Schwarz
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Who owns the words you're reading right now? if you're holding a copy of Bookforum in your hands, the law permits you to lend or sell it to whomever you like. If you're reading this article on the Internet, you are allowed to link to it, but are prohibited from duplicating it on your web site or chat room without permission. You are free to make copies of it for teaching purposes, but aren't allowed to sell those copies to your students without permission. A critic who misrepresents my ideas or uses some of my words to attack me in an article of his own is well within his rights to do so. But were I to fashion these pages into a work of collage art and sell it, my customer would be breaking the law if he altered it. Furthermore, were I to set these words to music, I'd receive royalties when it was played on the radio; the band performing it, however, would get nothing. In the end, the copyright to these words belongs to me, and I've given Bookforum the right to publish them. But even my ownership is limited. Unlike a house, which I may pass on to my heirs (and they to theirs), my copyright will expire seventy years after my death, and these words will enter the public domain, where anyone is free to use them. But those doodles you're drawing in the margins of this page? Have no fear: They belong entirely to you.
Mac Low is probably the most controversial of the many great poets of the legendary "New American Poetry" generation, those literary artists born in the '20s and weighted with names like Beat and Projective, New York School and San Francisco Renaissance. He has certainly been the hardest to assimilate into the predominantly humanist, self-expressive orientation of postwar poetry. Seen from the point of view of the visual and performing arts, Mac Low's work may appear less abrasive; and yet there is no visual or performing or conceptual artist whose word works approach the complexity, ingenuity, and density of Mac Low's, not even his many Fluxus associates, or his longtime comrade and instructor in the art of chance, John Cage. It is not that Mac Low's work is better than his contemporaries'–he himself rejected such forms of evaluation–but his work's significance for the development of poetry and for our understanding of verbal language is without parallel.
"BUILT during the Great Depression by dint of an irresistible force named Frank Hague - the prevailing political boss here for a period of 40 years - the eight colossal buildings of the Jersey City Medical Center now stand empty and sorry-looking on a rise near Journal Square that overlooks Manhattan and the Statue of Liberty."
frankenpine
mt airy lodge at auction
Sturtevant
MUSEUM FüR MODERNE KUNST
FRANKFURT
Through March 05
One of the art world's greatest éminences terribles, Sturtevant has for over forty years been charting the unruly interiors and exteriors of the visible. Curator Mario Kramer takes over the entirety of the Museum für Moderne Kunst with about 140 multi-media works for what's being billed as the artist's first retrospective—but let me assure you, Sturtevant don't want no retrospective, since her endeavor has always been exposing contrafactual immanence, eternally returning. Sadly, this landmark exhibit won't travel, so let's hope some staunch American museum takes heed and brings this artist and her work home. With an essay by Bernard Blistène and an interview by John Waters, the catalogue will expose brutal truths, and, licking the shiny boot of beauty, we like it that way.
—Bruce Hainley for art forum
alexander house
crackers dont drink the orange kool-aid
homework
beck(y)
icosavillage pods
from ready made magazine via vz
It's hard to believe that anyone interested in urban planning is unaware of Critical Mass, but just in case, here's the nutshell history and "definition:" Back in 1992, a number of folks in San Francisco posited themselves along Market Street, holding signs that read "Make Room for Bikes," while encouraging passing cyclists to join them that Friday night for a bike ride through the city. A few people showed up for the initial ride that September night, so they decided to do it again the following month. More riders showed up in October, more in November, and so on. Since then, crowds averaging one thousand cyclists (often quite a bit more) crowd Justin Herman Plaza on the Embarcadero for what has become a monthly San Francisco staple. The phenomenon has spread around the globe to about 300 different cities.
Susette Kelo and several other homeowners filed a lawsuit after city officials announced plans to bulldoze their residences to clear the way for a riverfront hotel, health club and offices. The residents refused to move, arguing it was an unconstitutional taking of their property.
The dance floor that helped to fuel the '70s disco craze goes up for auction on April 1, with bids expected both in a live sale and on the Internet's eBay site.
The 1977 movie earned Travolta an Oscar nomination for his portrayal of Tony Manero, a 19-year-old Brooklyn paint-store clerk whose mundane existence is forgotten when he takes to the dance floor every Saturday.
The floor, which has more than 300 colored, flashing lights under a Perspex surface, had been a fixture in the 2001 Odyssey nightclub since the movie was made.
Architectural critic for the New Republic, Martin Filler has been studying the rebuilding efforts at the World Trade Center site. As a result of his research he believes that both Daniel Libeskind, architect of the Freedom Tower and Michael Arad, designer of the Memorial, have been made obsolete participants in the rebuilding effort.
originator of surf photography tom blake
don james pre-war surf photography
john "doc" ball
shotgun golf
childs not all first-rate
AFTER struggling to fix up a brownstone in Harlem for the last 16 months, Meyghan Hill, a model and actress, and her husband, Daniel Scarola, a ballroom dancing instructor, are thinking about giving up and moving out. But what may drive them away is not the neighborhood, which they have come to love, nor their four-family house, where they have painstakingly stripped a century of varnish and paint from doors and balusters, but the shock of a tax notice they received last month from the New York City Department of Finance.
The notice indicated that the taxes on their 19-foot-wide house, only $4,100 when they bought it, would be going up in July to about $23,600, a fivefold increase of $19,000 - more, they say, than they can possibly afford after paying their hefty mortgage. Right now, they have no tenants
monuments of passaic
video stream princeton lecture archive
via tesugen blog / lots of good science/art architecture (see previous schwarz post) poly sci and eno material in his archives
Wanted: Umberto Eco Quote On Architecture
I'm translating a text I've written into English, in which I'm quoting Umberto Eco from the Swedish translation of his out of print La struttura assente. In this book, Eco devotes several chapters to a discussion on semiotics and architecture. The passage I'm quoting, and would like the English translation of, can be found on the first page of the major chapter titled “Function and the Sign” (or something equivalent).
Here's my attempt at a translation:
Jeffrey Lewis History of Punk on the Lower East Side - Stream it in: Realaudio or MP3. It's a nine-minute tour de force tracking New York punk from Harry Smith to the New York Dolls
hissssssssssssssssssss
Billy Klüver
In the first part of the paper I will discuss how the universalist attitude toward town planning, as stated in Le Corbusier’s La Charte d’Athènes (1943), was challenged by the younger CIAM members who were looking for an approach that would take into account the individual, as expressed in their “Statement on Habitat/Doorn Manifesto” (1954). In the second part I will examine the manner in which they balanced this thinking with universalist ideal as demonstrated in the project they presented at CIAM 9 (1953) and CIAM 10 (1956). In the third section I will examine their stance against universalization as expressed in their critique of the CIAM “grid,” both as an epistemological framework and method of presentation. The protagonists who made contributions to this new way of thinking are referred to as the ‘younger members’ before September 1954 – when they were first recognized as Team 10.
hiving mesh
The utopias proposed by [Yves] Klein and Superstudio are rooted in an architectural systems aesthetics that mobilized the immaterial as a form of instrumental and political critique. Its origins can be found in the challenge to entrenched modern planning ideals launched by the Team 10(7) architectural group in postwar Britain, a time in which new techniques of military Operations Research and cybernetics were being made public. These had advanced a form of systems thinking that saw complexes of people and machines as information processing systems governable through procedures of decision and control. For Team 10, cities and buildings were no exception. Social change, previously imposed top-down by an avant-garde who assumed an a priori agency of architecture in bringing it about, was now seen as emerging bottom-up from society's own internal processes, which architecture and planning were to steward. The task of the designer was to build the hardware—the amplifiers, attenuators, and gates that regulated the rate and intensity of flow within those systems. At minimum, architecture was to be designed to not get in its way.
renzo piano for the hour on charlie rose
De l'Ecotais reveals the difference between the working methods of the two pioneers of the absurd: "Marcel Duchamp looked for his ready-mades in department stores, randomly, at a given moment. He then gave them titles and signed them. Man Ray, on the other hand, usually constructed images from everyday objects, which were then deliberately transformed by photography. It is the fact of being reproduced and relabelled which gives life to the objects."
So I guess Man Ray, who died in 1976, would have been delighted at the two dates on the Canberra label. But would he insist on the new versions being destroyed so that a third date might be added in future? As Umberto Eco famously wrote: "When originals no longer exist, the last copy is the original."
.........................................................................................................................................................................
"Gentlemen, I will now show you this text. Forgive me for using a photocopy. It's not distrust. I don't want to subject the original to further wear." "But Ingolf's copy wasn't the original," I said. "The parchment was the original." "Casaubon, when originals no longer exist, the last copy is the original."
-- Foucault's Pendulum, Chapter 18
"From the beginning, Olmsted and Vaux strenuously opposed all attempts to introduce art into the park. In their Greensward Plan of 1858—the competition entry that won them the commission—they wrote that while it would be possible to build elegant buildings in the park, "we conceive that all such architectural structures should be confessedly subservient to the main idea, and that nothing artificial should be obtruded on the view." They considered art a similar distraction from the restorative purpose of the landscape and kept statues out of the park. The sole exceptions were Emma Stebbins's Angel of the Waters, atop the Bethesda Fountain, and a series of figures representing prominent Americans that were to adorn the Terrace, but were never erected due to a shortage of funds."
By not burying a thing the dirt enters into the concept, and little enough separates the dirt inside the excavation from that outside.
Claes Oldenburg
"This account of Earthworks, sculptures best known as enormous mounds and excavations in remote wilderness environments, begins by looking into a hole dug in New York City's Central Park. The very fact that on Sunday, October 1, 1967, an excavation as a work of art was produced by Claes Oldenburg, one who can not be considered an earthworker but who was an innovator in the realms of Happenings and Pop Art, suggests the status in the art world at that time of working with geological material. Exactly a year later, at the Dwan Gallery in New York City, documentation of this work and also other sculpture by Oldenburg would go on view among sculpture by nine other artists in the exhibition earth works, the debut of the genre. Dug a year before that show brought the movement to widespread public attention, Oldenburg's temporary trench epitomizes the multiple sources of Earthworks and the relation of these works to the "dirt" around them."
L.A. drunk tank, 1955
John Cage & Morton Feldman: A Conversation
I love this 3-hour conversation between Morton Feldman and John Cage recorded in 1967. An excerpt:
Morton Feldman: Well, this weekend I was on the beach.
John Cage: Yes.
MF: ... And on the beach these days are transistor radios.
JC: Yes.
MF: ... blaring out rock 'n' roll.
JC: Yes.
MF: All over.
JC: Yes. And you didn't enjoy it?
MF: Not particularly. I adjusted to it.
JC: How?
MF: By saying that... Well, I thought of the sun and the sea as a lesser evil.
JC: You know how I adjusted to that problem of the radio in the environment? Very much as the primitive people adjusted to the animals which frightened them, and which, probably as you say, were intrusions. They drew pictures of them on their caves. And so I simply made a piece using radios. Now, whenever I hear radios - even a single one, not just twelve at a time, as you must have heard on the beach, at least - I think, "Well, they're just playing my piece."
frank stella
west broadway, 1958
seward park, 1958
untitled, 1958
boozy
jc hse
happy valentines day
[sheet iron and straw]
A 'Mini-Meier' Planned
A small condominium building will soon go up at 163 Charles Street, behind the new Richard Meier tower in the West Village. Call it mini-Meier.
The developer Barry Leistner bought the site, a 22-foot-wide, three-story brick building behind the newest of the three Meier towers on West Street, in December for $5.9 million. The previous owner had hired the architect Zaha Hadid to create a condo tower for the site, but then scrapped his plans and sold the property.
Now, the architect Daniel Goldner has designed an eight-story brick-and-glass building that will include an upper triplex, two 2,100-square-foot duplexes and ground floor commercial space. Mr. Leistner plans to live in the triplex and will sell the duplexes for about $2,000 a square foot.
Like the Meier building next door, Mr. Leistner promises high ceilings, floor-to-ceiling windows, radiant heat and basement wine cellars.
"It's a high-end neighborhood and it needs a high-end product," he said. "They've transformed the neighborhood and that's what happens."
Question: How do you know when there is a real-estate bubble? What do you measure, what factors are involved and how do you calculate it?
-- Zack, Laguna Beach, Calif.
This action of artistic sadomasochismo? an action pure surrealist, beyond that to make risvegliare the unconscious one omicida that it lives in all we and that often is expressed in practical the artistic one? also a message of Niki who wants dirci that the art work is born in the same moment in which it is killed, cos? as all the artistic revolutions always are been born from the ashes of that they have preceded to them. Man Ray ? an important point of reference for the Nouveaux R?alistes, gi? in 1935 it anticipates tableaux-pi?ges of Spoerri with the Collage work ou age de the hill. Made curious from the disposition of some objects it leaves you from the domestic servant on a table, blocks the objects with of the glue and frames this composition dictated from the case. In the 1920 Man Ray it executes the Enigma of Isadore Ducasse, one sewing machine wrapped completely with of the tied felt and with of the spago, anticipatrice of trentotto years the empaquetages of Christo. That Christo has seen or not the work of Man Ray, this does not have importance, all and the two artists play very on the straniamento sense and of mystery that an object assumes when it comes for entire or partially hidden alla.vista, moreover the use of the closely tied rope creates of the dynamic lines in all the work giving a sense of tension to an all communicating to us sense of anguish, sadistic constriction, overwhelming imprisonment.
... For Christo whichever type of woven being one of the devout manufatti ones? antichi of the man enclose in if a particular fascination and pu? often to assume one risen of human presence. The woven one softens and hides, and at the same time it puts in prominence the contours and the shapes that obvious were not (like every taylor very know). A empaquetage it transforms us? that? impacchettato, it renders it devout? sensuale, devout? scultoreo, devout? mysterious...
The substantial difference between Man Ray and Christo is in the fact that in the impacchettamento Christo completes an action of appropriation of the object, a conceptual operation dictated from one deep reflection. The infondato risk was not that one to reduce the gesture of the impacchettamento to one ritualizzazione, to one finalized operating praxis to the production of fine objects-feticcio to if same. The encounter and the frequentation of Yves Klein (between 1961 and 1962, little months before the dead women of Yves)? of extreme importance in the appropriativa evolution of Christo. The architecture of the air, the zones of sensibilit? pure, the Theatre of the Empty one marks one carried out in the conception of the empaquetage.
Hour? the space the element of comparison and challenge of Christo: the 27 june 1962 without some official permission a formed temporary monument from duecentoquattro benzine drums erects in rue Visconti in full load Saint Germain DES Pr?s to Paris to a nine of evening Rideau de fer stacks to you over the other for the height of approximately four meters and means, bloccando for three hours the surrounding traffic and irritateing and sconcertando the residents who reacted turning upside down improperi and secchiate of water on the guilty. Later on Christo executes the Store-fronts, display windows of reproduced storees to natural and covered largeness from sheet until three quarters of their height. These storees recall to the memory the Empty one of Klein to the gallery of Iris Clert in 1958? how if Christo had had in eredit? _ from Klein the the authorization to impacchettare the empty, the immaterial, the spiritualit? pure. From this Christo moment the worthy heir of Klein becomes a.ragione, from 1962 practically impacchettato of all, objects, persons, monuments, bridges, buildings, entire spiagge and islands, valleys, rivers and seas are furrow to you from its drop curtains. The art? conciliated with the world perch? the same world? fact art.
history chanel > modern marvels > building a skyscraper
short history of sound art
lionel hellgate bridge
runs on batteries not seeds
what is it about architects ?
via selma
copyrighted public space
I've Heard About Node 1
A viab would produce structures that are not set and specific, but impermanent and malleable - merely viable - made of a uniform, recyclable substance like adobe. The automaton's output would have no innate design, boundaries, or service life. It would take whatever form was called for at the moment - a great rotting blooming stony bubble of a building that, unlike all previous forms of human habitation, would be unplanned, responsive, densely monitored, massively customized, and rock-solid, with all modern conveniences.
The closest thing to a viab today is a small, modest mud-working robot invented by Behrokh Khoshnevis, a professor of engineering at the University of Southern California. Khoshnevis' "contour crafter" works more or less like a 3-D printer, but it's meant to assemble whole buildings. Its nozzle spits wet cement while a programmable trowel smoothes the goo into place. Roche encountered Khoshnevis, and his agile imagination immediately started pushing the idea toward its limits.
From the nineteenth century on, the house has been seen as a private refuge, and a place (for the husband) to relax after a hard day’s work. In Germany, this view went hand in hand with reformist efforts to allow all social classes to limit their households to members of the immediate family.
This article analyzes the physical manifestation of these efforts, by using both photos and plans of representative houses, and film images in which use of the spaces is shown. The analysis concentrates on the boundaries between the private house and the public street, looking at this space both historically up to 1945, and in its evolution during the postwar era.
The privatization of individual family space takes on new meaning, as “openness” of the house is limited only to the house’s interior, while the boundary between inside and out remains impermeable. A new spatial freedom thus seems only possible in spaces that can be privately controlled.
While the house turns more and more away from any interaction with the public street, the inside of the house expresses a new parity and democracy within the family. Both an increased accessibility and larger allotment of spaces to the children are indicative of a new family atmosphere. This condition helps to soften the impermeability of the house itself, even as its built appearance retains its defensive stance.
cloud-cuckoo-land
The construction of Santiago Calatrava's $35 million townhome cubes in the sky has received a "go" from the New York City Department of Buildings.
Forty-Two for Henry Flynt by La Monte Young performed by Peter Winkler (gong) at the Third Annual Festival of the Avant Garde in San Francisco, 1965
via kenny
dmi case study: bringing the braun kf40 coffee-maker to market (pdf)
malls of new york
martin kippenberger schneewittchensarg (snow white's coffin)
One piece I've seen three times, first at Max Hetzler in 1989, then Metro Pictures when it opened in Chelsea, and now at Boesky, is Kippenberger's clear Plexiglass coffin with foam rubber pillows inside. On the outside is a round plastic plate with holes drilled in it. Ordinarily it would be imprinted with "Speak Here," but instead Kippenberger has stenciled " Hier Versprechen ," which translates "Promise Here" or in certain contexts, "Mis-speak Here." Underneath this, stenciled onto the side of the coffin in English, is "Misunderstanding Here." A typical Kippenberger joke. The empty, see-through coffin has a eerie silence now that Kippenberger has passed away. -r.goldman
Anyone who has spent time with Pioneers of Modern Design knows what a brilliant and vexing work it is. It was based on a series of lectures Pevsner presented at Göttingen shortly before he departed for England. Pevsner is often incorrectly credited, as Stephen Games writes in his perceptive introduction to Pevsner on Art and Architecture, with first “assembling the chain of events that led from English utilitarianism to German functionalism” (xxii). But while Pioneers is not an entirely original book—many of its arguments are anticipated in Hermann Muthesius's Stilarchitektur und Baukunst, published in 1902, and in other pre-World War I writings)—it does offer, on first reading at least, a lucid account of Modern architecture's early origins. Yet the book raises far more questions than it answers. How do French and Belgian Art Nouveau lead to German functionalism? How do two currents so seemingly in opposition—the new engineering of the 19th century, with its faith in science and the machine, and the Arts and Crafts movement, which sought to deny industrialization and rampant Capitalism—both fuel the rise of Modern design? Pevsner's answer, that all were the expression of a new Zeitgeist, is reassuring to some degree, but it also insistently begs the question.
"His prose is always a splendid amalgam of careful erudition, remarkable insight, scholarly conjecture, and unfettered opinion. To read Pevsner is to enter immediately into a dialogue, at times comfortable and affirming, at others, annoying and off-putting."
Pevsner's recourse to the “spirit of the age” runs through many of his writings. It allowed him, as Games notes, “to connect national differentiation in mid-thirteenth-century architecture with the experience of Crusader knights, and to write of the late eighteenth century as a period when artists 'were no longer satisfied with being servants of the ruling class' and a new type of patron emerged, 'self-made, self-assured and cultured'” (xix). Such “loose” scholarship by today's standards was very much part of the German academic world of Pevsner's earliest years, and it became a highly elastic tool for those engaged in the Geisteswissenschaften (the humanities, or, literally, the “sciences of the spirit”) to fashion broad and sweeping visions of the past, present, and future. On the one hand, it could offer, in the hands of a historian like Jakob Burckhardt, an extraordinary panorama of an entire era like the Renaissance. But too often it led to the sort of cursory reading one finds in works like Egon Friedell's Die Kulturgeschichte der Menschheit (The Cultural History of Mankind, 3 vols., 1927-1932) or, worse, to the rabid nationalist drivel of Hitler's Mein Kampf.
Pictures in The New York Times wordlessly told the story of those disappearing acts. On the morning after his finish over a crowded field of more famous and prolific competitors, an exultant Libeskind appeared on the Times's front page, beaming amid a sea of clamoring photographers and reporters. In a profession that lately has mimicked many aspects of celebrity culture, this image represented an extraordinary conferral of star status, like one of those unheralded Metropolitan Opera debuts the newspaper of record likes to put on page one every so often. But what had Libeskind actually won? The sponsoring body, the Lower Manhattan Development Corporation (LMDC), had insisted from the first that it was conducting not a competition but an Innovative Design Study in which participants were to follow the LMDC's gen-eral guidelines and had to accept that their plans were subject to revisions.
SAUSALITO, Cal. -- Responding to last week's release of the "Global 100 Most Sustainable Corporations in the World," Natural Capital Institute's Director Paul Hawken called the new ranking another example of the "black box" effect of social and environmental business research, and urged the SRI industry to increase the transparency of its evaluative processes.
According to its website (www.global100.org), the Global 100 is a list of "the 100 most sustainable corporations" based on ratings by Innovest Strategic Value Advisors. The project, co-sponsored by Innovest and Corporate Knights, defines a sustainable corporation as one "that produces an overall positive impact on society and the environment." According to Hawken, such a definition is "nearly meaningless and has no value to science, people, or ecosystems."
PARIS : An administrative enquiry into the fatal roof collapse at Charles de Gaulle airport last year will blame flaws in the design and construction of the newly-completed terminal, officials at the Paris airport authority ADP said.
Confirming a report in Le Parisien newspaper, the officials said that several senior figures at the airport authority -- including possibly its president Pierre Graff -- were likely to be placed under judicial investigation after the enquiry team presents its findings on Thursday.
fmu blog debut
free shit for blogging
Noddy Holder of Slade is Terre's guest this Saturday at 3 PM on the Cherry Blossom Clinic. Tune in and hear the voice behind "Mama Weer All Crazee Now", "Cum On Feel The Noize", and other misspelled classics recount tales from the band's career as the kings of glam rock. The recent release of the Get Yer Boots On greatest hits collection will also be discussed.
mvrdv silodam
postcards from marfa
janos starker js bach suites for unaccompanied cello (complete) mercury OL3-116 (mono)
Site: A flag-shaped, 7,000-square-foot double lot in Berkeley, California, with a two-to-one slope and several constraints: zoning setbacks; a 10-foot-wide access route to the buildable portion of the site; a stand of ordinance-protected live oaks; and a reusable foundation from the site's original 1950s house. 2:1 House, Iwamoto Scott Architecture
house at 7 middagh street
At our local private school's holiday fair, a vendor sold bags labeled Prada and Coach that were clearly counterfeit. I told the principal and the head of the PTA that this was illegal and put the school at risk. They said it must be legal since so many people sell fakes. But I think this is copyright infringement, and a school should not be involved in such things. What do you think? A. Stein, Phoenix
I think if the school had the courage of its lack of convictions, it would sell stolen cars. A lot of people do that, too, so it must be legal.
To sell counterfeit products offends both law and ethics, deceiving the buyers of the fakes and exploiting the creators of the originals. The plight of Prada and Coach may not bring a tear to anyone's eye, but ethics compel us to act honorably even to the makers of inane status symbols. Besides, it would be dispiriting for the students to see their principal dragged off in handcuffs, even fancy designer handcuffs.
45º, 90º, 180º/City
zlad!
Damien Hirst’s shark floating in a tank of formaldehyde, recently sold for $12 million to US billionaire hedge fund manager Steve Cohen, is disintegrating and will need extensive conservation work to prevent it from further deterioration. This is the view of conservation scientists and natural history specialists who say that the bigger a specimen, the more difficult it is to preserve long-term in formaldehyde.
our lady of the airplane propeller chapel
cheese eatin' design junkies
The feel is that of a high-end furniture and design showroom like the MoMA Design Store itself across the street, where many of these objects are for sale. Taking its cue from the retail world, the objects in the installation are tightly packed together, as if the aim was to offer consumers a wealth of choices rather than draw them into an atmosphere of contemplation. It's as if you have entered a storehouse for the irredeemably trendy.
--ouroussoff
sit on it, potsie
is the jingle dead ?
wright photos on ebay
"If a dealer gets these things, they are broken up. That's how people make their money," Holzhueter said. "For people who care about Wright, it would have been a disaster. We knew it was important to keep the photographs together."
my little corner of the world
SPRING 1964: MOST WANTED MEN AT THE WORLD'S FAIR.
Andy Warhol's Thirteen Most Wanted Men is displayed on the side of the New York State Pavilion at the 1964 Worlds Fair in Flushing Meadow.
The architect who designed the Pavilion was Philip Johnson. He invited various artists, including Robert Rauschenberg, Roy Lichtenstein, Robert Indiana, John Chamberlain and Andy Warhol to create art for the exterior of the building. (DB181/4)
However, there were objections to Warhol's work from government officials. On April 16, Philip Johnson told Warhol that he had 24 hours to replace or remove the "most wanted men" mural as the governor thought it might be insulting to his Italian constituents because most of the "wanted men" were Italians. (LD198)
Warhol blamed Robert Moses, the city's planner and president of the 1964-65 World's Fair. Warhol proceeded to silkscreen twenty-five identical portraits "of a ferociously smiling Moses" to use as a substitute for the "most wanted men". Philip Johnson rejected the idea, not wishing to offend the festival's president.
Eventually, the "most wanted men" panels remained in place but were covered with a coat of silver paint. (DB181-4)
Although Warhol's mural is often referred to as the Thirteen Most Wanted Men, he referred to it as the Ten Most Wanted Men in his book, Popism.
Napster, for example, was the target of much legislative lobbying by major record labels and eventually shut down. As authors such as David Marshall have pointed out, the Internet may be evolving into a network model, following a pattern that he identifies as “access, excess and exclusion,” where large corporations crowd independent voices into the margins. 16 So, while those avenues are closed off or marginalized, it may be that punk rock can reach a wider audience by using the mainstream as its carrier. At its best, this form of cultural capital could act as a virus or meme, infecting the mainstream and allowing greater access to the music, and perhaps even some of the fertile anarchistic genius of punk, than both the major record labels or even the insular punk community have previously allowed.
the who sell out
banana phone
ebeling house dortmund
paul rudolph umbrella house at auction
Speaking in support of the plan, Mr. Close, a Whitney board trustee, said, "The artists are the ultimate clients of the architecture."
endangered tonic
me worry ?
new hatebeak
just found the brooklyn based brownstoner. i noticed the renovation blog on the main page but havent looked in yet. well thats something that didnt happen here during our renovation. reason being that blogging and renovating are both full time jobs. their house pick of the day is a 500 something thou major reno. best kept secret in the real estate market is that JC is still way undervalued compared to hoboken and bkln. shhhh.
In a few short years, the Bergen-Lafayette section of Jersey City near Liberty State Park will showcase two major residential/commercial developments.
In early December 2004, the Planning Board approved a $135 million project called "The View," which will consist of three condominium towers that will include commercial space and possibly an upscale restaurant on the ground floor of the towers.
And two weeks ago, the Jersey City Redevelopment Agency approved a unique redevelopment agreement between a community group and a developer that will result in the construction of a $25 million residential and commercial project located on three sites.
living with kermit
the quiltmakers of gee's bend ch13 thursday at 8
blown up blown out in bayside
