In celebration of Hopper Drawing, a life-size window installation of Edward Hopper’s Nighthawks (1942) is on view inside the landmark Flatiron Building's prow, one of the original architectural inspirations for the iconic painting. We recommend viewing it at sunset! — whitneymuseum.tumblr.com
A turn of events took place for Cité Radieuse in 2010, when the building’s rooftop gym and solarium went up for sale. Designer Ito Morabito, who goes by Ora-Ito, purchased it as a collector might. “Like you buy a piece of art, but architecture,” he noted. After the acquisition, it became Ora-Ito’s self-appointed mission to honor the iconic structure.
Ora-Ito transformed the rooftop of Cité Radieuse into MAMO, a contemporary art center dedicated to exhibitions and creative ateliers. — knstrct.com
When companies go bankrupt, the medicine can be harsh for staff members and the local tax base, yet the effects are temporary. A bankrupt city can’t fire citizens who pay taxes but already receive worse than subsistence services like one-hour police response times.
Large cities don’t disappear or die, they just waste into chronic basket cases, like Camden, New Jersey; Gary, Indiana; and East St. Louis, Illinois. — bloomberg.com
He was best known for large-scale outdoor works that often involved simple if rather extravagant ideas or gestures: a SoHo loft filled with two feet of earth, for example, or a solid brass rod two inches in diameter and one kilometer long driven into the ground in Kassel, Germany, so that only its smooth top was visible (a work consistent with an artist who once noted that “the invisible is real”). — New York Times
The artist also explained why he needs three museums for his 48-year retrospective. "It's only 23 works," he said, quicly [sic] adding that these are "works that luxuriate in space, and it takes a lot of space to do that." — phaidon.com
"So Leandro we are sitting on a window ledge in Dalston. Can you tell us why we're here?
"The idea is to create a facade that will resemble the architecture of the . . . neighborhood and um - that has always been part of my interest to bring the ordinary architecture as a stage for the public to participate in a kind of fiction that would be built through the experience." — The Guardian
Though edging on the sphere of art, Erlich's Dalston House provides a publicly accessible perversion of what would otherwise be banal architecture. This project uses that unexpected architectural content to foster rich narratives both as unique experiences and serendipitous performances. As...
Anya Sirota + AKOAKI, a design studio based in Michigan, has installed two monumental stars in a defunct tannery in Amilly, France. Titled POP IT UP, the installation is open to the public through September 29, 2013. — bustler.net
In case you haven't checked out Archinect's Pinterest boards in a while, we have compiled ten recently pinned images from outstanding projects on various Archinect Firm and People profiles. Today's top images (in no particular order) are from the board Art-chitecture. ↑ The Cathedral by...
... we have turned the Gherkin into the worlds tallest penis. A penis that is being gratified by our parliament with a sexual act. A 180m high erection for deregulation and global capitalism. We have created this art work for all those that are suffering cuts to their budgets, benefits, working hours, rights, freedoms and quality of life as Parliament perpetuates the age old practice of taxing the poor for the mistakes of the rich. — vimeo.com
Donald Judd bought 101 Spring Street, an 1870 cast-iron building, in 1968 for $68,000.
He stripped the dilapidated building down to its plaster walls and wood floors, illegally removing distractions like fire sprinklers.
Then Judd (1928-1994) spent decades turning the spaces into a showcase for his art and a place to rest his head on a bed made of wood planks. It’s carefully related to the colored tubes by Dan Flavin that march across the room, echoing the rhythm of a gorgeous row of windows. — bloomberg.com
The exhibition at the MAK Center in West Hollywood, curated by UCLA architectural historian and critic Sylvia Lavin, is a wry study of the ways Los Angeles artists and architects worked with, leaned on, stole from and influenced one another in the 1970s.
In a larger sense, it charts the way Southern California architects threw off the influence of establishmen Modernism and helped remake the profession in that decade. — latimes.com
Packed with mostly small-scale work by artists Judy Chicago, Billy Al Bengston, Robert Smithson, Ed Moses and architects Robert Venturi, Denise Scott Brown, Charles Moore, Cesar Pelli and Frank Gehry, among many others, it is easily the most surprising and opinionated of the exhibitions to open...
Richard Koshalek, the director of the Smithsonian Institution’s Hirshhorn Museum and Sculpture Garden in Washington, said on Thursday that he was resigning after the board of trustees failed to reach a consensus on the future of a long-planned project to cover the museum’s interior courtyard with a temporary inflatable bubble. — artsbeat.blogs.nytimes.com
Though indebted to conventional artistic methodologies, the vibrant, playful works of Jorge Prado lack traditional notions of artistic autonomy, with multiple uses straddling sculpture, furniture and architecture. Over espresso and a cigarette in the kitchen of his Los Angeles home, Pardo shares with Oscar Tuazon his processes of transforming built environments into functionally fluid sites designed to facilitate a diversity of experience. — youtube.com
In his first solo exhibition in a New York museum since 1980, American artist James Turrell sets out to reimagine the iconic rotunda of Frank Lloyd Wright’s Guggenheim Museum in a dramatic transformation. The luminous and immersive site-specific work, Aten Reign, will be part of the upcoming exhibition James Turrell at NYC's Solomon R. Guggenheim Museum which opens on June 21, 2013. — bustler.net
The Hirshhorn Museum’s proposed Seasonal Inflatable Structure, also known as “the Bubble,” a project announced in 2009 and intended as an architecturally and culturally transformative space on the Mall, would operate at a loss in each of three scenarios examined in an assessment done by the Smithsonian. — washingtonpost.com
“We’ve said from the beginning, and the secretary [G. Wayne Clough] has said it, this is a bold project,” said Richard Kurin, the Smithsonian’s undersecretary for history, art and culture. “We’ve encouraged this, but it has to be raised by private money. In terms of doing that...
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