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Rock and roll, despite the reputation many of its artists have for mayhem and property destruction, has a surprising number of historic landmarks that didn't just survive—they thrive. Given rock and roll's status as a genuine, homegrown American product, like baseball it enjoys a growing number of wanderers who love hitting the road in search of the landmarks that define the art.
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Matteo Pericoli has never felt compelled t keep his drawings to standard sizes. I 1998, he began drawing the entire perimeter o Manhattan on two thirty-seven-foot rolls of whit paper. (Pericoli, an architect who now work mainly as an artist, turned that drawing into hi first book, “Manhattan Unfurled.”) But there is n sheet, or scroll, or any other type of paper big enough for Pericoli’s lates drawing, which was commissioned for the new American Airlines terminal a John F. Kennedy International Airport. When it is done, it will be three hundre and ninety-seven feet long and will range from thirty to fifty-two feet in height The drawing fills a wall that runs the length of the entry hall of the new terminal and its shape reflects the terminal’s swooping rooflinepericoli google images
“At first, I played with the idea of using drawings that existed and blowing them up,” Pericoli, who is thirty-eight, said the other day. “And then I thought of putting buildings from cities I liked from all over the world into a single skyline.” Eventually, Pericoli came up with a composition that includes four hundred and fifteen buildings from seventy cities. He organized them by instinct, not geography. Hagia Sophia, in Istanbul, is next to the Burj Al Arab hotel, in Abu Dhabi, which is beside an old building in Buenos Aires, which is not far from a building that Frank Gehry designed in Prague. Pericoli balanced tall buildings with short ones, which meant that the Foshay Tower, in Minneapolis, looms over buildings lining a Venetian canal, and the curving tower of the Toronto City Hall gets to play against the curving roof of the Sydney Opera House. He also decided to add a building that never existed, an imaginary, Bauhaus-style structure by the artist Saul Steinberg. The one exception to the geographical mélange is a cluster of New York buildings at one end. Pericoli made this grouping to represent the notion that it is from New York that you fly off to see the rest of the world.
Pericoli’s freehand style is both precise and gentle: the buildings are meticulously detailed, but they are all washed with soft accents of blue and golden orange. Pericoli was as indifferent to scale as he was to geography. In his fantasy skyline, the Sears Tower, in Chicago, is smaller than the Brooklyn Bridge, and the Transamerica Pyramid, in San Francisco, is as high as the Eiffel Tower. “When you return from a journey to Rome, the Pantheon and the pizzeria occupy the same space in your memory,” he said.
When Pericoli was finished with the drawing, which was twelve and a half feet long, he sent it to a graphic-arts company in Chicago. The company blew the drawing up, and reproduced it digitally on vinyl material. The mural had to be divided into ninety-nine sections, each of which takes roughly two hours to print. The company has been shipping about twelve sections a day, three at a time, to J.F.K.
“Shoot” was one of a number of perfectly repellent performance pieces of the early nineteen-seventies in which Burden subjected himself to danger, thereby creating a double bind, for viewers, between the citizenly injunction to intervene in crises and the institutional taboo against touching art works. (Such, at any rate, was my analysis of the distinctive nausea that I felt in thinking of those things, which I avoided witnessing in person.) He spent five days in a small locker, with a bottle of water above and a bottle for urine below; slithered, nearly naked and with his hands held behind him, across fifty feet of broken glass in a parking lot; had his hands nailed to the roof of a Volkswagen; was kicked down a flight of stairs; and, on different occasions, incurred apparent risks of burning, drowning, and electrocution.
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