Thursday, February 28, 2013

In February we...

 
puzzled over te papa’s idea of what’s radical • loved this neat modely thing that’s going to shape the venice biennale • predicted simon denny will be in the venice biennale exhibition • passed on the good oil about online shopping artwise • put up an all woman team for the aag director race • went all soapy and breathless over institutional staff shifts and changes • discovered some art in an ammo dump • caused a fussjust by looking sideways at the dealers • suggested a shopping spree • visitedjoe sheehan • pondered on the fate of sue crockford’s artists • rememberedralph and promoted pippin barr’s latest video game

The Len Lye Centre gets another final go ahead


Things are certainly changing. Thanks to the New Plymouth District Council’s commitment to live streaming, it was possible to follow last night’s meeting on the Len Lye Centre. Essentially a sum of $750,000 was required in excess of other funds raised because the tenders came in higher than expected. The Council had to decide whether to stump up for the extra or not.
Not picking up the extra cost would delay or stop the project altogether. Most submissions started with a statement of support for the Centre but cost was the main point of contention. Questions were asked about the difficulty of raising funds in the current climate and it was suggested that the LLC efforts were putting other community fundraising projects at risk. There was a break of sorts when John Matthews showed pics of giant Len Lyes (Blades, Serpents etc) currently in production. Kinsley Sampson, the Chair of the Len Lye Trust, told Council that he felt they could raise any further sums required once people saw the building had started. The Council then debated the motion.
The Mayor spoke to the vote calling the project “a $10 million gift to the city” and something that will define New Plymouth for the future. He also felt there would be considerable support for further fundraising (Helen Clark and Chris Finlayson have both put up their hands). The seconder was very supportive and figured it was "too late to back out now." There followed a strange amendment about trying to raise funds by selling donated art works to raise the missing $750,000 (poor old bloody artists). But it passed by one vote. Then more talk for and against. And the vote to fund or not to fund? It was 9 votes to 6 to go ahead. As one councillor said “Art’s not my thing, Len Lye is not my thing but the community is my thing so I’ll be voting yes.”
YOU CAN READ THE LATEST NEWS ON WORK AND FUNDING HERE (11-03-13)
Images: The Len Lye Centre meeting being live streamed

Pritzker-Prize Winner Wang Shu, plus Perrault, Arets, Frampton, Zardini, Ponte, birthday Mies, Pecha Kucha, Preservation Bingo, and lots more - yes, it's the March Calendar!

Yes, it's time to again start rolling the boulder up the mountain, with another month full of great programs on the March Calendar of Chicago Architectural Events.

It kicks off Friday morning, March 1st, with the SEAOI 2013 Trade Show at the University Club,  Rick Valicenti presenting a keynote for the two-day Chicago Creative Expo at the Cultural Center, and, in the evening, new IIT College of Architecture Dean Wiel Arets treading on Frank Lloyd Wright turf with A Wonderful World, a lecture at Unity Temple in Oak Park.

March also includes appearances of two world renowned architects, with Dominique Perrault, talking about The Disappearance of Architecture: Between Presence and Absence, at IIT's Wishnick Auditorium on the 27th, while 2012 Pritzker Prize winner Wang Shu appears at Rubloff Auditorium for the Architecture and Design Society of the Art Institute on Thursday, the 28th.

On the academics front, there's Mirko Zardini, Executive Director of the Canadian Centre for Architecture, Monday the 11th at UIC, which also hosts Alessandra Ponte of L'École d’architecture de l'Université de Montréal on the 18th, while over at IIT, Kenneth Frampton talks about The Past and Future Prospects for Architectural Education on the 14th

This month's theme for CAF's lunchtime lectures is Mod Squad Chicago, with Bauhaus and Beyond's Joan Gand talking about the Hidden Gems of Mid-Century, Keck and Keck on Wednesday the 6th,  Richard Becker and Lisa Skolnick discussing Edward Dart's Ancel House on the 13th, and Chicago at Midcentury: Images by Lee Bey  on the 20th.

March is Mies month (actually, in Chicago, every month is Mies month), with the celebration of the master's birthday 127th on the 13th at Crown Hall, where Christianne Lange lectures on Mies Van der Rohe in Krefeld on the 27th, Edward Windhorst talks about Mies van der Rohe and Historic Preservation: A Report and Prognosis at the Cultural Center on the 21st for Landmarks Illinois, and Windhorst joins up with his co-author Franz Schulze at CAF lunchtime on the 27th to talk about Rewriting the Life of Mies can der Rohe: New Perspectives after 25 years.

And, really, how many chances do you have to combine supporting Chicago's architectural history with Bingo? Well, Preservation Chicago will be offering up just such a combination with their Chicago Seven Bingo fundraiser, on, appropriately enough, the 7th, anticipating the release of this year's list of the seven most endangered buildings the following week. 

Tuesday the 5th, Pecha Kucha returns to Martyr's for its Volume #25.   For its monthly dinner meeting, SEOAI has John R. Hillman talking about the engineering of the 35th Street Pedestrian Bridge over Lake Shore Drive on the 12th at the Parthenon, the same evening  Lynn Allyn Young is over at the Glessner House Museum to talk about her book, Beautiful Dreamer - The Completed Works and Unfilled plans of Sculptor Lorado Taft

Mel Buchanan recounts the story of Grete Marks: When Modernism was Degenerate, Thursday the 7th at Second Presbyterian Meanwhile, over at the Driehaus Museum on the 14th, Rolf Achilles discusses the lesser-known stained glass artisans who created Great Midwestern Panes.

I'm sure we'll be adding even more, but even now there are nearly fifty great items to check out on the March Calendar of Chicago Architectural Events.

Wednesday, February 27, 2013

First Govett-Brewster director slams Len Lye Centre


Frustrated by a lack of progress after a number of meetings, founding director of the Govett-Brewster John Maynard (and the person responsible for setting it on its course as a leader in contemporary art over the last 42 years) has publically called for a halt to building of the Len Lye Centre. 

In a letter to today's Council meeting addressed to the Mayor and Councillors of the New Plymouth District Council, John Maynard claims the current building project of  “over exaggerated cultural benefits and underestimated costs”. The letter calls for the Council “to apply common sense to the problem … send the Len Lye Centre back to the drawing board… incorporate the Gallery extension and insist that the design complies with the architectural brief and the budget.”

Maynard gives five reasons for this Hail Mary pass to stop the plan.
·      The failure of the proposed design to provide the museum standards outlined in the brief.
·      The ongoing costs of maintaining a stainless steel façade (Maynard points to the stained base of Lye’s Wind Wand as an example of the problem)
·      The waste (Maynard estimates around $4million) involved in demolishing the Award-winning 1998 extension as part of the project
·      The risk to TSB and the New Plymouth Council of further commitments if the project runs over budget
·      Under-estimation of the budget

Maynard describes the Patterson-designed Centre as “dull, pompous and self important” and “an empty metaphor for a great artist who was known for playfulness, wit and humour.”

You can read the Council papers here and watch today's 4.30pm meeting on the future of the Len Lye Centre live streamed here

That was the year that was


Here’s some things that are celebrating (well maybe not) their 55th anniversary this year.

Hamish Keith joins a professional staff of five at the Auckland City Art Gallery

Len Lye begins making Free Radicals which he will revise into its final form in 1979

Rita Angus heads to England to study at the Chelsea School of Art for a year

Arnold Wilson takes up his post as art teacher at the newly-built Bay of Islands College in Kawakawa

After a three-month trip to the United States Colin McCahon returns to New Zealand and paints his Northland Panels

The term “Pop Art” is used for the first time by Lawrence Alloway in Architectural Digest

Architect (and photographer) James Chapman Taylor dies in Lower Hutt

The exhibition British Abstract Painting tours New Zealand

Auckland City Art Gallery mounts the first of its touring New Zealand artist exhibitions Eight NZ Painters 1

Arnold Nordmeyer’s ‘Black budget’ puts an end to importing touring exhibitions

Ans Westra moves to Wellington after having arrived in New Zealand the previous year

Milan Mrkusich leaves the Auckland design company Brenner Associates and starts painting full time

World's Only Architectural Comedy? A Look at Jacques Tati's Masterpiece: Playtime, Thursday at the Music Box


click images for larger view
You have one more chance to see the enthralling Playtime the way it was meant to be seen, in a 70mm print, at the Music Box this Thursday, February 28th.
Not many filmmakers get to build their own city, but that's exactly what French film director Jacques Tati did for his masterpiece, Playtime.  It wasn't the Glory of Rome or Ancient Egypt that Tati reproduced, however, but the perfect modern city of the mid 1960's.  On an open field east of Paris, Tati turned architect and created the urban fragment that came to be known as Tativille, a combination of airport, shops and office blocks all designed in the most perfect shiny emptiness of the late International Style.  It was the most expensive film ever made in France, and it would go on to send Tati into bankruptcy.  And on the site of Tativille, left not a trace behind.
“My job is not to rubbish the architecture,” said Tati in a series of quotes from a number interviews collected on the fabulous Tativille website. “I'm there to try to defend the individual and the personality that is his. ”
For the entire beginning of the film Playtime I direct people so that they are following the guidelines of the architects.  Everyone operates at right angles to the decor, people feel trapped by it.  If M. Hulot comes into a small shop, a haberdasher's say, and drops his umbrella, the haberdasher will say to him ‘Sorry, Sir.  You've dropped your umbrella. - Ah, sorry.’ It's a matter of no importance.  But because of the size of the set, if you drop your umbrella in the hall of Orly, straight away it's a different story. Because everything had been planned and decided on by developers and the architects of the complex so that the umbrella should not be dropped in Orly.  And precisely because of the clatter which a falling umbrella makes in Orly you are guilty of acting in a dangerous manner.  You have become the focus of attention.   The architect might be there, saying his piece, ‘Sir, when we designed this place we didn't envisage you dropping your umbrella.’
In modern architecture an attempt as been made to ensure typists sit perfectly straight and that everyone takes themselves seriously.  Everyone walks around with a briefcase which seems to give them the appearance of being well-informed.  In the first part of the film it's the architecture which is dominant.

The big joke of Playtime is that the generic universal space of modernism engenders an ambiguity so profound as to be unsuitable to the specificity of human life.  The relentless transparency repels occupation - people seem as trapped inside as a deer in headlights - and provides a visual sense of  unity that is ultimately a frustrating illusion.  We encounter this theme very early in the film, when a man with a cigarette leans in towards a security guard to get a light, only to be waved brusquely away.  For a split-second, we think the guard is simply being rude, until we realize  that he's waving the man with the cigarette away because they are on opposite sides of a huge pane of glass.
The front end of Playtime is a constantly delightful set of variations on this basic theme, including an extended sequence where two families live out their lives as exposed as on Facebook, in abutting apartments behind huge shop windows that project their every action to passersby as if they were a reality show on a life-sized big screen TV.
Tati doesn't just get the look of it nailed - his roomful of work cubicles actually is prophetic - but also the acoustics, so often ignored by architects themselves.  From the airy vacuum-quality silence of a glass-sealed room, to the unmistakable sound of a hinged glass door swinging open and closing with a swish of air and a throaty metallic clunk, Tati captures in a way any documentarian would envy the full visceral experience of what it is like to occupy these spaces.
 In Playtime's extended finale, the perfect modernism of the earlier film is deconstructed, at an opening night of an ultrachic restaurant.  It is a machine for leisure, in the LeCorbusier sense, but also like an extreme version of LeCorbusier, no one seems to be having much fun.  Then the well-oiled machine starts to break down, and the patrons and staff begin to wreck the perfectly-coiffed interior.

Always, this kind of destructive slapstick in a film is an outburst of brutal rage.  Think Laurel and Hardy, or the Service Station sequence in Mad, Mad World.  It is a cathartic, Dionysian expression of the Id's rawest annihilating power.

In Playtime, in contrast to everything else I've ever seen, the destruction not only liberates, it finds a place of grace. Says Tati . . .
Then, little by little, the warmth, the contract, the friendship, the individual that I am trying to defend begin to take precedence over this international decor.  It's at this point that illuminated advertising begins to appear, things begin to whirl then to dance before ending in a veritable merry-go-round.  No more right angles at the end of the film.  
As their elegant surroundings crumble around them, and they become increasingly drunk, staff and guests lose their haughty aloofness, with its implicit boundaries of class, and the restaurant is transformed from a ritual of affluence to a giant, rowdy playground.  It's as if the restaurant itself has grown drunk, and in the process, the design loses its compulsion to control in favor of becoming a reflection of the very flawed human beings it was built for.
 The diners escape the constricted space of their individual booths, where the waiters push the tables back into position to lock them in like a vise. They crowd the dance floor.  They table hop with strangers, and fill up the impromptu bistro that the pushy American sets up under a collapsed wine rack.  The beautiful young girl in the green dress, whom we've followed throughout the film, steps up on a stage that had been abandoned by the band when the ceiling caved in, and begins to play the piano.  M. Hulot brings her a drink, and some food.   A middle-aged woman gets up beside the piano and begins to sing.  Two of the musicians return to join the jam.
When I first saw the restored Playtime, over ten years ago during it's 70mm debut at the Rubloff Auditorium at the Art Institute, I watched the above scene, like the whole of the film, with more admiration than engagement.  Seeing it again now, it moves me to tears.  More strongly than anything Rem Koolhaas has ever written, Playtime is a manifesto for messiness in architecture

Send SMS from Facebook for Free - Facebook's interesting feature

Instant messaging service is at your finger tip for free!!! Now you can send SMS across globe to any mobile through your favorite social networking site, FACEBOOK. Till now we were using our mobiles to send sms, but now you can send through Facebook too using an application called "ChatSMS" which allows you to send free sms to any mobile across globe and that to FREE ! FREE !! FREE !!!


 An application in Facebook "ChatSMS" is one app that has text messaging trick to any country . To know how to send free sms from Facebook, follow the steps mentioned below:


  1. Login to your Facebook account.
  2. Type http://apps.facebook.com/chatsms/ in your browser and grant the permission for accessing the application.
  3. In the displayed screen , you just have to type your country , the mobile number of the person whom you want to send the sms and the text to send. 
Send Free SMS to any mobile from facebook

The only restriction of this application is you can only send 4 sms per day and 100 characters  is the limit of the text message. Other that these points, it works well for sending sms to any country , to any mobile, for free.


So how is this trick. I am sure you will definitely use this interesting app for your benefits.




One of our Senators is missing.


A reader sent us a pic of a Fomison painting that’s in an exhibition at the Gow Langsford Gallery that opened yesterday. Fomison has titled his painting The Risen Christ Appearing to Three Senators by Tintoretto and it is one of a series of ‘copy’ paintings inspired by his travels in Europe in the late sixties. But hang on a minute, as our reader says, where’s the third Senator? It seems the third man was a victim of composition, a Fomison whim or maybe even canvas size. The original painting by Tintoretto hangs in the Venetian Academy where Fomison would no doubt have either purchased the postcard or recorded it in one of the notebooks he always had to hand. The Fomison version was probably painted later during a stint he had in an English hospital before returning to New Zealand. Not that the dumped politico is big loss. The real drama of the original is the Christ figure making his spectacular cloud-parting arrival. Fomison picked up on the calm indifference of Tintoretto’s senators to this amazing event and pushed it some. The two of them seem more bemused by us their audience than the sudden appearance of Christ.
Images: Top, Tony Fomison’s The Risen Christ Appearing to Three Senators by Tintoretto and bottom, Tintoretto’s The Risen Christ Appearing to Three Senators. (Thanks L)

How to find who unfriended you on Facebook - Facebook trick

Want to know who has secretly deleted or unfriend you from their friends list????


Facebook gives a great opportunity to send a "Friend request" to someone whom you know. But in some cases the other person out there may not be interested in your friendship which is not visible if he/ she has unfriend  you in the list. Well, there is a Facebook trick to do so. There are some applications which finds out who has deleted you from his / her friends' list. 

There is a simple script that works best with the Google chrome, Opera, Firefox, etc, which actually intimates you who has deleted you from his / her friends list or unfriends you in other words. 

Option called "Unfriend finder" which allows you to know who removes you on Facebook. Likewise below mentioned are few websites where you can actually check the person who has removed you from facebook friend list. 



1. Who Deleted Me     

           

2. UnFriend Finder                


3. Social Fixer  

                     

4. Twenty Feet                       



When you first allow access to these applications, they backup all the list of friends. The application then notifies via email when someone drops off your list. 

Either the person has actually dropped you as a friend on Facebook or he or she has quit Facebook.

Tuesday, February 26, 2013

Art chart

From a reader a day in the life, redrawn by the OTN art department. Thanks G

In the shadows


We’ve mentioned the interests of the current Minister of Arts Culture and Heritage often enough so, post Labour's Shadow Cabinet shuffle, here’s a look at their new line up art-wise. The good news is that both the Shadow spokesperson (Grant Robertson who has often been tipped as a potential PM) and one of the Associates are ranked high. Grant Robinson is number 2 as Deputy leader and the Associate Jacinda Ardern is ranked at 4. The other Associate is Darien Fenton who is ranked at 16. So far as interests go Robertson is positioned in his Labour Party profile as “a keen sports fan, particularly cricket, rugby and the mighty Wellington Phoenix. He is also a fan of New Zealand music and literature, and loves cooking and movies.” Fenton and Ardern’s Labour Party profiles makes no mention of the arts at all although Fenton was once a music teacher and claims some early experience with film. As to the Labour Party's arts policy – well you try and find it on their website we couldn’t. But here it is on The Big Idea. Thanks CNZ.
Image: from top right to left Grant Robertson, Jacinda Ardern and Darien Fenton

Monday, February 25, 2013

Dregs and Blind Classics all aquiver: New Skateboarder's Paradise coming to Grant Park

If you're an aquarium chondrichthye, do you consider skateboarding a form of torture? Not that matters.  It's not the skates of the Shedd that are about to be lured to a new home in Grant Park, but their mammalian cousins.


On Wednesday, February 27th, at the meeting of the Grant Park Advisory Council, preliminary plans will be presented for a combined skate park and small outdoor performance area, to be built on the park's south end, around 11th street. Since the new facility is referred to as being ‘below grade’, I'm assuming it's going to be in the area south of the late, epically derelict 12th Street Metra Station.
Design work is reportedly still be to be completed. The new skate park is going to be built with $1 million in TIF funds, with a projected fall 2014 completion date.  It will replace a smaller temporary facility along 9th Street that's been there for a number of years.

The last time we wrote about a new development in this part of Grant Park was back in 2005, where a bunch of hucksters from Palm Springs were promoting a Hollywood-styled Chicago Walk of Fame alongside the Metra tracks from Balbo to 11th street.  It was going to eventually have up 400 or more three-foot granite stars honoring the greats of Chicago past and present, and it wasn't going to cost Chicago a penny.  Which it didn't, because, thankfully, nothing ever came of it.
Having been evicted from their usual location at the Daley Bi Fieldhouse during major construction, Wednesday's meeting will be held at 6:30 p.m., over two miles away, at the Northerly Island Fieldhouse, 1521 South Linn White Drive  (Head past the Aquarium on Solidarity Drive and take a right.)  The meeting is also scheduled to include nomination and election of officers, and an update on Maggie Daley Park.

Read: Seeing MacStars

Crafty

At the opening of a New gallery in Wellington this weekend a small crowd was intently staring at the fireplace. Turns out one of the tiles had fallen off and broken and a repair had been made. But not just any old repair; the tile and its surround had been replaced with perfectly made cardboard facsimiles. Sometimes, even in art galleries, art is where you find it.
Image: Right, lookalike tile and edging second down on the right

Googling on: paint by numbers


In its exhibition WHIZZ BANG POP the Auckland Art Gallery is showing the Damien Hirst multiple Paint by Numbers (edition of 175). Lowering its market value at a stroke, they have taken the title literally and made themselves a ‘Hirst’ by following the paint-by-number instructions (it’s a bit like eating one of Paul McCarthy’s Chocolate Santas). More typically this work would be displayed as it is sold with the canvas untouched revealing its paint-by-number markings for the 90 spots. NOTE: The Auckland Art Gallery has since told us that when the work was purchased the edition had already been opened and the 'Hirst' painted presumably by its first owner. Word is that, perhaps inspired by this professional do-it-yourself spirit, a recent visitor prised open the paint box on display, took out one of the brushes, dipped it into one of the 90 pots of paint and had a go. Presumably their efforts to follow Hirst’s instructions will be conserved out.

Of course Hirst isn’t the first PBN artist. Warhol made a few back in 1962 as Do it yourselfpaintings (shop here) although now the worm has turned again and you can buy a PBN versionof Warhol Campbell’s Soup can. The original Paint by numbers concept goes back to 1950 when the Palmer Paint Company in Detroit came up with the idea. Overall this kind of PBN has had bad press in the art world. It is seen as the painting equivalent of Truman Capote’s great sniff at Jack Kerouac'swork, “That’s not writing, it’s typing.” Still, if you can muster up some irony you can buy sets here.

Sunday, February 24, 2013

Rojos at UIC Tonight, plus Nair, Shaw, Atomic West and Democracy and the Built Environment - still more for February!

You might think that at this point, we were just waiting for March and spring, and that February was pretty much finished.  You'd be wrong.  This is one active week on the February Calendar of Chicago Architectural Events.

Today, Monday the 25th, the School of Architecture of UIC kicks off its spring lecture series with Luis Rojo of Rojo/Fernández-Shaw arquitectos of Madrid.  

On Tuesday, the 26th, the Chicago Loop Alliance has its 2013 Annual Meeting, and superstar structural engineer Dr. Shankar Nair lectures of Skyscrapers-Past, Present and Future at CAF for the Structural Engineers Association of Illinois, while down at the Koolhaas Campus Center at IIT, Peter Onuf and Marshall Brown will deliver the Benjamin Franklin Lecture: Democracy and the Built Environment.
Wednesday, the 27th, Terry McDonnell talks about engineering the (Sears) Willis Tower Skydeck lunchtime at CAF, while over at the Driehaus Museum, a/k/a/ Nickerson Mansion, Stuart Cohen will discuss The Architecture of Howard Van Doren Shaw: Reimaging the Traditional House.

It all wraps up on Thursday, the 28th, with Navigating Change, an all-day conference of the Midwest Ecological Landscaping Association, a Friends of the Parks lecture on Walter Netsch's Legacy, Robert Chattel talking about the The Atomic Wild Wild West at SAIC, and Fritz Haeg discussing Domestic Integrities at the Graham.

To give you a small preview, March begins with a bang on the 1st with the barnstorming new dean Wiel Arets at the College of Architecture at IIT stopping by Frank Lloyd Wright's Unity Temple in Oak Park with A Wonderful World.

More on March later.  For now, there are nearly two dozen great items still to come this month.  Check them all out on the February calendar of Chicago Architectural Events

Ralph Hotere 1931-2013


There has been a massive outpouring from the media in response to Ralph Hotere’s death on Sunday. This time the role of one of our important artists has been powerfully and publically acknowledged for his contribution to our culture’s history and development. The irony will not be lost on those who knew Hotere as one of a small band of artists who refused to take part in the media round. He always said that if you wanted answers you needed to find them in the work and he stuck to that philosophy. Hotere quotes are few and far between. 

We had our own experience of the Hotere silence when we asked for an interview back in the late 1970s. “I really have nothing to say to you,” he replied to our note, “but you are more than welcome to come and spend a day with me and my work.” So we did. Hotere was wry and funny and thoughtful never once suggesting that the two Wellington eager beavers might be keeping him away from important work. It was a memorable day and as it turned out not the last. Now that contemporary art by Maori artists is simply accepted as another key part of our culture, it is hard to remember how hard this acceptance was won and what a pivotal part Ralph Hotere played in the winning.
Images: Top left Otago Daily Times front page and right The Press inside pages. Middle, NZ Herald Front page and inners. Bottom Dominion Post front page and TVNZ report.

SWOT

The closing of Sue Crockford’s gallery after 28 years didn’t exactly make the front page of the NZ Herald (or any other page for that matter) but it is significant. Apart from some remarkable exhibitions in a number of venues Crockford was also one of a new kind of dealer with ambition and international connections. She confidently included artists from beyond NZ on her roster so that Pae White, Daniel Buren, Boyd Webb, Bill Culbert and memorably once Sol LeWitt got to show in Auckland.
This focused style has repercussions for her artists. Along with other dealers many of her artists were solely represented in NZ by the gallery with most of them not showing South of the Bombay Hills. This leaves some big names without NZ representation. Most affected must be Bill Culbert who is representing NZ at Venice this year. Fortunately he does have Roslyn Oxley in Sydney to play pick up and that will matter this year, dealers play a much more important role in the public arena than they are often given credit for. They are the record holders and context setters and, as institutional curators and directors rarely visit artists’ studios, the gatekeepers who help shape our public collections. Sole dealer relationships tends to make their contribution and cooperation all the more critical.
So apart from Culbert who else is up for grabs? There are at least half a dozen younger artist who only have the Sue Crockford Gallery representing them in NZ along with some artists with serious reputations like Peter Robinson (who also shows at McLeavey), Gretchen Albrecht (who now has no dealer representation in NZ), John Reynolds (who will no doubt settle with Starkwhite) and Laurence Aberhart. There’s also a couple of estates. Gordon Walters and Julian Dashper were both key artists and both need commercial fizz to keep their lights from dimming while the public institutions inch toward survey exhibitions (Walters’ last survey was 30 years ago and Dashper has never had one in New Zealand).  The overseas artists probably won’t have Auckland at the top of their wish list but lets hope someone steps up for Culbert. But whichever way you look at it there is a lot to assimilate. The music has stopped, watch those chairs.

Friday, February 22, 2013

Retro Saturday - Revisiting Freedom's Limited Run: 4/11/06 - 3/1/09

click images for larger view - illustration: Wikipedia
Not that long ago, Freedom was big.  The 9/11/2001 attack that took down the World Trade Center brought a new appreciation of basic American values, and so it was announced that the WTC would be replaced by what architect Daniel Libeskind called The Freedom Tower, exactly 1776 feet high. A Museum of Freedom was also announced for the Ground Zero site, and in Chicago, the McCormick Tribune Foundation unveiled that it would establish its own Freedom Museum, in the Tribune Tower annex building that was originally constructed as a 600-seat radio studio for WGN.
image: Wikipedia
On April 11, 2006, in a building that had recently been a Hammacher Schlemmer gadget store, the Freedom Museum of Chicago opened its doors for the first time.  Designed by VOA, it had at its center a sculpture by Peter Bernheim and Amy Larimer called 12151791, a name that referenced the ratification date of the First Amendment to the U.S. Constitution.  (Freedom of the Press, don't you know.)  Mounted on a framework of wires were a series of stainless steel plates, each inscribed with words commemorating “a historical record of freedom.”
12151791 was to be a work in progress, eventually to number up to 1,000 separate steel plates.  But, just as with the other ‘freedom’ minded projects, ‘eventually’ was never to be.  In New York, Libeskind and his cowboy boots were sent packing, and the Freedom Tower became David Childs bunkered One World Trade Center.  The Ground Zero museum never even got off the drawing board,  falling to the impassioned opposition of an extreme band of 9-11 victim families protesting the possibility that a Museum of Freedom might somehow, someday, exhibit something that they might find offensive.
And in Chicago, the McCormick Tribune Freedom Museum closed its doors less than three years after opening, its exhibits and art packed away, with a small portion remounted in The Freedom Express, a big tractor trailer on which, Flying Dutchman-style, freedom is on a never-ending journey of the seven-county area.

What happened? Revisit a story of high hopes and sinking realities, and take a peek inside a vanished interior:

Freedom's Just Another Word for Another New Museum
aaa
Freedom Proves Fleeting

Chicago 4th Most Miserable; 1st Most Gullible. Why Top Ten Lists about Cities are Whack

click images for larger view
When was the last time you heard or read "as reported by Forbes Magazine" at the lead of a major news story shooting across the media?  Never?  But you're hearing the name Forbes a lot now, especially in Chicago.  Why?  Because we made number four on Forbes just-released list of America's Most Miserable Cities.  I won't lower myself to providing a link,  You can find far better ways of spending your time; clipping your toenails, perhaps.

A long time back,  Forbes Magazine gave up on being a second-tier Fortune or Business Week and settled on becoming the Fox News of business reporting.  Indeed, after taking over the magazine from his far more talented and ebullient father Malcolm, presidential wannabe Steve Forbes turned a publication once known for scrappy reporting into the kind of journalism melding news with alternative reality right-wing wish fulfillment that gave the magazine's motto "Capitalist Tool" a whole new and not entirely flattering meaning.

And so, in the tradition of David Letterman, just a lot less entertaining, the "List" has become a Forbes staple.  Over time, you can choose from Top 10 Ski Resorts in the U.S., the 10 Best Cities for Newlyweds, and Top Ten Richest Rappers,  Surely, the Top Ten Trophy Wife Bikinis can't be far behind.  And now they've done it again.  With America's Most Miserable, they've gotten $100 million dollars worth of press and air time, not to mention social media buzz, by rubbing people's noses in their own shortcomings and getting high on the resulting outrage.
Yes, there's a lot of misery in Chicago.  It lives like a murderous canker within a world of wonders.  In contrast, the kind of small towns that get on ‘most livable’ lists tend to be safely homogeneous.  They take fewer risks, have smaller ambitions and more modest results.  There is nothing wrong with this.  I have never visited an American city, no matter how small,  that I didn't fall at least a little in love with.  In fact, these are the places where most of live.  Forbe's Most Livable dotes on college towns like Ann Arbor.  Chicago actually has two of these.  They're called Hyde Park and Evanston.
A truly great city is not constrained.  It incorporates the universe.  From all across the nation, the best, the most ambitious and aspirational - and also no small number of the worst - choose to move there because that's where the action is.

If it doesn't actually kill you, Chicago will break your heart.   Chicago will also make you feel more fully alive than you ever imagined possible. 
That is the glory and terror.  It doesn't allow you to just move in the cocoon of your car through a Potemkin-perfect world between office, home and mall, as is the norm in a "livable" city.  No matter how gleaming the neighborhood, you're never more than a few feet away from the most intractable dark side of human nature.
While it's always possible to simply live in denial, for most big-city dwellers, an awareness of the basic contradiction is something we carry with us always.  It can curdle our worldview, or expand it.  Not unreasonably, we all want to live pleasant lives, but a great city, a complex city, a contradictory city, keeps you close enough to the battle lines to at least raise the possibility that you might achieve a moment or two in your life where you actually find a way to stare down the monster in a new and effective way.  Even as you're close enough to the abyss to never entirely forget just how vulnerable we are, you're also close enough to the marvels of a great city to always be aware of the kind of world we can create at our best.  It's not impossible to find such things in a small, ‘livable’ city, just a bit less likely.  The molecules are farther apart, a bit slower in motion; the environment a lot less than heated.
There is no awareness of the exaggerated duality of urban life in a Top Ten or ‘Most’ list.  There's is a binary world - on or off.  It's results are suitable, not for serious discussion, but for arguing - loudly - after downing a few drinks at the corner bar and exhausting more important debate about the Bears.
And as you're slugging down your beer, allow yourself a bit of civic pride.   If Forbes is to be believed, Chicago is not only miserable in itself, we can claim to be the source of misery in others.  According to Forbes, the larger Chicago area is a global slough of despond rivaled only by Tunguska, Siberia after the 1908 meteor strike.  Fully a quarter of Forbes 20 Most Miserable are in Chicago's orbit: the city itself, plus Rockford, Gary, Milwaukee, and even the whole of Lake County.
Yes, Lake County.  Don't walk, run, to 60045 (or take an Uber limo).  Bang on the doors of the mansions.  Evacuate the residents and exile them from their misery to - let's say - Provo, Utah, which happens to be on the Forbes list of America's Most Livable Cities, along with places like Manchester, New Hampshire, and Omaha, Nebraska, on which Chicago poet Carl Sandburg can be said to have had the final word . . .
I am riding on a limited express, one of the crack trains
     of the nation.
Hurtling across the prairie into blue haze and dark air
     go fifteen all-steel coaches holding a thousand people.
(All the coaches shall be scrap and rust and all the men
     and women laughing in the diners and sleepers shall
     pass to ashes.)
I ask a man in the smoker where he is going and he
     answers: "Omaha."


Carl Sandburg, Limited