#San Francisco Museum of Modern Art’s Design and Architecture Department

[sinceileftyoublog]

Live Picks: 2/26

Yo La Tengo

BY JORDAN MAINZER

Rock ‘n’ roll, or something more radical.

The Love Song of R. Buckminster Fuller, Thalia Hall

Sam Green’s live documentary about the radical architect is presented tonight at Thalia Hall. The collaboration between Green and none other than Yo La Tengo was commissioned by the San Francisco Museum of Modern Art’s Design and Architecture Department; it consists of Green narrating the images on screen while the band performs a live score.

There are two showings tonight, one with doors at 6:30 and one with doors at 10:00.

Steve Earle, City Winery

The alt-country legend concludes his annual winter residency at City Winery tonight. (He played two dates in January, and he played last night.) He’s releasing a new album with his band The Dukes out on March 29th. But it’s not of original material. GUY is a tribute album to Guy Clark in which Earle covers Clark songs to varying degrees of faith. The weary “Desperados Waiting For A Train”, the powerful and emotive “The Last Gunfighter Ballad”, and the sing-speaking of “The Randall Knife” really evoke Clark’s spirit. On the flip side, Earle adopts a gruffer persona on “Dublin Blues”, “Heartbroke”, and “She Ain’t Goin Nowhere”, while The Dukes speed up “Anyhow I Love You”, burner “Out in the Parking Lot”, and bluegrass jams “Sis Draper” and “New Cut Road” (and they slow down “The Ballad of Laverne and Captain Flint”). And for closer “Old Friends”, Earle assembles a who’s who of guests to help out, including Terry Allen, Emmylou Harris, and Rodney Crowell.

Americana singer-songwriter Shannon McNally opens.

Set It Off, Metro

It was clear from the release of “Killer in the Mirror”, an overcooked song with hand-claps, a shuffling beat, buzzy guitars, and horns, that Set It Off were going to be piling more toppings on their pizza. Midnight, the band’s Fearless Records debut, is riddled with sonic overproduction and lyrical cliches, from introvert anthem “Lonely Dance” to smarmy piano ballad “Unopened Windows”. (Don’t even get me started on the oh-no-they-didn’t gospel choir on the closer.) Yet, there are a few unexpected aspects that work, like the Latin melody of the former, the 80′s deep bass synth pop of “For You Forever”, and bop “Go To Bed Angry” featuring Katie Cecil of Wayfarers. When the symphonic rock band embraces full-on pop, at this point, they’re more effective than when they’re touching it with gloves on. It’s fitting, then, that among their own material, live, the band has been covering pop stars like Ariana Grande, Britney Spears, and Halsey.

Australian pop punks With Confidence, California alt-rockers Super Whatevr, and San Diego emo hip hop band L.I.F.T open.

[grupaok]

EXHIBITION OF FORCE

In 2016 Arden Sherman and Julian Myers-Szupinska published “Exhibition of Force,” a review of the reopened SFMOMA, on the blog of The Exhibitionist, a journal about exhibition making, which was taken offline in 2017. We are retrieving that review here, as it speaks to the longer history of the current crisis at that museum.

The San Francisco Museum of Modern Art has been closed for major renovations for the last three years. Designed by the Norwegian architecture firm Snøhetta, the new building, a hybrid of the 1995 building designed by Mario Botta and the white wavy tower designed by the Scandinavian architects, opens to the public this weekend.

The impetus for this renovation can be credited, in large part, to the donations of Doris and Donald Fisher, the progenitors of Gap Inc. The fortune accumulated from their clothing empire allowed the couple to become philanthropists, art collectors, and SFMOMA board members. After a long-bruited (but eventually abandoned) plan for the Fishers to build their own museum in San Francisco’s Presidio, the family negotiated a hundred-year “loan” of their vaunted collection to the museum, as well as a massive donation to a capital campaign that would allow for a $305 million building expansion to accommodate it. The museum subsequently raised a comparable amount to bolster its endowment and operating costs. The revamped institution held a sequence of opening events in April and May — press and member previews, a glitzy gala — that culminates with its May 14, 2016, reopening to the general public.

Bay Area institutions keyed a number of events to SFMOMA’s reopening to take advantage of increased visibility and visitors, among them the Parking Lot Art Fair at Fort Mason, various gallery openings and performances, and the Open Engagement conference at the Oakland Museum of California. That last, an annual conference of socially engaged artists and activists, took “power” as its theme. This was partly an homage to the history of organizers and radicals in the Bay Area (e.g., Black Power) but perhaps also a pointed riposte to the current tech boom in San Francisco (i.e., “money power”), which has occasioned skyrocketing rents and a massive reorganization of the city’s social ecology over the last several years.

The lens of “power” is a useful way to think about the new SFMOMA’s elaborate and overwhelming opening gambit. Take, for example, the architecture. When Mario Botta designed SFMOMA’s downtown San Francisco building in 1995, he took seriously the task of making a space where people were not intimidated and where art would be the star — even if the stately black marble of the Botta atrium and staircase was ultimately a peculiar way to enter (the new museum keeps the Botta marble but replaces his staircase with a lighter zigzag). The Snøhetta addition, too, focuses on the art, but does so at a massively enlarged scale: the new SFMOMA is two and a half times its former size and has more square footage than the Museum of Modern Art in New York, a city ten times the size of San Francisco. The result is something like a sprawling, seven-story, two-building mega-mansion: a huge feat, but one that feels endless rather than bountiful.

This building squares with the city’s new ambitions for itself. The two buildings hitched together, the somber Botta and the sleek Snøhetta, signal a sort of timetable of the city’s own history, and track an extreme influx of money in recent years. Such an architectural “twofer” confesses San Francisco’s specific brand of preservationism while also trumpeting its will to international and institutional power — and precisely in a neighborhood historically referred to as “skid row.”

The contents of this building, the expanded collection, signal a different sort of power. Museum collections are of course vital ways for regular viewers to see historically important works of art, and better that they are available to the public than squirreled away in collectors’ homes. And of course a museum’s holdings become a fundament of the institution’s identity. But this issue is complicated in the new SFMOMA by the branding of the works to particular donors — especially the two floors allotted for the Fishers’ collection and the one for Peter and Mimi Haas. Interestingly, the Haas works represent another fortune derived from jeans: Peter Haas was president and CEO of Levi Strauss & Co. from 1976 until his death in 2005. This means that pretty much anyone with a pair of pants in their closet has something like an investor’s share in the museum’s collections.

These galleries retain the blue-chip outlines of their moneyed collectors. For the Fishers, this means postwar American and German abstraction, almost universally by white men, barring a single room of paintings by Agnes Martin. And for the Haases, it means rambunctious pop by a somewhat more diverse cohort of artists — a collection that feels rather more familiar for an “international museum.” And like the architecture, these collections too exhibit a certain divided personality: given pride of place in the new galleries, they nevertheless reproduce the tastes and purchasing strategies of their CEO collectors, whose predilections may not always align with the museum’s own “objective” priorities — though at SFMOMA the two priorities have now become hard to disentangle.

This is especially true with the Fisher collection. If their unambitious love of Ellsworth Kelly, Richard Serra, and Andy Warhol is vindicated by the history of art, it is vitiated by redundancies among big sign-value works throughout the museum, both within each floor and among the various “exhibitions” in which these artists make repeat appearances. The works become hard to distinguish from one another; each one signals the same sign-value, of importance plus ownership. Making one’s way through the museum one is constantly struck with déjà vu. In which room, or floor, did I see the blue Kelly painting? Did I already see that Warhol? What should we gather from these recurrences? That is, except for the co-presence of all these treasures.

The works from SFMOMA’s permanent collection, many installed in the same spot as before the renovation, are varied in comparison, and feel distinct from the Fisher trove, not least because they have a greater number of works by artists of color, and by women. The galleries devoted to photography are excellent, too, and include works by younger and more experimental artists. And the works on view from the museum’s Campaign for Art initiative — assembled since 2009 by a wider range of donors, and including three thousand works to date — incorporate more pieces by living artists and artists from California, some of whom donated their own works to the collection.

Such works have a reason to be here. More so, at least, than those resulting from the Fishers’ proclivity for Germans, which, in a perplexing turn, gives SFMOMA particularly strong holdings in postwar German artists such as Gerhard Richter, Sigmar Polke, and Anselm Kiefer. But why exactly do major stores of these artists belong in San Francisco, aside from the Fishers’ fascination with them? Kiefer in particular is poorly served by being so abstracted from the German history in which his Wagnerian dramatism has ambiguous force. In San Francisco, and presented without mediation as such, they read as merely apocalyptic decor. One can only wonder why corporate CEOs have an affinity for this stuff.

Two more aspects of power come to mind. One is that of audience: Just which public does this new museum address? With admission set at a steep $25 and tightly timed timeslots for gallery access, will this institution appeal to a local audience, or largely to tourists for whom this sticker shock won’t matter so much? Major expansions at other institutions have not reliably led to expanded audiences, local or touristic, and it is not sure what will happen in this case, either. SFMOMA’s free admission for those under eighteen is a salutary countermove. Even better is an ongoing collaboration between the education and curatorial departments under the rubric of Public Dialogue, which aims to build partnerships with community galleries and public libraries. Such programs promise to continue the vision of the museum’s founders, which hoped to make the museum a vital part of the cultural life of city residents. But this is a long game, and it is hard to tell just how much it will engage Bay Area audiences on a deep and meaningful level.

And this affirmation of “city residents” rests on an anxious precipice in today’s San Francisco, where citizenship and residency are increasingly attenuated. Perhaps, given the extreme dislocations that characterize the city today, with warehouse districts now serving as tent cities for homeless post-residents, the museum ought to hold a “displaced residents day?” One has to wonder what they, or we, should think about when looking at a work like Charles Ray’s Sleeping Woman (2012) — which, as the wall text helpfully explains, speaks to how homeless people are frequently ignored or invisible in society. Ray’s work calls to mind another “gap,” that between rich and poor, between those included in San Francisco’s current boom and those ejected from it. This disparity is hardly invisible in San Francisco these days, but rather is a harsh and inescapable part of daily life.

Furthermore, moments of strategic generosity as described above are balanced uneasily against the power of money in the museum as it stands (the value of the expanded collection has been estimated at a billion dollars). One must nevertheless mark a circular logic to this extraordinary concentration of value: the Fishers and others gave SFMOMA money to expand, while the very reason the museum needed to expand was to house the Fishers’ “loan.” And so SFMOMA is the channel through which this money coursed, while accumulating comparatively little capital, intellectual or otherwise, of its own, independent of its lenders. In some weird sense, therefore, the power of money in this case may be more marginal than it appears. Perhaps the best we can hope, then, is that this perpetual motion machine now locked onto the old museum might spin off more programs like Public Dialogue, and worthwhile exhibitions off the main, collector-driven concourse — and that there is still a local audience in San Francisco interested in seeing them.

__

Arden Sherman is Curator at Hunter East Harlem Gallery, a multi-disciplinary space for art exhibitions and socially-minded projects located in Hunter College’s Silberman School of Social Work in New York City. Julian Myers-Szupinska was senior editor of The Exhibitionist, and is a member of grupa o.k. Photo: Charles Ray, Sleeping Woman, 2012, installation view, San Francisco Museum of Modern Art. Photograph by Julian Myers-Szupinska.

[billsarchives]

Original 1970 offset lithograph from artist Sätty printed over photo of Nude Woman In Window by Mike Powers, designed by Dale Smith above quote from Goethe: "We are formed and fashioned by what we love." Celestial Arts CA86 Orbit Graphic Arts, a poster printing company based out of San Francisco during the 1960s/1970s, distributed this overprinting by Sätty who was famous for creating mind-blowing and now highly collectible collages, having been exhibited at the MoMA, Boston Museum of Fine Arts, San Francisco Museum of Art and several other major museums listed below. If you look at the last photo, you'll see two of the base images (both available for purchase if interested) over which he would print layers of other illustrations. www.etsy.com/shop/BillsArchives One of the better-known poster artists when the psychedelic era was in full flower in the 60's, Wilfried (Wilfred) Podriech, also known as Sätty, was as much a part of the scene as Dr. Hip or the Grateful Dead. For a few years, his life had been one long summer of love. He staged huge parties where socialites and hippies mingled, in a subterranean basement of the pre-earthquake building where he lived on. He was schooled in architecture, engineering and design, and spent some time working in Brasilia before he settled in San Francisco in the early 60's. It was the threshold of the psychedelic era, and Sätty soon began making posters, developing an extraordinary collage technique that brought together both the technological and surreal sides of his background. Drawing from his enormous collection of 19th-century illustrations, and using his knowledge of overprinting, collage, overlays, paints and offset lithography, Sätty superimposed and juxtaposed images to create layered compositions of such wildness, density and subtle detail that they speak more tellingly than any static visual records of the time could do. His transformations of the original materials range from the discreet addition of a few whimsical oddities in the foreground of an etching, to the full-out hallucinations of an opium den or a ballroom swirling with romantic delirium. And the fact that these are all 19th-century images, radically revised by a 20th-century eye, gives one the eerie sense of shifting back and forth in time, space and perception. There's a startling sardonic humor in Sätty's visionary history, but there is love as well for the reckless, plunging voracity of those early days. EXHIBITIONS One Man Shows: • Moore Gallery, San Francisco; 1968. • Berkeley Gallery, San Francisco; 1970. • Goethe Center, San Francisco; 1971. Group Shows: • San Francisco Museum of Art; 1967. • Moore Gallery, "Second Joint Show", San Francisco; 1968. • Museum of New York City; 1969. • Boston Museum of Fine Arts; 1969. • Sun Gallery, San Francisco; 1969-1971 • National Museum of Art, Belgrade, Yugoslavia; 1970. • National Museum, Warsaw, Poland; 1970. • Gary Standiford Gallery, San Francisco; 1970-1971. • Richmond Art Center, California; 1971. • Museum of Modern Art, New York; 1971. • Arts and industry exhibition, San Francisco; 1971. • Dr. Reidar Wennesland Art Collection (public Exhibition), San Francisco; 1971. • Gallery: The Poster (with David singer), Los Angeles; 1972. • Kristiansand Art Association, Norway; 1972. • The Palace of the Legion of Honor, San Francisco; April-June 1975. GUEST LECTURES • The artist's studio, San Francisco; 1970. Lecture for members of the Society for the Encouragement for Contemporary Art concerning "Art and the Electronic Media". • Berkeley Gallery, San Francisco; 1971. Lecture about the artist' work for members of the San Francisco Museum of Art. • San Francisco Art Institute; 1971 and 1974. Two lectures in printmaking and one lecture for students at the artist's studio. • College of Arts and Crafts, Oakland; 1974. Lectures on "Photo and Printmaking" with slide show. • San Francisco State University, Art Department; 1974. "Imagination vs. Media" with slide show. • San Francisco Museum of Art; 1974. "Media and Poster Art" with slide show. • San Francisco State University, Literature Department; 1975. "Composition" with slide show. PUBLISHED ILLUSTRATIONS Washington Post (Book World- syndicated Sunday supplement) 1973-1975- nine illustrations. • Rolling Stone (26 issues) 1969-1975. • Berkeley Barb, 1969. • East Village Other, 1969. • Organ (7), 1970. • Oz Magazine, England (3 issues), 1971-1974. • Clear Creek (10), 1971-1972. • KPFA folio, 1971-1972. • Ramparts (4), 1972. • Communication Arts Magazine (2), 1972. • Sunday Paper (illustrated in collaboration with David Singer), 1972. • Equilibrium (5), 1973. • Video City- Radical software (2), 1973. • Living Daylights, Australia (2 illustrations from "Time Zone", 1974. • Village voice, 1975. COVER ART • Washington Post (book World syndicated Sunday supplement, 1973-1975: The Sovereign State of ITT, by Anthony Sampson. Gravity's Rainbow, by Thomas Pynchon. Through Russian Eyes, by Anatolii Gromyko. Richie, by Thomas Thompson. Before Civilization, by Colin Renfrew. The Clockwork Testament, by Anthony Burgess. • California Living, Los Angeles, 1969. Two color posters as part of cover. • The East Village Other, New York, 1969. • Berkeley Barb, Berkeley, 1969. Two covers • KPFA Folio, Berkeley 1972. • Publisher's Weekly, New York, April 1975. • The San Francisco Sunday Examiner And Chronicle, 1975. RECORD ALBUM COVERS • "GHANDARVA", Beaver and Kraus; Warner Bros., 1971. Five color cover with David Singer. • "The Occult", United Artists, 1973. A variety of interviews and music. Color cover and back plus 1 color and 12 black and white illustrations in booklet explaining the album. • "The Miraculous Hump Returns from the Moon", The Sopwith Camel, Warner Bros, 1973. • "Feel", George duke, MPS Records, 1974. Separate European release, MPS Records , 1975. • "The Aura Will Prevail", George duke, HPS Records, 1975. BOOKS • The Cosmic Bicycle: Straight Arrow Books, San Francisco, 1971. Limited hardbound edition, regular softbound edition. 160 9"x 12" pages. 79 black and white and 8 four color illustrations. Four color cover and back. • Time Zone: Straight Arrow Books, San Francisco, 1973. 9" x 12" softbound edition, 160 pages, 84 black and white illustrations. Three color cover and back. ISBN: 0879320281 0879320672 (pbk.) BOOK ILLUSTRATIONS AND COVERS • Biafra Good-bye, 1970 • Rolling Stone Book of Days, 1970-71 • One Eighty Five, 1973 • The Axis of Eros, 1973 • Madness Network News Reader, 1974 • Monsters, 1974 • The Index of Possibilities-Energy and Power, 1974 • The Rainbow Book, 1975 • The Annotated Dracula, 1975 • The Hashish Eater, 1975 • The Illustrated Edgar Allan Poe 1976

[studioahead]

Mark Adams: Northern California Legacy

There is a moment -- when you are alone in the house, and you sit at the kitchen table as the daylight begins to fade and each passing second brings forth a new color with the motion of the shadows--when it seems you have caught light in its private life. This briefness is a type of intimacy. And before you can take a photo, or find the right words so that later you can describe to friends a scene that words cannot describe, the moment is gone, and you are left with a memory already fading into the same darkness that fills the room.

Mark Adams, who died in Noe Valley in 2006, spent the latter half of his career painting this moment. In a series of watercolors from the mid-1970s to the late 1990s, he captured the fleeting effects of light on plain objects (a glass of water, a metallic bowl) with vivid expanses of color segmented by a shadow that stretches across the canvas, as if to remind us of the encroaching dark. These quiet, reflective paintings had a public start. In 1948, Adams moved to San Francisco and began designing window displays for Gump's Department Store. He left the city in 1955 to spend four months apprenticing under Jean Lurçat in France. Lurçat was a renowned artist and weaver instrumental in the mid-century tapestry revival; his Paris was that of Matisse and Renoir, and it was into this intellectual tradition Adams was brought during Lurçat's tutelage. In the use of bold contrasts and strong shadows, one can see the influence of Lurçat's tapestry designs on Adams' later watercolors. When Adams returned to San Francisco, a series of large-scale public art commissions followed, including tapestries for the international terminal at SFO, the Fine Arts Museum, and the Public Library. Many of these feature large floral scenes in bright colors; later he pared these gardens down to a single stem floating in a still life vase.

In the mid-1960s, as city planners began laying down tracks for the subway system, they envisioned what might be called a Museum of Modern (B)ART. Each station was to have art selected by that station's architect, and the stations were to cover the entire Bay Area. As funds ran out, the plan was never fully realized, but Adams contributed a mosaic to MacArthur station with Matisse-like cut outs. Increasingly popular and sought-after, Adams turned away from public works in 1976 to focus on watercolors. If any of his commissioned pieces hint at this sudden shift, it would be the stained glass designs for Temple Emanu-El and Grace Cathedral. In these, one glimpses the poetry of his later watercolors, where inner clarity allows light to shine through.

Adams, 1979 Tapestry,
 From the Collection of the Stanford Library of Art and Architecture.

Adams, originally done in the 1960′s and added onto in the 1990′s, Painted Mural,
 MacArthur Bart Station.

Adams, 1972 to 1975, stained glass, Temple Emanu-el.

[familycuisinee]

artists who make dessert themed paintingsd

<h2>Auer-crack-ers</h2><p>by Leah Rosenberg</p><p>Two of our favorite and most frequent visitors to the rooftop coffee bar were curators of Architecture and Design, Jennifer Dunlop Fletcher and Joseph Becker. They would come up for their morning espresso drinks, sometimes again for a meeting in the afternoon and if the timing was right, I would poke my head out from the kitchen to say a quick hello and inquire about any creative endeavors. In their open and generous manner, they would update us on what they were working on next or who they were meeting while they waited (never too long) for their drinks. In exchange, I would usually give them a taste of what we were working on. These brief exchanges would often turn into collaborations on a special event or a dessert. On a tour with Jennifer through the Buckminster Fuller exhibition, as it was being installed, the creation of the Buckminster Fuller Hot Chocolate was finalized when we saw the magazine cover of the proposed floating village in a vitrine. </p><p>It was always a treat to correspond with people who reply to emails with enthusiasm and in some case with thoughts they might have on art that would make a good dessert. Like these from Joseph:</p><p>Claes Oldenburg (too literal?) </p><figure><img src="https://ift.tt/3veeQHh" alt="image" /></figure><blockquote><p>Claes Oldenburg and Coosje van Bruggen, ‘Dropped Cone’ (2001)</p></blockquote><p>and Le Corbusier…too architectural? But what about a chocolate meringue Ronchamp? Yum!</p><p><img src="https://ift.tt/3j2GVga" alt="image" /></p><blockquote><p>Chapelle Notre-Dame-du-Haut de Ronchamp, 1954</p></blockquote><p>This time two years ago, Field Conditions opened. This exhibition of “spatial experiments”, included nearly 30 works by artists and architects, and entirely in black, white and shades of grey. For the opening event, the A+D department partnered with SFMOMA’s education team who had scheduled a program in conjunction with the San Francisco Electronic Music Festival to celebrate John Cage. </p><figure><img src="https://ift.tt/3aDLCYX" alt="image" /></figure><blockquote><p>Field Conditions installation view, San Francisco Museum of Modern Art, 2012; photo: Matthew Millman</p></blockquote><p>We were already fans of Tauba Auerbach’s work, from the 2009 SECA exhibition which was up when we first opened the rooftop coffee bar, so it was no surprise that her “50/50 Floor” appealed to us. The giant floor-tile installation, (coupled with a kinetic light installation by Rafael Lozano-Hemmer) is made of 50% black tiles and 50% white tiles, which are randomly distributed over the floor in a QR code-like pattern. Could we do a Mondrian-style cake that when cut into could be photographed with a QR code reader and take you to a website? We dreamed in black and white. </p><figure><img src="https://ift.tt/3FLFjkp" alt="image" /></figure><blockquote><p>Tauba Auerbach, 50/50 Floor (detail) installed in Field Conditions, 2012; photo: Rocor</p></blockquote><p>As the installation of the 50/50 floor neared completion, we got word at the side kitchen door that there were a few square feet of the black and white tile left. I asked Joseph if we could use it for the event to serve the series of black and white crackers we were working. In minutes we had them in the kitchen and started working on some spreads for the crackers. I acquired some squid ink from our friend Stuart at State Bird Provisions and waited for Tess, (a vegan whom I care for dearly and who, I was afraid would never come back to work if she had to witness squid ink in our sweet little production kitchen), to leave for the day before I attempted to color match our house-made ricotta to the black tile.</p><figure><img src="https://ift.tt/3p3D6e9" alt="image" /></figure><blockquote><p>photo courtesy of Lanlian Szeto of SFMOMA, thankfully she took this, because it’s the only documentation we have of the whole process/event!</p></blockquote><p>Here, Tess Wilson and I are setting up what we like to affectionately call Tauba’s “Auer-crack-ers”. We set up black and white tiles that functioned as serving plates for the crackers buttermilk (white) and black charcoal (black). Guests were invited to choose their own spread (which we couldn’t help ourselves refer to as grout) from a selection of housemade squid ink ricotta, white bean hummus, black sesame spread and whipped ricotta. Everyone was entertained at the thought that they were essentially “eating off the floor” and delighted to get to take their tile home as a memento.</p> source https://familycuisine.net/artists-who-make-dessert-themed-paintingsd/

[seanmccaughan]

The Wolfsonian-FIU Museum, which has an extensive Art Deco collection has announced something everybody probably assumed it did years ago, its first-ever major Art Deco exhibition. Check it out.

The Wolfsonian–FIU Opens its First-Ever Major Exhibition Devoted to Art Deco in Fall 2018

Deco: Luxury to Mass Market (opening October 19, 2018) will trace Art Deco’s European origins, migration to the U.S., and spectacular culmination in 1930s Miami Beach

Walking tour neighborhood guide to bring the Wolfsonian experience out of the galleries and into the streets

MIAMI BEACH (May 23, 2018) — The Wolfsonian–Florida International University announces the museum’s first large-scale exhibition devoted to Art Deco, the style so central to South Beach’s world-famous architecture. On view starting October 19, 2018 and continuing for an extended run, Deco: Luxury to Mass Market will map the trajectory of Art Deco’s influence from its first appearance in Paris to its adoption by American tastemakers and trendsetters through more than 100 works from the Wolfsonian collection.

“This is a special opportunity for The Wolfsonian to share its vast collection of Art Deco objects in a way that it has never done before,” said Whitney Richardson, who co-organized the exhibition with fellow Wolfsonian curators Silvia Barisione and Shoshana Resnikoff. “There’s so much curiosity about how a style introduced in Paris came to be realized so impressively, and in such a varied way, halfway around the world on Miami Beach. Deco tackles that very question by embracing a true Wolfsonian strength: digging into the social meaning behind a style, and considering its evolution.”

Added Barisione: “The exhibition exposes visitors to the unfamiliar dimensions of Art Deco. A style that became so closely associated with France was expressed in unique ways all over the word, from India to Russia. The show speaks to how an aesthetic embraced in far-flung places could be infused with the local influences and national traditions of the designers.”

Orienting Wolfsonian visitors to the history of Art Deco, the exhibition will begin with an introduction to the style’s hallmarks and beginnings in 1925. The Paris world’s fair, Exposition internationale des arts décoratifs et industriels modernes, originally brought Art Deco to public visibility under the name “art moderne” in an effort to raise the status of the applied arts and industrial design to the level of fine art. Typified by the heavy use of ornament and stylized, natural motifs, the style at first emphasized luxury and borrowed greatly from a variety of historical sources such as Art Nouveau, the colonial exoticism of Mayan temples and Egyptian tombs, Cubist geometric forms, and ballet set design and costumes. It immediately proved incredibly popular, in part thanks to pioneer adopters like the influential Parisian department stores Bon Marché and Printemps creating display rooms fully decked out in the style to provide inspiration and showcase products.

The exhibition moves on to how Art Deco changed with its migration across Europe and particularly its journey overseas. Though the U.S. did not formally participate in the 1925 Paris exposition, its government delegated a commission of museum directors, department store owners, designers, and manufacturers to attend the fair and bring back ideas. Thus, many American audiences first encountered the style through museum exhibitions (at the Metropolitan Museum of Art) and in department stores (Lord & Taylor, John Wanamaker). European émigré designers trained at the Wiener Werkstätte or Deutscher Werkbund and steeped in modernist thinking likewise brought Art Deco to the U.S., where it began to take on uniquely American motifs like the skyscraper and form associations with progressive architecture and industry. The Great Depression put to bed Art Deco’s emphasis on luxury in favor of New Deal-inspired function and sleeker aesthetics. Affordability and streamlining were in vogue—trends that dovetailed with the notion of pushing a dampened economy into a promising future.

Deco concludes with the style’s pinnacle on Miami Beach as represented in hotels such as the Essex House, Kent, and New Yorker. After debuting his Florida Tropical House in the 1933 Chicago World’s Fair’s “Home of Tomorrow” section, architect Robert Law Weed returned to South Florida to help realize a new version of Deco design on a citywide-level, one informed by middle-class tourism and relaxation. The hundreds of Art Deco buildings that remain today, many of which have since been converted into apartments, still capture the elegance and carefree spirit of early Miami Beach—“where summer spends the winter.” Buildings selected in conjunction with the Miami Design Preservation League will be featured in a unique walking guide that will complete the story of Deco out on the streets of South Beach, extending the show’s narrative and the style’s legacy into the now.

Key works of Deco include:

Photographic portfolios from the 1925 exposition showcasing the works of Émile-Jacques Ruhlmann, Le Corbusier, and Jean Dunand, among others, as well as guidebooks from the pavilions;

Glass objects by René Lalique—a French jewelry designer who became popular for his Art Nouveau wares but found his voice at the 1925 exposition—including vases, perfume bottles, and powder boxes illustrating his influences from nature;

A writing desk and chair designed by Kem Weber for the San Francisco residence of Mr. and Mrs. John W. Bissinger (1929), featuring his signature sage-green painted wood and bridging European and American Art Deco designs;

A bedroom suite by Donald Deskey for Estey Manufacturing Company (1930–35) that beautifully demonstrates how even simple wooden furniture of the time could be modernized;

Tropical Deco train interiors (1936–37) by Paul Cret for the Florida East Coast Railroad featuring tropical animals and his Cincinnati Union Terminal (1929–33) Streamline furnishings; and

Design drawings and objects by industrial designers such as Raymond Loewy, Walter von Nessen, John Vassos, Henry Dreyfuss, and Walter Dorwin Teague.

“As an institution, we’ve been waiting to present this story,” said Wolfsonian director Tim Rodgers. “Art Deco is such a natural topic for The Wolfsonian; it shapes the architecture of our neighborhood, which attracts sightseers and admirers from across the globe every year. Though we are known for many iconic Art Deco pieces—like our lobby fountain, originally part of the façade of the Norris Theatre—our collection holds far more riches, and we’re excited to finally bring many of these out for public view.”

The Wolfsonian Announces its First Major Art Deco Exhibition The Wolfsonian-FIU Museum, which has an extensive Art Deco collection has announced something everybody probably assumed it did years ago, its first-ever major Art Deco exhibition.

[princessweddingdresssweetheartne]

Princess Wedding Entrance

Abbey's List Of 2020's Top San Diego Wedding Venues

Table of ContentsBest Wedding Venues & Destinations In The Caribbean ...The Best Wedding Venue In Every State - InsiderThe Best Virginia Wedding Venues For Washingtonian Couples34 Affordable San Diego Wedding Venues Under ,500 ...San Diego Wedding Venues: Voted Best Venue For 2020Destination Wedding Locations Right Here In The U.s. - Martha ...Wedding Locations - Eau Claire - Volume One Magazine

Your visitors will certainly be welcomed to take a gondola flight up Aspen Hill to an elevation of 11,212 feet, where they will reach your event at The Wedding celebration Deck or nearby Aspen Mountain Club. Spectacular views of the well known Maroon Bells and the Rocky Hills will frame the special memories created on your big day.

Stunning 360-degree views turn from the Channel Islands past Santa Barbara to rambling canyons under old canopies of Eucalyptus. Aromatic Magnolia as well as orange blossoms fragrance the landscape for a wedding celebration experience like no other. Santa Barbara, CA The Ranch at Rock Creek Miles of river, woodland, valley, and also view provide nearly unlimited chances for picture-perfect and also breathtaking events, intimate breakfasts, and festive functions.

Below, you can joined at the Historic Barn, or say "I do" in the middle of the wild flowers as well as Huge Sky background. Philipsburg, MT Glenmere Estate Set on 150 acres of rich landscape, Glenmere Manor moves you to Europeonly 50 miles far from New York City. The 5-star hotel enables for buy-outs, so the home could become your own for the weekend.

Georgia Wedding Venues - Lanier Islands - Weddings In ...

Chester, NY Malibu Rocky Oaks Estate Vineyards This top-rated vineyard location boasts breathtaking sights of the Santa Monica Hills and rolling hills of The golden state for an overpriced experience like nothing else. Pro tip: the estate recommends scheduling dates from April to November for the very best climate as well as greenest creeping plants. Malibu, CA AMAN Venice Embed in among the city's eight splendid significant palazzos on the Grand Canal, AMAN Venice personifies all that is excellent as well as sensuous about La Serenissima (Northern Italy).

Wedding Venues - City Of Los Angeles Department Of ...

Venice, Italy Children of the American Transformation Hall This desirable place just obstructs from the White Residence features glorious sights of the Washington Monument. Crystal chandeliers, antique furnishings, as well as extravagant Beaux-Arts architecture are just a few of the reasons we love this historic room, whose indoor/outdoor choices are both sophisticated and picturesque.

Pippin Hill Farm & Vineyards Sweeping views of rolling hills as well as vineyards matched with a cooking experience like nothing else is all you require for an effective celebrationand Pippin Hill has you covered on all accounts. What's more, the property is possessed as well as operated by Easton Doorperson Group, co-founded by one of FAIR New bride's Leading Wedding celebration Organizers on the planet, Lynn Easton of Easton Occasions.

America's Best Wedding Venues - Brides

The Top 20 Wedding Venues In Nashville - Southern Living

It steps an equilibrium in between English style and also playfully surrealfor some, Aynhoe Park is an eclectic play ground of the creativity; for others, it's a research in improvement. For all, nonetheless, it is an escape from the foreseeable and a remedy to the everyday. See how this couple wed at Anyhoe Park and combined the English countryside with Burning Male inspiration to fit their design.

Choose for an intimate event in the church bordered by frescoes, or capitalize on among the larger locations on residential or commercial property (for up to 500 visitors). Take pleasure in dinner outside in the gardens or inside your home at the Conventino, an ancient church inside the residential or commercial property became a great hall. Florence, Italy Haiku Mill A spectacular residential or commercial property situated on Maui's north shore, off the famous Roadway to Hana, you'll locate Vintage Europe satisfies natural Hawaiian splendor at Haiku Mill.

Maui, Hawaii Ritz Paris Paris, while referred to as The City of Light, is also undoubtedly the city of love and also love. And the Ritz Paris is a gem box in the center of all of it, with its sweeping sights of the Location Vendme. With sensational ballrooms, perfectly appointed suites, and also several of the most quintessentially Parisian details in shop, it's not surprising that fashion new brides around the world desire for wedding celebration inside its wall surfaces and in it's personal courtyard.

Wedding Venues - Telluride - Telluride Ski Resort

If you can't make a decision whether an extravagant ballroom reception, a countryside ceremony, or a '20's glam after event feeling is best for you, this location might house them alland extra. Asheville, NC Flora Farms This farm-to-table place as well as dining establishment is a Cabo fan-favoriteand for great reason. With numerous private outdoor locations for occasions, like a Mango Grove with a brick barn, an herb garden amphitheater, a gorgeous potting shed, dining establishment, and more, the number of visitors and also time of year aid identify which area is ideal suited for you.

San Jos del Cabo, Mexico Atlanta History Center Assume Selected the Wind at this historic house in the heart of Georgia. With stunning style and yards, consider the stunning lawns at the Swan Home Manor or the rustic appeal of the Smith Family Members Farm and McElreath Hall for your wedding event settingeither means you'll like its Southern style.

Providing a special setting for any kind of size event (big or tiny), the dramatic clocktower is stylish, open, and also airy. And when you aren't dining in one of the city's ideal known structures, your guests can delight in all the restaurants, tasks, and websites SF has to provide. San Francisco, CA French's Factor Make your wedding event celebration feel like a getaway, a reunion, as well as a wedding celebration all-in-one at French's Pointa stunning 14-acre venue on the coast of Maine.

Seven Oh-so-charming Historical Wedding Venues ... - Boston

Wedding Venues In San Diego - Dream Beach Wedding

Stockton Springs, ME The Frick Collection Stimulating the glamour of Gilded Age New York, The Frick Collection is a worldwide acknowledged museum and also proving ground understood for its recognized Dutch Master paintings and also outstanding examples of European sculpture as well as attractive arts. While numerous New York City venues of this caliber feel grand, extensive, and better for a huge guest checklist, this one-of-a-kind area provides a sophisticated yet intimate feeling for any ceremony, reception, alcoholic drink celebration, or welcome dinner.

New York City, NY, USA Domaine de Andols Exuding pure luxury in unique ways, Domaine de Andols features distinct, contemporary rental properties for you and also your visitors and also an impressive centenary tree changed right into dining establishment at the end of the Domaine. Serving fresh and also regional items at this put on hold tree top terrace, the view of the Domaine as well as the odor of the lavender fields are simply a pair of the factors you'll never ever wish to leave.

Saint-Saturnin-ls-Apt, France Taj Lake Royal residence Organizing previous clientele such as Jacqueline Kennedy as well as Queen Elizabeth, this regal as well as entirely romantic royal residence in Udaipur is incomparable. The resort's striking white marble exterior with views of Udaipur, the Aravalli mountains, and temples all around work as the best background for an intimate wedding event in India.

18 Affordable San Diego Wedding Venues - See Prices

Pro Suggestion: Below, you'll likely need to schedule a certain bryllup københavn number of spaces for approximately 60 visitors, so make sure to confirm your matter. Udaipur, India Four Seasons Lanai Scenic sights of the Pacific and a genuine Polynesian social panache satisfy the utmost in solution, comfort, and quality at the 4 Seasons Lanai.

Lanai City, Hawaii The White Elephant A New England venue with a preppy panache, the White Elephant harbor side inn hosts weddings on its well-manicured yard. For those looking to toss a specifically extravagant event, the whole hotel (with space for 300 guests) is offered for rent. Functions follow on the balcony overlooking the waterside, with adequate oysters as well as alcoholic drinks to please even the pickiest of guests.

The venue comes full with a variety of alternatives, both indoors as well as out, like the classy Chandelier Ballroom, which houses eight bespoke Baccarat crystal light fixtures, and also the 8,000-square-foot Excellent Lawn, with unlimited sea sights. Montecito, CA Cedar Lakes Estate This is where you ought to head if "down to Planet," "rustic," "nature-lover," or "modern bohemian" ideal explains you or your aesthetic.

Wedding Venues In San Diego - Aall In Limo & Party Bus

From a treehouse to lakeside event, this residential property satisfaction itself on only scheduling a pick numbers of wedding celebrations annually to focus on making each of them distinct, unique, and well-executed. Greenville, NY Nizuc Resort & Health Club Simply outside Cancnand just ten minutes from the airportlies heaven, peacefulness, and also absolutely nothing near to the spring break vibes you're made use of to in this part of the nation.

Stay in a modern skyscraper with your very own personal plunge swimming pool, or choose a relaxing yard suite in the mangroves. Boasting two exclusive coastlines, an extravagant day spa by ESPA, 6 premium dining establishments, and sumptuous accommodations, Nizuc is perfect for weddings both large and tiny. Place: Cancun, Mexico Amangiri Amangiri, which indicates 'serene hill', lies in Southern Utah and also is a minimalist's dream.

[cooperhewitt]

Moderne Mystery

It is not very often that a clock’s origins provide as much mystery as that of the Zephyr clock. Designed during the mid-30s, it was originally attributed to Kem Weber, a German émigré designer who created several iconic designs of the Streamline Moderne style until evidence arose via a 1938 Lawson Time brochure that Weber had little to no involvement in the design. The catalogue accredited the design to previously unknown partners Adomatis & Ferher. The Adomatis in question has since been identified as artist George Adomatis, but the identity of the illusive Ferher has been more difficult to uncover. The best guess so far is that it is noted Art Deco designer and metalsmith, Paul Feher, but no official proof of this exists. It was due to clever timeline reconstructions during research at Yale University Art Gallery that this information was uncovered at all.

Until this became apparent, Kem Weber’s name has long been associated with the Zephyr clock. A German designer that came to America to supervise the construction of Germany’s exhibits at the 1915 Panama Pacific Exposition in San Francisco, Weber soon found himself stranded in California at the outbreak of World War I. Making his way south, he remained a prolific and tireless promoter of his work. Settling in Santa Barbara, he established an independent industrial design studio, and went on to design many products for a wide variety of companies. It was likely during this period that he submitted several design ideas to Lawson for consideration – but as the 1938 catalogue suggests, none were used in the final designs for their clocks.

Inspired by ocean liners, automobiles, skyscrapers, and other facets of modernity, the Streamline Moderne style regarding objects was brought to America and promulgated by Kem Weber, among other designers. This offspring of Art Deco architecture easily lent itself to decorative arts by emphasizing curving forms and long horizontal lines. As the Great Depression progressed, the stripping of the ornament of the Art Deco design appealed greatly to industrial designers, while manufacturers of clocks, radios, and other household appliances quickly followed. The style was a reflection of austere economic times, but also a reference to the concept of motion and speed developed from scientific thinking – streamlining into an exciting future filled with prosperity. The Zephyr clock’s sleek look and horizontal lines embraced the new modern digital clock face. The name, Zephyr, references the Greek god of the west wind. Known as the messenger of spring, the west wind is considered the gentlest of winds by Western cultures, making the Zephyr clock a point to a hopeful future during a time of struggle.

Randy Juster, “The Lawson Clock Story,” Revised July 2015, http://ift.tt/2v0ybzc, referencing W. Scott Braznell. John Stuart Gordon, A Modern World: American Design from the Yale University Art Gallery, 1920-1950 (New Haven: Yale University Press, 2011), 320, reference Christopher Long. Randy Juster, “The Lawson Clock Story,” Revised July 2015, http://ift.tt/2v0ybzc, referencing W. Scott Braznell. Erin Benedictson is an intern in the Product Design and Decorative Arts department at Cooper Hewitt, Smithsonian Design Museum.

from Cooper Hewitt, Smithsonian Design Museum http://ift.tt/2uG7r4g via IFTTT

[micaramel]

Artist: Trevor Paglen

Venue: Altman Siegel, San Francisco

Exhibition Title: Territory

Date: June 25 – August 8, 2020

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Altman Siegel, San Francisco

Press Release:

Altman Siegel is pleased to present a body of new work by artist Trevor Paglen. This will be his fifth exhibition at the gallery. Trevor Paglen’s new photographs position the origins of computer vision, facial recognition, and artificial intelligence in the tradition of landscape photography of the American West. Examining histories of seeing in relation to technological advancements, Paglen reveals underlying structures of power and the changing role of the image.

Capturing dramatic vistas shot around Yosemite, Black Canyon, the California Coast, and other iconic landscapes, Paglen refers to classic works by Muybridge, O’Sullivan, Watkins, Hillers, and other 19th century “frontier” photographers. While we often encounter these historical referents in a museum setting today, many of these seminal images were originally produced for the US Department of War on military “reconnaissance” surveys and are embedded with the colonial narratives of Western Expansion. What would a contemporary iteration of frontier photography reveal about our current structures of power?

With the advent of computer vision and artificial intelligence, the role of images and photographs has changed dramatically. From industrial fabrication and self-driving cars to facial recognition and biometric surveillance, computer vision algorithms are working invisibly in our daily lives. Paglen investigates the formal and conceptual logics of computer vision and AI by using modified machine vision software to produce images revealing the internal mechanisms of the algorithms. Returning to the western landscapes captured by his predecessors, Paglen translates his 8×10 negatives into digital files that can be read by AI. He then overlays lines, circles and strokes that signify how computer vision algorithms attempt to “see” by creating mathematical abstractions from images.

For many of the photographs, Paglen employs printing methods of the 19th century. Each edition is processed by hand using sunlight per traditional albumen and carbon printing techniques. The resulting photographs resemble their historical precedents, while revealing the changing face of image culture as it is increasingly interpreted by machine vision.

Where the landscapes refer to the history of western photography as an aspect of territorial control, so we find another form of extraction and coercion embedded in a new series of portraits. Photographs in the series They Took the Faces from the Accused and the Dead are based on National Institute of Standards and Technology’s Special Database 18, a collection of 3248 mug shots that constitute a standard database for the promotion of research into facial recognition. To create facial-recognition software, computer scientists and software engineers need large collections of faces as “training images.” Before the advent of social media, a common source of faces for this research came from these mug shots of accused criminals. In a very real sense, facial-recognition software is built upon the faces of prisoners.

Paglen mines the history of photography, both for its physical production and its subject matter, to construct questions around seeing. Concerns about surveillance and privacy, freedom and servitude continue to resonate as the two series of works, western landscapes and mug shots create a contemporary questioning and retelling of the archetypal story of the ‘Old West.’

I think that for me what unites the works in this exhibition it’s something to do with the relationship between photography, computer vision, and extraction.

If we look at real-life forms of computer vision, let’s ask what they’re designed to do. We might say “oh they’re for navigating cars, or for doing quality control for manufacturing, or for recognizing objects or whatever” – I think to that I’d say: no, these forms of “seeing” are mostly about doing one of two things, often in tandem. First, making money. Second, increasing the efficiency of centralized forms of power, for example the police or the military. And that this has a long history – that the 19th Century photos I reference in this body of work were part of efforts led by the Department of War to map the west and to figure out how to mine it and settle it. The photographs of prisoners were meant to make policing more effective and more powerful.

This body of work for me is about trying to see how photography and power were coupled together in the past, and to think about how those couplings might be taking place now in the age of computer vision and AI.

-Trevor Paglen

Trevor Paglen has exhibited in numerous international museums, galleries and institutions including the Metropolitan Museum of Art, New York; The Tate Modern, London; Whitechapel Gallery, London; The Barbican Centre, London; Prada Foundation Osservatorio, Milan; Nam June Paik Art Center, Korea; Museo Tamayo, Mexico City; Lentos Kunstmuseum Linz, Austria; Smithsonian American Art Museum, Washington, D.C.; The National Museum of Art, Architecture and Design, Oslo; ZKM, Karlsruhe; Kunstverein Hannover; Kunsthalle Winterthur; Frankfurter Kunstverein; The Walker Arts Center, Minneapolis; The San Francisco Museum of Modern Art; The MCA Chicago and many others. He has also been included in the 2008 Taipei Biennial; the 2009 Istanbul Biennial; the 2012 Liverpool Biennial; the 2016 Venice Biennial of Architecture; the 9th Berlin Biennial; Manifesta: The European Biennial of Contemporary Art 2016, Zurich; The Gwangju Biennale, 2016 and 2018; and the 2019 Art Encounters Biennial, Timișoara, Romania. His work has appeared in The New York Times, The Wall Street Journal, The New Yorker, Artforum, Frieze, The Guardian, The Atlantic, Bomb, October, Wired and The New Inquiry in addition to many other publications. Paglen was the recipient of the 2016 Deutsche Borse Prize, 2018 Nam June Paik Art Center Prize and was named a MacArthur Fellow in 2017. He holds a B.A. from U.C. Berkeley, an M.F.A. from the Art Institute of Chicago, and a Ph.D. in Geography from U.C. Berkeley. Paglen’s work is concurrently on view in Uncanny Valley: Being Human in the Age of AI at the de Young Museum, San Francisco and Art in the Age of Anxiety at the Sharjah Art Foundation.

Link: Trevor Paglen at Altman Siegel

from Contemporary Art Daily https://bit.ly/3hxtoJY

[caveartfair]

How Internships Are Changing the Art World

Internships have never been more prevalent or essential for aspiring art workers. Putting in one’s time as an intern is an important career stepping stone—a way to gain key on-the-job skills, experiences, and connections for art-world success. Studio Museum in Harlem director and chief curator Thelma Golden, New York Times art critic Roberta Smith, and the late artist Chris Burden all had formative internships early in their careers. According to a 2015 report by the Strategic National Arts Alumni Project (SNAAP), a full 69 percent of undergraduates in the U.S. who graduated from arts programs had been an intern at least once while they were in school.

Creative industry internships have come under growing scrutiny over the unequal opportunities they may offer and the insufficient compensation and experience they may provide. Many arts internship programs can be invaluable for gaining a foothold in a creative field and discovering which creative pursuit is the right fit, but others are downright exploitative. A report published in November by the Sutton Trust found that an astonishing 86 percent of internships in creative fields in the U.K. are unpaid.

“Everyone acts like an internship is this stepping stone. But a lot of internships aren’t, and you learn a tremendous amount from that.”

Unpaid internships are common in every sector of the arts and at every level, but sometimes such “opportunities” cross the line. Earlier this spring, London’s Serpentine Galleries and the architecture firm designing its summer pavilion, Junya Ishigami + Associates, came under fire after it was revealed that the firm was planning to use unpaid interns who would be expected to work 13-hour days for 6 days per week. In 2017, the Olsen twins paid out $140,000 to 185 former unpaid interns of their fashion label The Row who claimed they had been paid nothing to do the same amount of work as an employee. Scandals over unpaid internships in creative fields are legion.

Large art organizations, from major museums to mega-galleries and auction houses, are increasingly proactive about making diversity and equity core pillars of highly structured internship programs, while also working to ensure that interns will gain valuable experiences and connections, and not end up serving as glorified temp workers. Current and prospective interns can make more informed and pointed decisions about the roles they pursue, what they seek to get out of them, and what career tracks might not actually be right for them.

“Everyone acts like an internship is this stepping stone. But a lot of internships aren’t, and you learn a tremendous amount from that,” said Sandra Jackson-Dumont, the Metropolitan Museum’s chairman of education. “I never want to go into PR, but I actually have tremendous skill sets around how to communicate because one of my first internships in college was with a communications department.”

The future

Even when an internship isn’t a perfect fit, it can be immensely valuable. “We would always encourage internships—always—because that’s how you not only gain professional proficiency, but make connections and become a known quantity in the field,” said Georgianna de la Torre, a vice president at Museum Management Consultants, a San Francisco–based consulting firm. “When we work with art museums in planning, internships are something that is tremendously desired not only to increase the labor pool, but it’s a service to the field, as well, because there’s a great need to build the future of museum professionals.”

And just as some parts of the art world have begun to address their diversity issues, institutions and organizations have increasingly seized upon internship programs to prioritize greater accessibility, diversity, equity, and inclusion. The Getty Marrow Undergraduate Internships (GMUI) initiative at the Getty Foundation in Los Angeles offers paid, 10-week internships at the J. Paul Getty Museum and other L.A. organizations to undergraduate students from historically underrepresented backgrounds.

Launched in the aftermath of the Los Angeles uprisings of 1992, the GMUI sought “to make people from underrepresented groups feel welcome and feel that museums are a place for them,” said program assistant Selene Preciado. But in the 26 years since it launched, the program has taken on the additional role of bringing greater diversity to a field that remains disproportionately white. Because of the current state of the field, Preciado believes it’s important to have a network of colleagues, supervisors, and peers to support individuals through the many leadership challenges institutions are facing.

“It’s a service to the field, as well, because there’s a great need to build the future of museum professionals.”

In its first 25 years, the Getty Foundation put upwards of $12.7 million toward supporting more than 3,200 GMUI participants’ internships at over 160 L.A. organizations. The program’s alumni include the Museum of Contemporary Art, Los Angeles’s outgoing assistant curator Lanka Tattersall (who starts her next role, in the Museum of Modern Art’s department of drawings and prints, in July); the associate director of the Johns Hopkins Archaeological Museum, Sanchita Balachandran; and the general manager of the Guggenheim’s Works & Process series, Duke Dang. In a report marking the program’s 25th anniversary, Dang noted that his supervisor during his internship is now his colleague, adding: “We still meet up when I come to Los Angeles, and sometimes our conversations even end up inspiring the next round of programming at our respective institutions.”

For Preciado, stories like Dang’s show just how effective internship programs like GMUI can be, and how important the roles of mentors and supervisors are to their success. “It’s not only that your intern could be your successor, they might one day be your colleague,” she said.

A similar drive to open up the art industry pipeline is at the core of an initiative by Souls Grown Deep, the Atlanta-based foundation devoted to the work of African-American artists from the South. Its program supports three undergraduate students of color per academic year, providing each with a $10,000 stipend while they pursue a part-time internship with partner institutions. The first three participants took internships at the New Orleans Museum of Art, the Philadelphia Museum of Art, and the Virginia Museum of Fine Arts. The next three will intern at the Baltimore Museum of Art; the Museum of Fine Arts, Boston; and the Minneapolis Institute of Art.

For the foundation’s president, Maxwell L. Anderson, the decentralized approach of the Souls Grown Deep internship program was partly informed by his own days as an intern at the Metropolitan Museum. “I’m still friends with a lot of the other interns from literally 40 years ago, and the network in the museum field is as important as it is in so many other fields, where friendships forged in one’s beginnings are often very important later in one’s career path,” Anderson said. “Having colleagues in different cities and different institutions, and binding them together through a joint experience we’ll be providing them in the southeast…is intended not just for the individual benefit of the students, but also for their connecting with each other and remaining in contact should they pursue a museum professional track.”

The Souls Grown Deep program aims to support diversity throughout the entire art organization workforce, not just among curators. Anderson cited the impact of ongoing efforts such as the Andrew W. Mellon Foundation’s curatorial fellowship program for undergraduate students. A recent Mellon Foundation study found an increase in hiring of people of color for curatorial positions, but the study also found that 88 percent of people hired for leadership and conservation roles at U.S. museums between 2014 and 2018 were white.

Just as every sector of the art world can benefit from a more diverse intern cohort, prospective interns can benefit from the field’s incredible range of programs. “Museums desperately need talent in all sorts of positions—curators represent a fraction of the staff of museums,” Anderson said. “We’d be thrilled if an accountant emerges from [the Souls Grown Deep initiative] and finds their way into the museum profession, but they’re an accountant who has knowledge and experience in a particular cultural remit that otherwise they may not have.”

Excelling at interning

The resounding recommendation from people within galleries, institutions, and organizations is for prospective interns to do their research so they can be intentional with their applications. Before even picking individual places to apply, would-be interns can weigh the merits of different sectors, regions, areas, or scales. Internships are offered by global and regional museums, small nonprofits, major auction houses, galleries of every size, and artists at every career stage.

A spokesperson for Christie’s gave this advice: “Find something that is going to set you apart from the rest of the applicants. The pool of candidates that apply to all early careers here are tremendously competitive, we are always looking for something that is different than the rest.”

While some interns may thrive in the structured environment provided by a big museum or auction house—with supervisors, mentors, intern projects, and departmental specialization—others may relish the opportunity to try on several hats by applying to a smaller organization where they may be the only intern.

“Ask yourself if you are more comfortable working within a global gallery setting or if you enjoy a more intimate team.”

“When you’re at an organization like, say, Self Help Graphics & Art in East Los Angeles, and there’s a [small staff], in a way, you have an opportunity to work with and interact with all of the staff, which is really valuable,” Preciado said. “You get to do a little bit of everything, and you get a different kind of training than at a larger institution where there’s one person for one role.”

A spokesperson for Pace Gallery—which has 10 locations around the world, and typically hires 5 interns for the spring and fall semesters and 10–15 in the summer—concurred. “Ask yourself if you are more comfortable working within a global gallery setting or if you enjoy a more intimate team. Go to a few openings and see how they interact with visitors and what kind of mood they set for their staff.”

For prospective interns looking for hands-on experience with an artist’s practice, many individual artists offer internship opportunities, as do many leading artist residencies. Artpace, a San Antonio–based nonprofit, offers about 15 intern positions per year in several different departments, according to education coordinator Ashley Mireles. Those positions include studio interns, who “assist artists in the residency program with the production of new projects and may work with technical and studio staff to plan, install, and de-install artwork and exhibitions,” she said.

Irrespective of what specific role an intern may take, Mireles said a key component for any successful internship is clear communication. “The ability to self-identify qualities the intern would like to improve during their time” is essential, she said, “as well as being able to communicate how they believe their supervisor could help them meet their goals and expectations.”

There’s no efficient way to go about finding and applying for art-world internships—short of visiting the websites of individual organizations and artists—and there are relatively few centralized resources for finding opportunities. One popular resource is the New York Foundation for the Arts (NYFA)’s classified listings database, which features a range of paid and unpaid internships at organizations from the Museum of Modern Art to nonprofits like the Judd Foundation and galleries like Sperone Westwater.

NYFA monitors internship listings on its classifieds site to make sure they aren’t job listings in disguise. “NYFA requires that all internships that are listed on our board highlight the educational value to be gained by the intern,” said NYFA’s senior manager of advertising and data strategy, Molly Martin.

Another popular listings site, Jobs.art, has a strict policy against listing internships. “The ‘no internships’ policy is one way to promote fair pay for honest work,” said Clynton Lowry, the editor-in-chief of Art Handler, out of which Jobs.art was born. “Even if we were to list paid internships, it would still be impossible to make a living on an internship wage alone. ‘Paid’ internships rarely equate to a minimum wage, and we have a responsibility to both the employer and the job-seeker.”

While paid internships offer vastly different compensation across the art industry, SNAAP’s 2015 study confirmed that art students who’d had paid internships consistently found jobs more quickly following graduation. A full 89 percent of students who’d had a paid internship found work within a year of graduating, compared to 77 percent of students who had never been paid interns. Unsurprisingly, paid internships are the most competitive.

Last year, the Met’s paid summer internship programs received over 1,700 applications for 40 slots. “So many of the students in that 1,700 should have been here, but we just don’t have the money or resources,” explained Jackson-Dumont. For the ones who do get an internship, he said, “we tell them: not to stress you, but you need to make the most of this.”

from Artsy News

[placerdiario]

Aguahoja from Mediated Matter Group on Vimeo.

Neri Oxman and The Mediated Matter Group MIT Media Lab WORLD WATER DAY March 22nd, 2019

Nature made us half water. With water, the biological world facilitates customization of an organism’s physical and chemical properties—through growth and degradation—as a function of genes and environmental constraints. Designed goods, however—including garments, products, and buildings—have little to none of the fluid that gives life. More than 300 million tons of plastic are produced globally each year, leaving harmful imprints on the environment: our seas, our trees, our bodies. Less than 10% of this material is recycled, and the rest becomes waste, dumped into landfills and oceans. These materials utilize raw ingredients that are extracted from the earth faster than they can be replenished, and are processed using toxic chemicals that leach out of these goods as they degrade back into the earth over thousands of years.

In recognition of World Water Day—an annual UN observance day that highlights the importance of freshwater advocating for the sustainable management of freshwater resources—we are excited to release the Aguahoja project. Aguahoja (pronounced: agua-hocha) is a collection of structures and artifacts made almost entirely out of organic matter and shaped by water aiming to subvert this cycle through the creation of biopolymer composites that exhibit tunable physical and environmental properties in ways that are impossible to achieve with their synthetic counterparts.

Derived from shrimp shells and fallen leaves, 3D printed by a robot, shaped by water and augmented with synthetically engineered organisms or natural pigments, Aguahoja’s biocompatible architectural skin-and-shell composites points toward a future where the grown and the manufactured unite. Surface features, patterns and colors are computationally 'grown' and additively manufactured with varied mechanical, optical, olfactory and gustatory properties, utilizing organic waste streams while preserving ecological niches. Through life and programmed decomposition, shelter-becomes-organism as it sequesters carbon while enhancing pollination, promoting soil microorganisms and providing nutrients for ‘growing’ buildings—a bona fide Material Ecology.

The collection includes a built pavilion entitled Aguahoja I and work-in-progress for another, entitled Aguahoja II. The first pavilion and associated artifacts were completed and exhibited at the MIT Media Lab Lobby in February of 2018 prior to being acquired for SFMOMA’s permanent collection. The second pavilion and associated artifacts, Aguahoja II, will be debuted as part of “Nature—Cooper Hewitt Design Triennial,” co-organized by the Cooper Hewitt, Smithsonian Design Museum and Cube design museum in Kerkrade, Netherlands. On view May 10 through Jan. 20, 2020, Aguahoja II will revisit sustainable design in the context of Material Ecology, the Group’s design approach and philosophy. Aguahoja II is co-sponsored by NOE. LLC and the Esquel Group and will be on display in Guilin, China at Esquel’s Integral Exhibition Hall, following its debut in the U.S. CREDITS

The Mediated Matter Group: Jorge Duro-Royo, Joshua Van Zak, Yen-Ju (Tim) Tai, Andrea Ling, Nic Hogan, Barrak Darweesh, Laia Mogas-Soldevilla, Daniel Lizardo, Christoph Bader, João Costa, Sunanda Sharma, James Weaver and Prof. Neri Oxman (Aguahoja I). Nic Hogan, Joshua Van Zak, Ramon Elias Weber, Joseph Henry Kennedy, Jorge Duro-Royo, Christoph Bader, João Costa, Sunanda Sharma, James Weaver and Prof. Neri Oxman (Aguahoja II); Research Collaborators: Joseph Faraguna, Matthew Bradford, Loewen Cavill, Emily Ryeom, Aury Hay, Yi Gong, Brian Huang, Tzu-Chieh Tang, Shaymus Hudson, Prof. Pam Silver, Prof. Tim Lu; Substructure Production: Stratasys Ltd, Stratasys Direct Manufacturing, Music Composition: Jeremy Flower; Video Production: The Mediated Matter Group, Paula Aguilera, Jonathan Williams; Acknowledgements: MIT Media Lab, NOE. LLC, Stratasys Ltd, MIT Research Laboratory of Electronics, Wyss Institute at Harvard, Department of Systems Biology at Harvard, GETTYLAB, Robert Wood Johnson Foundation, Autodesk BUILD Space, TBA-21 Academy, Thyssen-Bornemisza Art Contemporary, Stratasys Direct Manufacturing, National Academy of Sciences, San Francisco Museum of Modern Art, Esquel Group.

[telavivcity-blog]

Preston Scott Cohen, "Museum as Genealogy," with Responses by Nicolai Ouroussoff

https://telavivcity.co.il/?p=5186&utm_source=SocialAutoPoster&utm_medium=Social&utm_campaign=Tumblr The City that never sleeps Preston Scott Cohen, "Museum as Genealogy," with Responses by Nicolai Ouroussoff https://telavivcity.co.il/?p=5186&utm_source=SocialAutoPoster&utm_medium=Social&utm_campaign=Tumblr The discussion between Preston Scott Cohen and Nicolai Ouroussoff, former architecture critic for the New York Times, will revolve around the Herta and Paul Amir Building, at the Tel Aviv Museum of Art, by Preston Scott Cohen, Inc. Preston Scott Cohen is the Chair of the Department of Architecture and the Gerald M. McCue Professor of Architecture at the Harvard Graduate School of Design. He is the author of Contested Symmetries (Princeton Architectural Press, 2001) and numerous theoretical and historical essays on architecture. His work has been widely published and exhibited and is in numerous collections including The Museum of Modern Art, New York, The Cooper-Hewitt National Design Museum, San Francisco Museum of Modern Art, Museum of Contemporary Art, Los Angeles and the Fogg Museum of Art, Harvard. He lectures regularly in prestigious venues around the world. Cohen's work has been the subject of numerous theoretical assessments by renowned critics and historians including Sylvia Lavin, Antoine Picon, Michael Hays, Nikolaus Kuhnert, Terry Riley, Robert Somol, Hashim Sarkis and Rafael Moneo. He was the Frank Gehry International Chair at the University of Toronto (2004) and the Perloff Professor at UCLA (2002). He has held faculty positions at Princeton, RISD, and Ohio State University. Born in Boston, Nicolai Ouroussoff received his Bachelor's degree in Russian from Georgetown University and holds a Master's degree from the Columbia University Graduate School of Architecture. He was the architecture critic at the New York Times from 2004 to 2011 and previously, he was the architecture critic for the Los Angeles Times. In 2004, 2006, and 2011, he was a finalist for the Pulitzer Prize in Criticism. source #architecture #graduateschoolofdesign #GSD #Museum #NicolaiOuroussoff #PrestonScottCohen #telavivmuseum #tel-aviv TEL AVIV - THE CITY THAT NEVER SLEEPS #museum #Uncategorized

[homedevises]

Is Interior Architecture Home Any Good? Ten Ways You Can Be Certain | interior architecture home

Design industry professionals on the move.

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Skidmore, Owings & Merrill

Keith P. O’Connor has abutting SOM as burghal architectonics convenance baton for the New York and Washington, DC offices. O’Connor was ahead administrator of lower Manhattan and arch artist for Manhattan appropriate projects at the New York Burghal Department of Burghal Planning, area he avant-garde initiatives such as the redevelopment of the World Trade Centermost armpit and the Eastern Rail Yards at Hudson Yards. He was additionally a arch at James Corner Field Operations. In his new role, he will baby-sit analysis and projects that abode acute challenges, including altitude change, resilience, mobility, affordability, and disinterestedness forth the East Coast.

Storefront for Art and Architecture

Writer and babysitter José Esparza Chong Cuy has been called as the new controlling administrator and arch babysitter of the Storefront for Art and Architecture in New York. He was formerly curator at the Museum of Contemporary Art Chicago and took on his new role  November 1.

HGA/Wilson Architects

Boston-based close Wilson Architects has abutting HGA’s arrangement of offices and is now accepted as Wilson HGA. The close was founded by Bill Wilson, Chris Martin, and Matt Leslie in 1995 and is best known for science and engineering facilities, including above analysis universities. Recent projects accommodate MIT.nano, the nanotechnology analysis ability at MIT. Wilson will advance HGA’s science and technology practice, while Martin will be convenance accumulation baton and Leslie will be appointment director.

Knoll

Christopher Baldwin has been called admiral and COO of Knoll Office, advertisement to administrator and CEO Andrew Cogan. He will be amenable for sales, marketing, and accomplishment operations for the ambit of Knoll abode curve and services. Baldwin was best afresh admiral of kitchen and ablution for the Americas at Kohler Company.

Museum of Arts and Design

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Wendi Parson has been appointed arch alien diplomacy administrator at the Museum of Arts and Design. She will spearhead business and communications, media and accessible relations, agenda and social, branding and design, and company experience. Parson has added than 20 years of cardinal communications experience, and best afresh served as administrator of communications and business at Cooper Hewitt, Smithsonian Architectonics Museum. She has additionally formed with New York University Tandon School of Engineering, and in the automotive industry at General Motors and Ford.

JCJ Architecture

Hartford-based JCJ Architectonics has opened a new appointment in Las Vegas. The appointment counts Caesars Entertainment Corp, Wynn Resorts, Marriott International, and Hilton amid its clients.

Perkins Will

Two new principals accept abutting Perkins Will’s Boston office. They are Lisa Killaby, arch to advance abode action practice, and Gautam Sundaram, accessory arch to advance burghal architectonics practice. Operations administrator Andrew Grote, business administrator Carolyn Cooney, and arch artist Matthew Pierce accept additionally been answer to accessory principal.

Teknion

Steven Pressacco has been answer to bounded carnality admiral for Northern California at Teknion. Steven abutting Teknion in 2010 as a commune administrator and relocated to Teknion’s Asia Pacific address in 2014. Best recently, he captivated the role of sales administrator for Southeast Asia & Oceania based out of Teknion Singapore.

//3877

Washington, DC-based architectonics and architectonics close //3877 has brought on two new aggregation members. Elizabeth Kovacevic will accompany the architectonics team, while Abby Eckard will accompany the interiors team.

Ware Malcomb

Heather Groff has been answer to administrator of autogenous architectonics & architectonics in Ware Malcomb’s New York office. She brings 20 years of autogenous architectonics and architectonics acquaintance to the role, including 12 in the New York market, and has been with Ware Malcomb’s New York appointment back its countdown year in 2014. Additionally, Alicia Zaro has been answer to flat manager, autogenous architectonics & architectonics in the Los Angeles office. She additionally abutting the close in 2014, and will advance the Los Angeles flat and administer baddest projects.

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New Jersey AIA

Founding arch of JZA D, Joshua Zinder, has been adopted carnality admiral of the New Jersey accompaniment affiliate of the American Institute of Architects. It is his aboriginal administration position on the able organization’s controlling committee. His appellation will activate in 2019, and he will access the activity to serve as president-elect in 2020 and admiral in 2021.

Big Chill

Hillary Frei has been assassin as arch business administrator at kitchen apparatus artist Big Chill. She will advance and baby-sit business and agenda action for the Colorado-based brand. Frei began her career as an advance cyberbanking analyst and best afresh formed as controlling carnality admiral at KeyState companies.

Juniper

Brooklyn-based lighting architectonics flat and accomplishment boutique Juniper has added Danielle Greenstein as west bank sales representative. She will be based in California and will apply on the Los Angeles, Orange County, San Diego, and San Francisco markets. Greenstein is an autogenous artist with 12 years of acquaintance and was ahead artist and arch artist at Midtown Studios.

DMAC Architecture

DMAC has answer Kavitha Marudadu to accessory arch from activity architect. She will spearhead projects from its Chicago appointment beneath the advice of Dwayne MacEwen, arch and artistic director. She has been with the close for 10 years and has been complex with all aspects of architectonics and management.

RKTB Architects

Two designers accept been answer to key positions at RKTB Architects. Nelson Vega has been called accessory principal. He has been with the close back 1998 and best of his accepted efforts are in the areas of new market-rate and affordable apartment in New York City. Additionally, Enrico Kurniawan has been answer to associate. His ambit of assignment includes educational, multifamily, and institutional building.

Perlick

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Richard Palmersheim has been appointed admiral and CEO at Perlick, a artist of bartering bar and cooler systems, brewery fittings, and residential appliances. Palmersheim brings 35 years of business experience.

Whitehall Interiors

Whitehall Interiors has appointed Sara Ianniciello administrator of design. She has captivated positions at March & White, Gensler, and McCartan, and has formed on notable residential and accommodation projects such as 125 Greenwich, 515 West 18th Street, Mandarin Oriental Residences, and Loews Atlanta.

DXA Studio

New York based architectonics and architectonics close DXA Flat has broadcast its aggregation with four new members. They are Axelle Zémouli as average designer, Chae Shin as inferior designer, Douglas Nassar as inferior designer, and Tale Catherine Burgess Øyehaug as abettor appointment manager.

Advanced Appointment Environments

Advanced Appointment Environments, a adopted banker of Haworth appointment furniture, has broadcast its Philadelphia aggregation with new promotions in the company’s autogenous solutions division. They are Patricia Sullivan, Fred Seegmueller, Natalie Smith, Jena Pashak and Jade Scarlata.

Kimball International

Kristine Juster has been appointed CEO of Kimball International, replacing Bob Schneider, who is retiring. Juster comes to Kimball International with over 20 years of acquaintance as a all-around controlling at Newell Brands, area she captivated the role of CEO/President of the home adornment segment. She has been a affiliate of the lath of admiral at Kimball International back 2016.

Flick Mars

Dallas-based close Flick Mars has launched two new offices in Los Angeles and New York City. The company specializes in accommodation and has formed with hotels such as Moxy Chicago Downtown; The Otis Austin, a Marriott Autograph Collection; and The Campbell House Lexington, Curio Collection by Hilton. The New York offices will be amid in NoHo, while the West Bank appointment will be in Los Angeles’ Woodland Hills.

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[mikemortgage]

Amazon HQ locations: Similar basics but different vibes

NEW YORK — The communities that are expected to become homes to a pair of big, new East Coast bases for Amazon are both riverfront stretches of major metropolitan areas with ample transportation and space for workers.

But there are plenty of differences between New York’s Long Island City and Crystal City in northern Virginia.

Set within eyeshot of the nation’s capital, Crystal City is a thicket of 1980s-era office towers trying to plug into new economic energy after thousands of federal jobs moved elsewhere.

Rapidly growing Long Island City is an old manufacturing area already being reinvented as a hub for 21st-century industry, creativity and urbane living.

Seattle-based Amazon, which set out last year to situate one additional headquarters but is now expected to open two, has declined to comment on its plans. But a person familiar with the talks said Tuesday that the company will split the second headquarters between Long Island City and Crystal City.

A look at the two communities:

LONG ISLAND CITY

It’s already the fastest-developing neighbourhood in the nation’s most populous city, and Amazon could pump up the volume in this buzzy part of Queens.

If chosen, the neighbourhood stands to burnish New York City’s reputation as a tech capital. Landing Amazon would also cement Long Island City’s transformation from a faded manufacturing zone to a vibrant, of-the-moment enclave of waterfront skyscrapers, modernized warehouses and artsy-tech ambience across the East River from midtown Manhattan.

“I joke that we’re experiencing explosive growth 30 years in the making,” says Elizabeth Lusskin, president of the Long Island City Partnership, a neighbourhood development group.

But Long Island City also has been straining to handle its growth.

Days before the potential Amazon news emerged, the city announced a $180 million plan to address Long Island City’s packed schools, street design and a sewage system that groans in heavy rain. But those projects will just catch up with current needs, says area City Councilman Jimmy van Bramer.

“I know that there are a lot of people cheerleading for this, but HQ2 has to work for Queens and the people of Queens. It can’t just be good for Amazon,” says van Bramer, a Democrat.

Once a bustling factory and freight-moving area, Long Island City saw many of its plants and warehouses closed as manufacturing shriveled in New York City.

The neighbourhood’s rebirth began in the 1980s, when officials broached redeveloping a swath of the waterfront, while artists were drawn by warehouse spaces, affordable rents and a building that is now the MoMA PS1 museum. Silvercup Studios — where such TV shows as “Sex and the City,” “30 Rock” and “The Sopranos” have been filmed — opened in 1983.

Long Island City gained a new commercial stature, and the start of a high-rise skyline, when the banking giant now called Citi opened an office tower there in 1989. But the area’s growth lately has been driven by residential building.

Some 9,150 new apartments and homes have been built since 2010, more than in any other New York City neighbourhood, according to the city Planning Department . Thousands more units are in the works.

New York has striven for nearly a decade to position itself as a tech hotspot.

Venture capitalists poured $5.8 billion into New York-area startups last quarter, more than any other region except the San Francisco area, according to the consulting and accounting firm PwC . Established tech giants, including Google and Facebook, have been expanding their New York footprints.

Still, landing HQ2 would represent “incredible validation of just how far New York has come,” says Jonathan Bowles, executive director of the Center for an Urban Future think-tank .

Waiting for a subway, Long Island City community board chairwoman Denise Keehan-Smith could envision Amazon benefiting the neighbourhood.

“But I think we have to be careful about it,” she said.

CRYSTAL CITY

If any place in America can absorb 25,000 Amazon jobs without disruption, it may well be Crystal City, Virginia, where nearly that many jobs have vanished over the last 15 years.

The neighbourhood in Arlington County is bounded by the Potomac River and the nation’s capital on one side, by the Pentagon on another and Reagan National Airport on a third.

Despite its prime location and abundant transportation options, the neighbourhood has been hit by a massive outflow of jobs. The Patent and Trademark Office began moving more than 7,000 jobs out of Crystal City in 2003. In 2005, the Defence Department announced plans to move roughly 17,000 jobs elsewhere as part of a base realignment.

Arlington County has worked hard to bring in new employers, and had some success. The Public Broadcasting Service moved its headquarters to Crystal City in 2006.

Still, large swaths of the neighbourhood remain vacant. Among other challenges, the area has fought to overcome a reputation for outdated architecture.

Crystal City is populated by ’70s and ’80s-era office buildings. The buildings are connected by a network of tunnels populated with food-court style dining options, hair salons and newsstands. The tunnels leave the ground-level outdoor streetscape sometimes looking empty.

Brookings Institution urban planner Jenny Schuetz suggested the buildings may require an upgrade, or even replacement. But she noted that while people often associate tech companies with converted lofts or state-of-the art workspaces, many big Silicon Valley tech companies actually work out of ’80s-era office buildings.

For all the talk about antiquated architecture, people who’ve actually worked in Crystal City appreciate its convenience and its worker-friendly features, including the tunnels.

“I loved it here,” said Christine Gentry of Greenbelt, Maryland, as she ate breakfast in a largely empty food court. She works for the Patent and Trademark Office and preferred the days when her office was in Crystal City.

“Everything is accessible here,” she said. “When it was raining or snowing or sleeting, I never had to go out.”

Perhaps no place better illustrates the vibe of Crystal City than the region’s only revolving restaurant, the Skydome atop the Doubletree Crystal City. Diners enjoy a panoramic view of the D.C. skyline, completing a full rotation every 47 minutes.

Sam Getachew, the hotel’s food and beverage manager, said the restaurant fits the neighbourhood’s retro atmosphere.

“It’s huge draw,” Getachew said. “People come for the curiosity of it.”

The only downside, he said, is that “when customers get up to go to the restroom, they don’t know where they are when they come back.”

——

Barakat reported from Crystal City, Virginia.

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[deantemjitunit5unit13]

Research - Bauhaus

Where was the Bauhaus based? How long did the school operate for?

Bauhaus was a German school of design, architecture and applied arts that existed in Germany. Bauhaus in full was called, ‘Staatliches Bauhaus’ and was in operation from 1919 to 1933. The design school was based in Weimar until 1925, Dessau in 1932, and Berlin in its final months in 1933. 

The reason why the school was not in operation was that the liberals who had supported the Bauhaus were defeated, and the new conservative government cut off the school’s funding on 1 April 1925, precisely six years after it opened, the Bauhaus was forced to close.

What kind of changes to art education was the school credit for?

There are endless changes that the Bauhaus has made. It was just an art school, but not like any others. The way that students are taught for the art course for other schools would be drawing nudes and still lives. However, here in the Bauhaus, students were instructed to look at the world around them in an entirely different way.

It’s didn’t just made great influences on art education, but a modern threat, supposedly. The Nazis feel threatened by the Bauhaus because they made modernist furniture and kitchenware, but why does that make the Nazis feel so threatened? It represented a worldview which was the complete opposite of National Socialism. The Bauhaus was cosmopolitan and avant-garde. It international ethos made a mockery of Hitler’s racist fantasies. 

References: http://www.bbc.com/culture/story/20171109-the-endless-influence-of-the-bauhaus

References: https://www.widewalls.ch/bauhaus-art-aesthetics/ References: https://www.britannica.com/topic/Bauhaus

What are some of the main design principles this school and design movement are credited for pioneering in Graphic Design?

According to what I’ve found on the internet, there seem to be 3 rules that the Bauhaus school of design seem to follow:

Rule 1: form follows function

It is a sentence that was created by Louis Sullivan, an American architect, who wanted to express the futility in excessive ornamentation. Professors at the Bauhaus strives to convey the idea that form had to reflect the function of the product. In other words, they didn’t want to sacrifice no message in place of the design choices.

Rule 2: typography matters

One of the most essential classes at the Bauhaus, school of design was typography. The Bauhaus concentrated on simplified fonts and avoided the much heavier renderings of the standard German typography of the time. 

Designers at the Bauhaus began experimenting - wrapping text around objects, and also learned to arrange type horizontally, vertically and even diagonally - which was not common at the time. Designers also refused to combine lower and upper case types in the same work and preferred to use sans-serif fonts.

Rule 3: geometry is king

Across many artworks produced at the Bauhaus - The Bauhaus showed a deep love of simple geometry. Students were well-acquainted with paintings of contemporary cubist artist, such as Picasso and Gris - which means that they are adapted to similar ways of seeing reality.

Designers at the Bauhaus began to experiment and started breaking down objects to its simplest form, the rawest geometric shapes, in which they considered the techniques to be the best way of designing, and creating new modern items. 

https://www.sitepoint.com/nailing-detail-bauhaus-design/

Find 3 examples of Bauhaus Graphic Design that reflect these design principles and state why? Credit the designer in your post.

Josef Albers

Josef Albers believed the important formal qualities of the day were: harmony or balance, free or measured rhythms, geometric or arithmetic proportion, symmetry or asymmetry and central or peripheral synthesis. 

I believed his works reflect one of these design principles - ‘geometry is king’ because of the simple uses of geometry in many most of his works. Not to mention, the emphasis that the colour and composition are inherently linked - which makes his work stand out even if they are the simple block of geometry.

Herbert Bayer

Herbert Bayer (1900-1985) was an Austrian-American painter, photography and typographer. He initially joined the Bauhaus as a student and, after some years, he was named director of the printing and advertising department.

Herbert Bayer’s works reflect the principle, ‘typography matters’ because of his created typography that is being simplified. The appearance of the font that Herbert Bayer created did certainly reflect on the Bauhaus’ principles, but it was also a font designed that is timeless and would work in the present.

Wassily Kandinsky

Wassily Kandinsky taught form theory with an emphasis on colour theory. He encouraged his students to understand abstraction in his course ‘The Basics of Artistic Design,’ but it was in his colour class where Kandinsky most thoroughly developed his own theories.

The works that Wassily displayed reflect the Bauhaus’ principles because of his uses of simple geometry. Moreover, it wasn’t something that is randomly composed to create his work, but the most successful part about his work is the displayed of his understanding on his own colour theories, composition and simple geometry.

Find 3 examples of contemporary Graphic Design that reflect the design principles and guidelines explored by the Bauhaus and state why?

Christoph Miler

Miler is one half of the Zurich-based design studio Offshore, where their projects focus on editorial design, typography and storytelling.

I believed Miler’s works reflect on the principles of the Bauhaus as his work displayed the uses of simple geometry and typography and overall, the composition of the design work which makes it work out well.

Isabel Seiffert

Seiffert is the other half of Offshore which founded together with Christoph Miler. They explore “critical issues of design, media and globalisation” through side projects such as Migrant Journal, a six-issue print publication that critically explores space and migration.

Works are somewhat related to Miler’s which is why I decided to include this artist’s works here as well. Not only does the work successful, but I believed this artist was somewhat influenced by the Bauhaus as the works produce the results that reflect the Bauhaus’ principles such as typography and geometry.

Jennifer Morla

Morla is president and creative director of Morla Design in San Francisco, as well as a professor at California College of the Arts. Her work is part of the permanent collections of MoMA, SFMOMA, the Smithsonian Museum, the Denver Art Museum and the Library of Congress. 

Some of her works displayed above show and reflect the principles’ of the Bauhaus as throughout all of her works - she displayed the uses of typography and geometry, some of which was the creation of modernist furniture which was one of the influences of the Bauhaus.

Needless to say, these are just some examples of the artists’ works which I think showed some influence from the Bauhaus. But there are more contemporary artists out there who were inspired by the Bauhaus movements, and that just goes to show how powerful the Bauhaus school of design really was and how timeless it is.

References: http://www.howdesign.com/design-business/design-news/100-top-graphic-designers-and-creatives-working-today/

[juliandmouton30]

"The architecture of the Americas is not white"

The Pacific Standard Time exhibitions in Los Angeles show that arts and culture from south of the border have shaped an architectural identity for the region that is much more interesting than what's found in the Northeast US, says Aaron Betsky.

As a longtime denizen of the Southwest (if California, in addition to Arizona, counts), I feel myself part of another culture than that of the more eastern parts of the United States. The landscape here is fundamentally different, but so is the quality of the place humans have built on that land.

To put it simply, everything here is as much Mexican, and thus Spanish, as it is English. The spaces we inhabit look south as much as they are the result of the westward movement of Northern Europeans. They are not white in colour or inhabitants, and their shapes are quite simply different. The architecture of the Americas is not white. It is a mix that gives force and diversity to our lives.

Despite what some demagogues would tell you, borders are, after all, political constructs. We know this in architecture. Design works from and in a particular area, defined by geology, climate, and local traditions, but is also part of a global flow of culture. So it is with the border between the United States and the states to the south.

The artificiality of how politicians apportion place has been in evidence for several years now in the exhibitions that have been part of the biannual Pacific Standard Time (PST) event. This is a group of presentations the Getty has sponsored all around Southern California to promote the notion that the West Coast of America has been shaped by the continual flow of ideas and images moving up and down the Pacific Coast, as well as those that have spread across the North American Continent.

Several of the exhibitions in the latest edition of PST, which opened this fall, are magnificent in their celebration of the complex relation between the various countries and cultures. They also feed the current debate about appropriation, by showing just how beautiful and important the results of adopting and adapting forms and images developed by other people can be.

At the Getty Research Institute, in two rooms off to the side of the museum's grand sequence of galleries, The Metropolis in Latin America 1830-1930, mines the institute's archives to show that metropolitan life shared characteristics from New York to Havana to Buenos Aires.

The message there, at least to me, is that when you get to cities over a certain size, it matters little where they are. They conform to the same grid, even if its proportions might be different depending on whether they were French, Spanish, or Hapsburg in their origins. That organising field pushed up into first hotels, office buildings, department stores, and apartment buildings, then, once the intensity of activity downtown became great enough, into skyscrapers.

The West Coast of America has been shaped by the continual flow of ideas and images moving up and down the Pacific Coast

The forms the major civic and private buildings took reflected whatever was the universal style at the time, whether beaux-arts classicism or high modernism, while the underlying structure became ever thinner and more flexible.

Put Francisco Mujica's The City of the Future: Hundred Story City in Neo-American Style of 1929 – the exhibition's show-stopping image – next to Hugh Ferris' Metropolis of Tomorrow of the same year, and you see the same creation of human-made mountain ranges, even if Mujica's sports vague memories of Mayan or Aztec detailing.

At the Riverside Art Museum, Myth & Mirage: Inland Southern California, Birthplace of the Spanish Colonial Revival (I contributed an essay to the catalog) shows how the various attempts to create an authentic style for California melded into the Spanish Colonial Revival in the Inland Empire, and how that style then became the tide of red-tile roofs that engulfed the landscape.

The flexible use of historical sources proved capable of giving image and shape to hotels such as the Mission Inn in Riverside, fast food restaurants such as Taco Bell, and hotel chains such as La Quinta, as well as homes that you can now find as far afield as China and, yes, Guadalajara.

The core of this PST edition is the Los Angeles County Museum of Art (LACMA), which has done the most credible job of being reflective of the population it serves of any major museum in this country.

Two exhibitions in particular, Home – So Different, So Appealing (which unfortunately opened and closed at the edge of the PST framework), and Design in California and Mexico 1915-1985, manage to show how ingrained a common sense of place and culture have become both north and south of the United States border.

The motifs and attributes developed in the jungles of Yucatan and the plains of Mexico worked as well for houses in the Hollywood Hills

The latter exhibition traces the ways in which California (both Baja and El Norte) has looked to the heritage of the Spanish occupation of its land for more than two centuries before it became part of the United States in 1848.

It uncovers an interesting, though not quite acknowledged aspect of that appropriation: just as the English created an empire that sucked up Indian, Chinese, African, and Middle Eastern artefacts and used them to inspire art and design, so the Spanish controlled an empire in the Americas whose heritage became fair game for use by former members of that realm once it broke up.

Thus Mexican artists rediscovered their Mayan, Aztec, and Olmec roots, sensing how its forms worked with the land they occupied, but the forms also inspired architects and designers in California. It turned out that the motifs and attributes developed in the jungles of Yucatan and the plains of Mexico worked as well for houses in the Hollywood Hills (Frank Lloyd Wright's Ennis House) and movie palaces, as they did for housing the pavilion of Mexico City at various World's Fairs, starting with Paris in 1899.

The core of the exhibition shows the forms developed for haciendas and missions by the Spanish, using native materials and traditions mixed with the memories and techniques they brought with them from Europe, that is, in turn, at the heart of the shared legacy.

It is particularly wonderful to see these forms not only develop into lavish houses on both sides of the border, but also become progressively more modernist in the designs of Irving Gill, George Washington Smith, and Luis Barragán.

Design in California and Mexico's real revelation lies in its collection of craft, from the socialist bench Xavier Guerrero and Amado de la Cueva created for the Casa Zuno in Guadalajara, to the spread of the sling chair from Mexican houses to the American suburbs.

A new kind of culture is rising into a terrible beauty in which we all eat tacos and live in Spanish Colonial Revival homes

Mexican silversmiths, having learned from the Spanish and from native craftspeople, influenced their American counterparts, who brought in motifs from Native American tribes, while graphic designers in Mexico City picked up on the vibrant colours of California's brand of modernism in that field, which itself had been influenced by designers such as Alvin Lustig's and Charles and Ray Eames' travels to the south.

Some of the images are whimsical: you cannot beat the clips of Raquel Welch dancing a vaguely Carribean, vaguely Martha Graham dance in front of both the pyramids of Teotihuacan and sculptures by Mattias Goerritz.

On a more serious note, the net sculpture Ruth Asawa created in 1961 for Buckminster Fuller based on techniques she learned while studying in Mexico, show the power of learning, assimilating, and taking further the traditions of several places at the same time.

Similarly, Diego Rivera's Pan American Unity fresco of 1940, now in the San Francisco Art Institute, depicting San Francisco as the kind of metropolis, born in Spanish colonialism and on a landscape long inhabited by Native Americans, that has emerged all over the two continents.

The spaces of the American Southwest and Latin and South America are not just multicultural places, but spaces in which a new kind of culture, born in violence and injustice, but rising into a terrible beauty in which we all eat tacos and live in Spanish Colonial Revival homes while surfing the World Wide Web, has created a reality that is, I would daresay, more exciting and more comfortable then what has emerged in the frozen plains in these two continents' northeast quarter.

Aaron Betsky is president of the School of Architecture at Taliesin. A critic of art, architecture, and design, Betsky is the author of over a dozen books on those subjects, including a forthcoming survey of modernism in architecture and design. He writes a twice-weekly blog for architectmagazine.com, Beyond Buildings. Trained as an architect and in the humanities at Yale University, Betsky was previously director of the Cincinnati Art Museum (2006-2014) and the Netherlands Architecture Institute (2001-2006), and Curator of Architecture and Design at the San Francisco Museum of Modern Art (1995-2001). In 2008, he also directed the 11th Venice International Biennale of Architecture.

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