Schwarz
View current page
...more recent posts
openhousenewyork
reusing big boxes
"Territories: Islands, Camps and Other States of Utopia is one of a series of publications from Kunst-Werke (KW) gallery in Berlin about the politics of space. It documents art works from an exhibition of the same title; it also compiles additional work by critics, architects, artists, and filmmakers. In the wake of documenta X and XI exhibitions of contemporary art in Kassel, Germany, books like these are evidence of recent collaborations that look for continued or enhanced political impact. More than installation art bounded by the gallery, these works are positioned on the front lines of global conflict. "
"Today “criticality” is under attack, seen by its critics as obsolete, as irrelevant, and/or as inhibiting design creativity. What is more, the criticisms that are increasingly frequently being made come from an interesting diversity of sources. To start to make sense of this emergent situation, we might try to locate the beginnings of the evident shift of opinion against this once-so-dominant theoretical discourse in architecture. One interesting precursor of current comment was an outburst by Rem Koolhaas at one of the series of conferences organized by ANY magazine, this one at the Canadian Centre for Architecture in 1994: “The problem with the prevailing discourse of architectural criticism,” complained Koolhaas, “is [the] inability to recognize there is in the deepest motivations of architecture something that cannot be critical.”(2) But if Koolhaas' complaint was a harbinger of things to come, probably the first frontal challenge to criticality was a text published by Michael Speaks, the Director of Graduate Studies at Southern California Institute of Architecture, in the American magazine Architectural Record in 2002.(3) In a startlingly revisionist text, Speaks explicitly abandoned the “resistance” that he had learned from his own teacher, Fredric Jameson, in favor of a model of a new, alternative, and efficaciously integrated architecture that would take its cues from contemporary business management practices.(4)"
HDM Fall 2004/Winter 2005, Number 21
Rising Ambitions, Expanding Terrain
Realism and Utopianism
as per artnet : A sculpture by Dennis Oppenheim proposed for the Stanford University campus in California has proved itself too controversial for Stanford president John Hennessy, who cancelled the commission after complaints from the school’s dean for religious life. The 25-foot-tall sculpture, called Device to Root Out Evil, is a latticework church that has been turned upside-down and stuck into the ground by its steeple; a version of the work was presented at the 1997 Venice Biennale. A Stanford alumnus, Oppenheim says the cancelled commission has cost him "$100,000 easy." The work "really did root out evil in a strange, circuitous way," Oppenheim told the "Stanford Daily." The president and others have conservative views and are afraid of a work of art, and now we know about it."
moma rethinks design collection / less tiff more kev
inconvienent evidense: iraqi prison photographs from abu ghraib
this show consists of twenty amature digital cellphone, digital camera and digital video still images taken from the internet
Chief curator Brian Wallis and director Willis Hartshorn of the International Center of Photography discuss their current exhibit with Leonard Lopate.
The Skyscraper Museum
Frank Lloyd Wright: The Vertical Dimension
October 6, 2004 - January 9, 2005
The first comprehensive examination of the high-rise designs of America’s foremost architect, Frank Lloyd Wright: The Vertical Dimension, examines Wright’s abiding interest in the re-invention of the tall building. Over the course of his long career, Wright designed a dozen high-rise buildings of which only two were built--the Johnson Research Tower in Racine, Wisconsin (1944), and the Price Tower in Bartlesville, Oklahoma (1952-56). With these designs, Wright proposed a new structure for the skyscraper, challenged prevailing building practices with his use of materials, and proposed new directions in high-rise living.
special thanks to selma
soul on top
On this 1969 recording, Soul Brother #1 makes no secret of his love of jazz — and his own phenomenal gifts as an improviser. In collaboration with Louie Bellson, one of jazz’s most impressive drummers and one of its most expressive arrangers, Oliver Nelson, Brown tears through jazz standards and gives his own hits a new twist.
port authority terminates terminal five show
via selma
rcm upper mez 3rd row from the back waiting for wilco (vote for kerry) to come on via julies cell phone and sprint picture mail sm, one sprint, many solutions. and i forgot to thank mercedes-benz.
(figure 3) Vernacular farm building from Tras-os-Montes region of Portugal
"Paulo Varela Gomes, in his brief but excellent synopsis of Portuguese architecture, has called the thinking reflected in this book a "metaphysic of the relation between work and life. The vernacular is seen as the unmediated and, shall we say, prelinguistic product of life and its conditions. I would again bring to mind Rosenberg's idea of "American action painters" whose work did not represent the being of the artist so much as it was an unmediated trace, or record of the artist's life in action. These buildings are like tools, transparent to their human task (figure 3). They bear the logic that brought them into being: the task to be performed, the hand that will need to grip them, and indirectly that aspect of the society reflected by the very existence of the need to perform that task to which the tool is dedicated. The sign is not yet broken into the arbitrary relationship between the signifier and the signified. "
alvaro siza
ralph lauren one of a kind vintage airstreams Clerance Sale
McDonalds to Claim Ownership of Letter M
DRE: I spoke to Tom when the show was just starting and he mentioned there might be a couple of episodes of Viva Variety going on the first Reno 911 DVD set. What happened with that?
BG: We talked about it. We wanted to put Viva Variety on the air again like at 3 in the morning instead of one of those weird Bill Maher movies where he’s fighting jungle women. They don’t want to do it and we don’t know why. We love that show. We think we could edit together a best of Viva Variety video and it would really blow people away. We had such good bands on that show like Ween, Fishbone, The Mighty Mighty Bosstones, Shonen Knife and G Love and Special Sauce. We got drunk with Fishbone after the show. We had weird guest stars like Adam West and Charles Durning. We want them to put out DVDs of the show and we’re working on it but for some reason they are really dragging their feet. We don’t make any money when they sell it; they own it lock stock and barrel so I don’t know what’s holding them back. We just want people to see it.
ezra stoller architectural photography
Cadillac Ranch: The Restoration, 1974/2002. Installation view, Amarillo, TX. Photo: Wyatt.
ant farm 1968 - 1978 ICAP
