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Diane Arbus’ archives were recently gifted to the Met in NYC.
Unlike the belongings of artists who fade gradually from view, which are sometimes scattered, pilfered or lost, Arbus’s effects were in some ways frozen in time when she committed suicide at 48. Quickly her life began to acquire a cult status paralleling that of her photography.
(via sippey)
I’m writing these down in the hope that doing so will motivate me to actually get out of the apartment to check these out.
- Paula Scher: Recent Paintings at Maya Stendal. Through January 26, 2008.
- Gustav Klimt: The Ronald S. Lauder and Serge Sabarsky Collections at Neue Galerie. Through June 30, 2008.
- Edward Burtynsky: Quarries at Charles Cowles. Though December 1, 2007.
- This Is War! Robert Capa at Work at ICP. Through January 6, 2008.
- Georges Seurat: The Drawings at MoMA. Through January 7, 2008.
Did I miss anything? (Besides Jill Greenberg’s bear photos at Clampart?)
In the past few weeks, I’ve seen several people mention the 50 Years of Helvetica exhibit at the MoMA along with some variation of “Woo! I might need to take a trip to New York to go see this!” You should know that this exhibit takes up just a small corner of the Architecture and Design Gallery on the 3rd floor…it’s essentially a case and a handful of posters and other specimens. If you’re in the museum already, definitely check it out, but you’ll be disappointed if you make a special expensive trip just to see the Helvetica stuff.
I can’t see how on earth Julie Jackson’s Subversive Cross Stitch didn’t make it into the Museum of Arts & Design show on Extreme Embroidery. Maybe it’s too straightforward but still…
Jane Jacobs and the Future of New York is an exhibition at The Municipal Art Society of New York.
Coming at a time of unprecedented growth and redevelopment in the city, this exhibit aims to encourage New Yorkers to observe the city closely and to empower them, with a combination of tools and resources, to take an active role in advocating for a more livable city.
The exhibit runs from Sept 25 through Jan 5, 2008.
Update: A review of the exhibition in the NY Times (slideshow). Among the artifacts at the show is a letter sent by Robert Moses to Jacobs’ publisher: “I am returning the book you sent me. Aside from the fact that it is intemperate and inaccurate, it is also libelous.”
Eugene de Salignac was the official photographer for the NYC Department of Bridges from 1906 to 1934. His collection of photographs was recently uncovered and, as it turns out, de Salignac was a great photographer and his photographs charted the progress of New York growing into a big city. The New Yorker has a slideshow of some of his photos and there’s an exhibit of his work at the Museum of the City of New York until Oct 28. (thx, stacy)
Timelapse video of a map showing Civil War battles and movements…four years of war in four minutes. The video was produced by Harvest Moon Studio for the Abraham Lincoln Presidential Library and Museum.
The Cooper Hewitt Design Museum has announced plans for expansion. I was up there this weekend checking out the Design Triennial and found the exhibition a bit small; a similar show at the expansive MoMA might have run to twice the size and would have included larger items. I hope they don’t do too much to the building though…in many rooms, the building is just as much of an attraction as the items on display.
Map of the cracks in the Guggenheim’s facade. “Since the Guggenheim Museum opened in 1959, Frank Lloyd Wright’s massive spiral facade has been showing signs of cracking, mainly from seasonal temperature fluctuations that cause the concrete walls, built without expansion joints, to contract and expand.”
Exhibit on Helvetica (the font, not the film) opens tomorow at the MoMA and will be available for a good long time (until March 31, 2008). “Widely considered the official typeface of the twentieth century, Helvetica communicates with simple, well-proportioned letterforms that convey an aesthetic clarity that is at once universal, neutral, and undeniably modern.”
I quite liked the work of Barbara Probst in the New Photography 2006 exhibition at the MoMA. Probst shoots the same scene with multiple cameras at the same time.
The USS Intrepid stubbornly remains in its Manhattan berth at Pier 86, stuck in the mud, four tugboats unable to pull it free. “The hulking Intrepid, which survived five kamikaze attacks in World War II, looked like a mule resisting the force of several farmhands.”
A comparison: London’s Tate Modern versus the MoMA. The MoMA is a stuffy, inaccesible place, while the “Tate Modern is an enormously user-friendly place, physically comfortable and hospitable, with inexpensive places to eat and frequent opportunities to sit.”
Thoughtful review of the Picasso and American Art show currently on at the Whitney.
Museum camouflage photographs by Harvey Opgenorth. (via nick baum)
“From September 27th - October 21 the Museum of American Illustration at the Society of Illustrators will host ‘30 Years of Fantagraphics,’ a retrospective art exhibition of over 100 pieces of original art published by the Seattle underground giant.” Artists in the exhibition include Chris Ware, Daniel Clowes, and Robert Crumb.
The London Science Museum will hold a video game exhibition starting in October. Visitors will be able to play vintage video games, including Spacewar, the world’s first computer game.
One of the three statues on the top of the Washburn Lofts in Minneapolis unwittingly represents the period in the city’s history when it led the world in the production of prosthetic limbs. See also The Mill City Museum. (thx, paul)
In 1965, the Washburn A mill, the last operating flour mill in Minneapolis, became also the last flour mill to close its doors, having been preceded by an entire industry that, at one time, produced more flour than any other place in the U.S. The closure came when the mill’s operating company, General Mills, moved its headquarters to Golden Valley, where real estate was plentiful and inexpensive. The area around St. Anthony Falls, the geological feature responsible for the beginnings of industry in the area, had long since fallen into general disrepair and it wasn’t long before the Washburn A was deserted and inhabited by the homeless.
The area started to show signs of life again in the 70s and 80s after being added to the National Register of Historic Places in 1971. Old mill buildings were converted for non-industrial business and residential use as people began to recognize the unique character and history of the area around the falls. In 1991, the Washburn A building burned and part of its structure collapsed, but firefighters saved the rest of the historic building from destruction. The remnants of the building and the adjacent grain elevators remained empty for years afterwards, save for the occasional graffiti artist and urban spelunker.
I knew very little of this when I moved to the Twin Cities in 1996 and not much more when I left Minneapolis for San Francisco in 2000. Almost every weekday for two years I drove or pedaled past the shell of the Washburn A mill on the way to and from work on Washington Avenue in the warehouse district, where we manufactured web pages to fill a growing online space. Topped by the Gold Medal Flour sign, the mill became my favorite building in the Twin Cities, leading me to include it in The Minneapolis Sign Project I did for 0sil8 shortly before I left for the West Coast.
It seemed the perfect symbol of a time and industry long past, broken down but not entirely wiped away. I returned to visit Minneapolis occasionally and would drive past the Falls, wondering what would happen to my building, hoping against hope that they wouldn’t eventually tear it down. With the structure in such bad shape, demolition seemed to be the only option.
Last week, Meg and I spent a day in Minneapolis on our way to visit my parents in Wisconsin, my first stay in Mpls since mid-2002. Meg wanted to investigate running trails and I wanted to sneak a peek at the Gold Medal Flour Building (as I had taken to calling it), so we walked the three blocks to the river from our hotel, housed in the former Milwaukee Depot. The Gold Medal Flour sign was visible from several blocks away, so I knew they hadn’t torn down the grain elevators, but it wasn’t until I saw the shell of the Washburn A building peeking out around one of the other mill buildings that I knew it had been spared as well. As more of the building came into view, I saw a glass elevator rising from the ruins, backed by a glass facade.
What the??!?
Now practically running along the river in excitement and bewilderment, dragging poor Meg along with me in a preview of her jog the next morning, I saw a wooden boardwalk in front of the building and headed for what looked like the entrance. The burned out windows and broken glass remained; except for the elevator and the 8-story glass building sticking out the top, it looked much the same as it had after burning in 1991. I scrambled through the entrance and, lo, the Mill City Museum.
And what a museum. It was just closing when we got there, but we returned the next morning for a full tour of the museum and the Mill Ruins Park. The highlight of the museum is an elevator tour of the mill as it was back in the early 20th century. They load 30 people at a time into a giant freight elevator, which takes the group up to the 8th floor of the museum, stopping at floors along the way to view and hear scenes from the mills workings, narrated by former mill workers. After the elevator tour, you’re directed to an outdoor deck on the 9th floor, where you can view the shell of the mill building, St. Anthony Falls, the Stone Arch Bridge, the Gold Medal Flour sign, and the rest of the historic area.
Meyer, Scherer & Rockcastle are the architects responsible for the project, and they deserve all the accolades they get from one of the most unique museums I’ve ever been to. The statement from the American Institute of Architects jury explains the design of the museum:
A creative adaptive reuse of an extant shell of a mill building, with contrasting insertion of contemporary materials, weaving the old and the new into a seamless whole…A complex and intriguing social and regional story that reveals itself as the visitor progresses through the spaces. It is museum as a verb…A gutsy, crystalline, glowing courtyard for a reemerging waterfront district that attracts young and old and has stimulated adjacent development.
I still can’t quite believe they turned my favorite Minneapolis building (of all buildings) into a museum….and that it was done so well. More than anything, I’m happy and relieved that the Gold Medal Flour Building will always be there when I go back to visit. If you’re ever in Minneapolis, do yourself a favor and check it out.
Photos on Flickr tagged “mill city”
Photos on Flickr tagged “mill city museum”
Mill City: A Visual History of the Minneapolis Mill District was helpful in writing this post
A Washington Post review of the museum from September 2005
The new Guthrie Theater is right next door and is a dazzling building in its own right (photo, more photos)
The Metropolitan Museum of Art is raising its ticket price to $20 (from $15). The fee is recommended…you can pay nothing if you wish.
The Tate Museum in Britain lets you make your own collection out of all their works of art. “You can create your Collection, print it as a leaflet, or send it to a friend.” Current collections include The I’ve Just Split Up Collection, The Odd Faces Collection, and The I’m Hungover Collection. See also unofficial audio guides for MoMA and the Met. (via nick)
They’re refurbishing the outside of the Guggenheim and stripping away the facade reveals a doublestrike on the “T” in “The”. It’s like they started putting the printing on the building and then the architect stops by and says, whoa! that text is supposed to be lower, you morons.
The Type Museum, located in London and housing “one of the world’s best typographic collections”, is being shut down due to lack of funding. The folks in the TypeMuseumSociety GoogleGroup are trying to find a way to save it. (thx, mark)
Whitney Biennial 2006, through May 28 in NYC. NY Times review. Momus describes his first day as a performance artist at the Biennial.
Mark Rothko’s Seagram murals were to hang in the then-new Four Seasons restaurant in NYC. How did they come to hang instead in the Tate Modern in London?
I can’t remember where I first ran across Edward Burtynsky’s photography, but I’ve been developing into a full-fledged fan of work over the past few months. From a Washington Post article on Burtynsky:
Burtynsky calls his images “a second look at the scale of what we call progress,” and hopes that at minimum, the images acquaint viewers with the ramifications — he avoids the word price — of our lifestyle. But what if viewers just see, you know, some dudes and a ship?
“Another photographer might focus on the loss of life or pollution,” acknowledges Kennel of the National Gallery. “He uses beauty as a way to draw attention to something. It’s a very particular strategy.”
The Brooklyn Museum of Art is displaying an exhibition of Burtynsky’s photos until January 15. Well worth the effort to try and check it out. The scale of modernity, particularly in his recent photos of China, is astounding. In Three Gorges Dam Project, Dam #4, this huge dam seems to stretch on forever and you don’t know whether to goggle in wonder or shrink in horror from looking at it.
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