Schwarz
View current page
...more recent posts
mc5 concert posters
NEW ORLEANS - Optimism is in short supply here. And as people begin to sift through the wreckage left by Hurricane Katrina, there is a creeping sense that the final blow has yet to be struck - one that will irrevocably blot out the city's past.
The first premonition arose when Mayor C. Ray Nagin announced that the model for rebirth would be a pseudo-suburban development in the Lower Garden District called River Garden. The very suggestion alarmed preservationists, who pictured the remaking of historic neighborhoods into soulless subdivisions served by big-box stores.
More recently, Mr. Nagin contemplated suspending the city's historic preservation laws to make New Orleans more inviting to developers - evoking the possibility of architectural havoc and untrammeled greed.
But politicians and developers are not the only culprits here. For decades now, the architectural mainstream has accepted the premise that cities can exist in a fixed point in historical time. What results is a fairy tale version of history, and the consequences could be particularly harsh for New Orleans, which was well on its way to becoming a picture-postcard vision of the past before the hurricane struck.
As attention shifts from rescue to reconstruction in New Orleans, we must answer the question of how, and in what form, the rebuilding will happen. If we get the answer wrong, Katrina and Rita could turn out to be among the greatest cultural disasters the nation has ever experienced.
On a recent visit to New Orleans, I saw first-hand that the French Quarter and the Garden District are largely intact. That's good news, certainly, because these areas, with their imposing white columns and lacy cast-iron galleries, constitute the world-renowned public face of New Orleans. But the down-home heart of the city beats in lesser-known neighborhoods such as Holy Cross, Treme, Broadmoor and Mid-City, where officially designated historic districts showcase the modest Creole cottages, corner stores and shotgun houses (long, narrow houses, usually only one room wide with no hallway) that are essential ingredients in the rich architectural mix that is New Orleans. These are the buildings that we saw in those haunting images of battered rooftops dotting a toxic sea, and they are the buildings most at risk. Saving as many of them as possible is essential--and I came away convinced that the vast majority of them can be saved.
schwarz is going on vacation tomorrow - family visit to monticello and colonial williamsburg - will take pics...
The culpability compounds with each set of hands that touched this property.
Bunshaft could have put covenants on it before willing it to MoMA, but didn't, possibly on the assumption that the Museum would, by the nature of its mission, take steps to preserve this important design.
MoMA could have put restrictions on the house when it sold it to Stewart but didn't. MoMA's not in the house business, so the idea that MoMA woulda shoulda kept it is naive at best. As is any idea that Bunshaft could've intended for MoMA to do anything but benefit from the gift of the house.
But still, the operating principles here were fiduciary, not curatorial or conservationist; and yet the "understanding" with Stewart and the publicity around it at the time, points to a perceived responsibility beyond merely maximizing the museum's return from a donation. Q: Did the Museum set aside the proceeds from the sale for future acquisitions? "Art-for-art," as befits a deaccession? I highly doubt it. If not, however the sale was presented--or spun-- in the press, on the museum's ledger, the house was a financial asset, not a work of art.
Stewart could have left the house as is, but didn't. Can anyone be surprised by that? Martha Stewart is a hack. The queen of hacks. It was her penury and negligence that let the house deteriorate. She's lucky that an over-inflated sense of your own aesthetic superiority leading to the decimation of a modernist landmark isn't a crime, or she'd still be in jail.
Ever since the sale, MoMA said it had a "good faith agreement" with Stewart to preserve the house, which was a stripped, weed-covered shell when her lawsuits with the house's next door neighbor were finally settled.
Pawson's a frickin' hack, but he coulda--no, he was just Stewart's hack.
Alexis... this was a wealth transfer mechanism, nothing more.
Maharam's a hack, and a spineless hack at that. He could have restored the house if he cared to, instead he hides behind the excuse that it was beyond help. The incremental expense of doing so is approximately zero compared to the price of the land. And it's not like he can build anything else; wetlands zoning restricts him to Bunshaft's original footprints (and whatever Stewart/Pawson managed to get approved.)
Did someone mention approvals? That'd be the East Hampton town board who sat by while one of the few interesting feats of architecture in the whole place was modified and destroyed. But then, why should important modernist design get any better treatment in the potato fields of the Hamptons than they do on the corner of Central Park?
So what do I find in a number of blogs? Yep, advertising via BlogAds. Not only that, the majority of the ads are on sites that are part of the Liberal Network.
So here I am, trying to make a living through blogging and they think it's cute to have bloggers like me basically advertise their project for free.
Well, here's the deal people : You have crossed the line. It is not viral marketing on my blog when you pay for advertisment to other bloggers. When you do that, you have an ad campaign in place. Asking me to do it for free is in labor-talk, "explotation".
vintage motorcycle jackets
"The real challenge," Stockhausen wrote to me, "is to find seven stage directors and stage designers, seven conductors, five orchestras, one children's orchestra, nine professional choirs, two children's choirs, one girls' choir, seven sound projectionists, seven sound technicians, many soloists. This is all possible if one can engage the ensembles and soloists who have already performed parts of Light quasi-scenically in concerts and rehearse in seven auditoriums daily for about six months."
BG-105
the soul artists of zoo york
via record brother whos posting the crazy shitz on the regular
terry riley le secret de la via (1975) / no man's land (1985) mp3s
via kenny g fmu blog
GRAV, the Nouveaux Réalistes, BMPT and Support-Surface propounded all manner of theories on the ends and means of art and the destiny and political role of the avant-gardes. The Marxist synthesis of structuralism and Lacanian psychoanalysis did much to shape the deliberately speculative nature of these attempts at self-definition and positioning. The extent and importance of this critical activity during the 1970s is evidenced by the existence of such reviews as Cahiers théoriques, Macula and Documents sur. This linking of art and the human sciences, which still obtains today in somewhat abated form, became the defining characteristic of contemporary art in France. Among its innumerable consequences was the strangely tortuous procedures that artists had to take to express their subjectivity.
Much has been written about the parallels between the critical intuitions of Frank Stella and those of GRAV, and about the different conclusions drawn on each side. The heritage of Duchampian kinetics had a decisive influence on François Morellet, Julio Le Parc and Jesus-Rafael Soto, (although this reading of it has been totally neglected since), as did the Zurich Concrete Artists (including Max Bill and Richard P. Lohse), Auguste Herbin, Jean Dewasne and Victor Vasarely. These figures constituted a unifying matrix for the work of artists from a wide variety of backgrounds.[27] The interest in movement, which was expressed most literally in the work of Jean Tinguely and Pol Bury, moved many artists to translate it into pictorial form, to attempt the simultaneous use of illusionistic and interactive procedures. With its abstract anamorphoses, its ever-more sophisticated apparatus, its games with parallaxes and mirrors, the work of the GRAV group was aimed at the widest-possible public. As they proclaimed in their Manifesto (1963), “We Want to interest the spectator, to remove his inhibitions, to get him to relax.”
Much of the intense work and the sparks that flew between Kahn and Noguchi during the five years of their collaboration (1961-66) found their way into the design of Moerenuma Park in Japan.
A testament to what can be achieved when public officials, artists and the general public work together, the park was completed after Noguchi's death under the guidance of the Isamu Noguchi Foundation, architects Shoji Sadao and Junichi Kawamura (longtime Noguchi collaborators), Kitaba Landscape Planning, Park Director Hitoshi Yamamoto and city officials working with the support of the citizens of Sapporo.
Their achievement is phenomenal and incorporates a full range of Noguchi's work in stone, concrete, wood, metal and fiberglass. More importantly, it showcases his talent for using the sun, sky, Earth and the horizon as his true materials.
Gulf Coast: A Vision to Revive, Not Repeat
By ROBIN POGREBIN for nyt
Published: October 13, 2005
BILOXI, Miss., Oct. 12 - The work facing architects and urban planners who convened here today at a battered resort is visible right outside the window. A beach strewn with uprooted trees and the detritus of ravaged buildings. Deserted streets lined by flooded empty houses. Hulking casino hotels gone dark.
Over the next several days, this group of some 200 professionals from around the country will struggle to come up with a comprehensive regional plan to rebuild the Mississippi Gulf Coast. It's a design challenge on a grand scale, covering 11 communities in 3 Mississippi counties damaged by Hurricane Katrina.
paul rudolph tracey towers up in the bronx
black betty table
leanon coat rack
brackets included steel shelf
cloud meeting room
slow cruise on the highline
The Lower Manhattan Development Corporation (LMDC) has announced that it will launch a series of public workshops to determine the programming for the future Memorial Museum. The museum, to be located at the World Trade Center site, will include fragments of materials from both the 1993 bombing and the 2001 attack. In collaboration with the Civic Alliance to Rebuild Downtown New York and New York New Visions, each workshop will feature a presentation of preliminary programming concepts, currently by developed by curatorial planners Howard+Revis Design Services, Inc., institutional planning consultant LORD Cultural Resources Planning and Management, Inc., and the LMDC. The workshops will offer the public the opportunity to discuss their expectations for the Memorial Museum and to comment on the preliminary concepts. The final recommendations of the Memorial Center Advisory Committee can found on the LMDC’s website: www.RenewNYC.com/memorial.
more afghan war rugs
mark rothko - homage to matisse (1953)
you think your dad was tough - mp3 of murray wilson and the boys from the help me ronda sessions - in parts or the full 40 min version
Only weeks after the world lost the great R.L. Burnside, another stellar light of both the Fat Possum label and music in general has passed away; Paul "Wine" Jones died of cancer in Jackson, Mississippi on Sunday. He was age 59. His two discs Mule (1995) and Pucker Up Buttercup (1999) were pretty much in the similar vein of so many of his labelmates also plucked from obscurity and saddled in Oxford, Mississippi studios by FP chief excavators Matthew Johnson and Bruce Watson: raw, blazing display of an ever-dimming continuum between the roots of Delta jukejoints, Fred McDowell-style ass-shaking repetition and today's primitive blues done with pure spirit. With Junior Kimbrough, Asie Payton, RL Burnside and now Jones gone, that thread gets sadly thinner. Wine's sound was all his own vocabulary, and in the end influenced really by no one but himself and his surroundings. Buttercup is a fractured and odd blues record which at times rips speakers to shreds; it's the sound of someone barely familiar with a studio telling his story (joined by a fellow named Pickle on drums) in distortion-flecked sketches right down to the finale, appropriately titled "I Guess I Fucked It All Up." We at WFMU had the distinct pleasure of witnessing the man in action as he joined Kenny Brown and T-Model Ford for a hard-to-believe-they-were-rocking-AND-drinking-at-9AM live performance on David Suisman's Inner Ear Detour show back in 2004. Listen to his 4-song set here! (Real Audio) And also check out Pucker Up Buttercup's "Goin' Back Home" from another Inner Ear Detour show here (Real Audio). And, if you get a chance, do check out the excellent DVD documentary You See Me Laughin', which traces the story and the intertwining lives of many of these, the very last of the Hill Country Blues men. A third Jones album was in the works according to the Fat Possum catalog page that was originally due in January.via brian turner on fmu blog