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Earlier this month, a sharp-eyed reporter for the New York Times noticed that the performing arts center planned for Ground Zero will be excluded from the $500 million fundraising campaign for the World Trade Center site memorial. Instead, the Lower Manhattan Development Corporation told Robin Pogrebin of the Times that fundraising for the center will be part of a “second phase.” To architecture critic Ada Louise Huxtable, it is clear what this “second phase” really means -- the performing arts center will probably never be built.
And thus, Huxtable wrote with obvious fury two weeks later in the Wall Street Journal, the news of the center’s exclusion was “the final betrayal” in what has been a continuing “downgrading and evisceration of the cultural components” of Daniel Libeskind’s original plan -- thanks to those who lack “the courage, or conviction, to demand that the arts be restored to their proper place as one of the city’s greatest strengths and a source of its spiritual continuity.”
end of the century on 13 tonight
rat rod pick of the week
i know people have already been talking about the new google satellite maps feature. i just scrolled (at max zoom using my arrow buttons like a joystick) along an old patch of highway i used to hitchhike between dallas and denton back in college. its ranges from whole continent views to picking out your house on your block.
paint it black you devil
on yelling freebird
the library of congress american memory
via zeke
im reposting that guy who ripped all his 70's albums and put them up on his site.
hey sally,
can you recommend anything special from here ?
Selected recordings in the National Library of Canada’s collection of 78s, chosen for their Canadian content, were digitally reproduced for this site.
via record brother (my newest favorite site)
botero's abu ghraib
reel radio
via dave
In his more recent book, Internet Art: The Online Clash of Culture and Commerce (Tate, 2003), one of the first scholarly studies of web art, Stallabrass made a point of championing unconventional art made outside the gallery system. For Stallabrass, the internet is an ideal environment, a place where artists and thinkers can produce and share “immaterial works that can be viewed as art, and which can be free of dealers and the agendas of state institutions and corporations.”
[...]
In his newest book, Art Incorporated: The Story of Contemporary Art (Oxford, 2004), Stallabrass continues his attack on the avant-garde affectations of the international art market. In popular myth, artists can act "like heroes in the movies, [able] to endow work and life with their own meanings," Stallabrass writes, while in truth "the economy of art closely resembles the economy of free capital" -- and consequently the artist is subservient to market pressures, rather than subverting them.
A trove of free historic artists films by Kenneth Anger, Luis Bunuel, John Cage, Guy Debord, Marcel Duchamp, Laszlo Moholy-Nagy, Robert Morris & Stan VanDerBeek, Isidore Isou, Man Ray, Robert Rauschenberg, 37 short Fluxus films, Hans Richter, Harry Smith and Jack Smith.
via kenny g
Less known to the public than his contemporaries Charles Eames and Marcel Breuer, Jean Prouvé has only recently been acknowledged as one of the most influential European designers of the 20th century. Prouvé’s output, ranging from household furnishings to industrial buildings and residential homes, is notable for his signature use of industrial metals like sheet steel and aluminum.
The exhibition is organized around a building Prouvé constructed in 1951 as a prototype of inexpensive, readily assembled housing that could be easily transported to France’s African colonies. Fabricated in Prouvé’s French workshops, the Tropical House—as it is known—was carried in the cargo hold of an Air France plane to Africa. It was erected in the town of Brazzaville and remained there for 50 years. In 1999, retired commodities trader, rare car collector and Yale alumnus Robert M. Rubin had the Tropical House disassembled, packed up and shipped to France, where it was painstakingly restored.
This is the first public display of the house outside France. A 400-square-foot end section of the house – approximately one-fourth of the entire structure — will be erected inside the gallery of the A&A building. The open end of the displayed section will face into the main exhibition space. The exhibition will include photographs by Mark Lyon, plans, artifacts and a short film documenting the Tropical House from its return to France and the completion of its restoration near Paris last summer. Related Prouvé objects, such as furniture made for export to the tropics, will also be included.
continue...
yale show per gary lucas
more on prouve from newsline columbia gsapp
via vz
inflatable pub
via zoller
conversations regarding the future of architecture
from record brother
kensington jc
from the an annual glass issue
A soap bubble just floating over the ground” is young Italian engineer Lucio Blandini's description for his potentially revolutionary design for an entirely frameless glass structure. Blandini designed the project while a doctoral student at the University of Stuttgart’s Institute of Lightweight Structures, founded in 1964 by Frei Otto. Since 1995, the institute has been under the direction of Werner Sobek, the noted German engineer who has done pioneering research on glass, including the development of carbon-fiber reinforced glass and load-bearing glass structures.
Hernan Diaz Alonso : winner of this year's MoMA/PS1 Young Architects Program
bye-bye johnny b goode
the snobs
unintentionally sexual comic book covers
via zoller