s Planning Department to hold mini-visioning workshops. Later MARP partnered with Architecture for Humanity New York (AFHNY) to work on a 2-year planning effort called “Under the BQE” that helped to engage the community and re-imagine new uses for the spaces in addition to creating a plan to improve pedestrian and traffic safety.
First the partnership needs some funding to jump start any changes to the space. They are currently hoping to receive a NYCDOT Public Plaza grant. A wining application will be selected by January 2014.
Robert Irwin’s “Scrim veil—Black rectangle—Natural light”
The Whitney Museum of American Art
945 Madison Avenue
New York, NY
Through September 1
It has been 36 years since Robert Irwin, now 84 years old, debuted his Scrim veil—Black rectangle—Natural light installation at the Whitney Museum of American Art. This summer, the legendary installation, designed specifically for the fourth floor of the Breuer building, returns to the museum. As the title suggests, Irwin’s minimalist installation is composed of three simple elements: a black line that runs along the length of the gallery walls, natural light that enters through the museum’s iconic trapezoidal window, and a white translucent polyester scrim hung from the ceiling that slices through the space. These elements divide the space into various geometric forms and create a disorienting experience. As visitors circle the gallery and daylight moves across the room, the perception of space is shown to be less definite than one might previously have imagined.
Non-profit ArtPlace America has awarded creative placemaking grants to 54 recipients who were selected from more than 1,200 applicants. Totaling $15.2 million, the grants will support art projects in 44 neighborhoods across the United States, as well as a statewide project in Connecticut. Grant amounts range from $33,000 to $750,000, with the average grant at approximately $280,000. The idea behind the grants is to assist in turning urban communities into more welcoming and prosperous places for present and future residents through art and design projects.