They lived or worked in Mexico from the 1930s through the 1970s. Some were friends, some mentors, some colleagues. But all of their work, ranging from photography to furniture to weaving to sculpture, was transformed by their time there.
The exhibition “In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury,” simply but beautifully presented at the Art Institute of Chicago’s Modern Wing, highlights the work of six women: the Cuban-born Clara Porset, the Mexican Lola Álvarez Bravo, the German émigré Anni Albers, and the Americans Ruth Asawa, Cynthia Sargent and Sheila Hicks (who at 85 is still actively working with fibers).
Politics affected the geographic and artistic trajectories of all six, but they also influenced the curatorial decision to make the exhibition about many women rather than one.
“In the beginning people said, ‘Why don’t you do a show on Clara Porset?’” Zoe Ryan, the lead curator, said. Ms. Ryan, who worked with the consulting curator Ana Elena Mallet and the research assistant Valentina Sarmiento Cruz, added, “We have tried hard to move away from the singular heroic figures.”
I’m angry that the two biggest architecture stories of New York 2019 are fuckups. The hollow grandeur of Hudson Yards and the evacuated spaces of the Hunters Point Library in Queens have turned what could have been triumphant moments for planning and design into queasy spectacles, albeit of different sorts. It’s difficult to get people to pay attention to architecture any other way. Our national addiction to drama extends to million- and billion-dollar projects that will shape the waterfront for the next 50-plus years.
At Hudson Yards, the failure is forever. Manhattan’s new neighborhood, master-planned by Kohn Pedersen Fox, is a bewildering forest of glass and granite, with too little green and too little seating and too little easily accessible food, centered around a piece of public sculpture that is as useless as it is massive. If Thomas Heatherwick Studio’s Vessel—a carnival ride that everyone wants to photograph, yet no one wants to take a spin—were temporary, I might be able to live with it, but it is hard to see how it could ever go away.
Disneyland’s July 17, 1955 opening-day reviews were excoriating. H.W. Mooring of the Los Angeles Tidings wrote, “Walt’s dream is a nightmare. I attended the so-called press premiere of Disneyland, a fiasco the like of which I cannot recall in thirty years of show life. To me, it felt like a giant cash register, clicking and clanging, as creatures of Disney magic came tumbling down from their lofty places in my daydreams …” Another headline called it “The $17 Million Dollar People Trap.” There were children’s tears. There were endless lines. There was bumper-to-bumper traffic.
In other words, just like any other day in the Magic Kingdom.
As one skips through Richard Snow’s sprightly new history of the creation of Disneyland, one is constantly reminded of the human fallibility behind what now feels like an impenetrable entertainment juggernaut. It’s because of Disney that my twelve-year-old knows what IP is. It’s because of Disney that toys become TV become theme park rides. It’s because of Disney that line managers say, “Following guest.” Snow shows the reader what it took to open the gates to nostalgic Main Street, western Frontierland, watery Adventureland, storybook Fantasyland and never-finished Tomorrowland—and it took a lot, from hand-built rides to experiments in aluminum and Fiberglas, from hand-painted backdrops to Stanford Research Institute reports on the future growth of southern California.
Designer Gere Kavanaugh bought her two-story Victorian house in Los Angeles’s Angelino Heights in the early 1980s, slowly transforming its rundown interior into a showcase for treasures made by friends, artisans, and, principally, herself. “What I like in a house is organized chaos,” she told Women’s Wear Daily in 1969. “Everything I have has special meaning. It all relates to my work.” She would say the same today.
Over the course of her 65-year career, Kavanaugh designed trade shows for General Motors, department stores for Joseph Magnin, fabrics for Isabel Scott, 10-foot-high metal flowers for shopping malls, and a city-planning playset for children. Reminders of each of these phases, her maximalist sense of color and texture undisturbed by the passage of modernism, postmodernism, deconstructivism, and neo-modernism, pepper Kavanaugh’s house, demonstrating the truth of a statement she wrote decades ago for her Cranbrook Academy of Art graduation: “Design is an accumulation of everything that you perceive. It is all taken in, chewed and digested and stored for a future time. When the proper time comes, an idea is born of this.”
Lee Bey stood under the rotunda at the James R. Thompson Center, 13 stories of mirror-glass balconies rising around him in tiers, and shiny elevators (now off-limits without official business) zipping up and down.
The idea of the center, which opened in 1985 at the corner of Clark and Randolph streets, was to make a new indoor civic space downtown, with state government offices supported by the retail outlets and a food court. You can get a marriage license here. You can also eat at Taco Bell. “It embodies the idea of transparent democracy,” he said. “You can see all the elements at work.”
Even the so-bad-they-are-good 1980s colors in the atrium have meaning: “It takes the elements of a traditional government building” — the dome, the flag — “and plays with them. The red, white and blue becomes a salmon and a teal.”
Jonathan Lethem’s 1999 novel, Motherless Brooklyn, follows the gumshoe Lionel Essrog as he attempts to find the murderers of his boss and mentor, Frank Minna. In his quest, he is both helped and hindered by his Tourette’s syndrome. The reader is taken on a ride through his “ticcing” brain as well as the dark contemporary city, centered in Brooklyn, where the orphaned Lionel grew up in a Catholic boys’ home and Minna ran his small-time detective agency.
In Edward Norton’s long-gestating film version, released earlier this month, the calendar has flipped from the 1990s back to the 1950s. The movie’s heavy is a version of a figure who should be very familiar to Curbed readers: Robert Moses, standing astride the city and destroying brownstone neighborhoods in the name of progress. Norton’s character, however, is not a Robert Moses facsimile, but a man named Moses Randolph (played by Alec Baldwin). But for the close watcher, Randolph’s office in the shadow of the Triborough Bridge, his love of swimming, and his fistful of mayoral appointments all hew close to the real Moses’s biography.
If Curbed could start its own Pop-Up Video series, this film would make a terrific first episode.
Critic Alexandra Lange talked to Edward Norton—who wrote, directed, produced, and stars in the film as Essrog—about film noir, fictional villains, and planning for the people. Spoilers ahead.
I was asked to write a short piece on Louis Kahn’s Korman House for the October issue of Casa Vogue to accompany photographs by the talented Chris Mottalini.
Un conto è progettare una casa che si presenti bellissima nelle foto del primo giorno. Tutt’altra faccenda è progettarne una che prima accoglie una famiglia, poi un’altra e, dopo una quarantina d’anni, appaia ancora stupenda. È il caso della Korman House a Fort Washington, Pennsylvania, disegnata dall’architetto Louis Kahn e realizzata fra il 1971 e il ’73 – il suo ultimo incarico prima della prematura scomparsa nel marzo 1974. I committenti erano Steven e Toby Korman, la cui attività di famiglia era, ed è ancora, l’imprenditoria immobiliare. La coppia aveva tre figli; volendo dare loro spazio per crescere pianificarono, insieme alla sorella di Steven, Lynne Honickman, e a diversi cugini, un complesso familiare su un terreno non edificato di oltre 28 ettari, nei sobborghi di Philadelphia. La vicina casa degli Honickman, anch’essa progettata da Kahn, non è mai stata realizzata, consentendo alla Korman House di guadagnare spazio in un paesaggio progettato da Harriet Pattison (91 anni, architetto del paesaggio, l’ultima compagna di Louis Kahn, nonché madre di Nathaniel).
“PACE YOURSELF,” I tweeted the first time I saw the new MoMA. Two and a half hours after I arrived, I was exhausted … and I hadn’t even had time to visit the store. As the nice young woman from marketing moonlighting at the Information desk said, the new MoMA is now on the order of the Met or the Louvre. You’d be foolish to try to do it all in a day. You need to think about visiting differently.
Typically when a new museum opens, the architecture critics cover the building and the art critics cover the exhibits. That works for buildings with boundaries. But the new MoMA isn’t a static object or a solid, it’s a hydra, wending its way behind the permanent parade of silver and black curtain walls on West 53rd Street, snaking upward in three strands, west, north, and south, behind surfaces that are grandly and blandly fine.
“Grandly and blandly fine” has been my mental description of MoMA ever since Yoshio Taniguchi’s 2004 expansion created many of the circulation and hierarchy problems that the latest set of architects, Diller Scofidio + Renfro and Gensler, were hired to fix, $450 million and 47,000 square feet ago. (The museum is now 165,000 square feet in total.) Taniguchi decided minimal detailing and maximal spaces were the way to add grandeur to the museum’s collection of buildings, taking his cue from the generosity of Philip Johnson’s 1953 sculpture garden. But his big gestures, especially the four-story white atrium, felt flat after their initial impact. Even if space is the ultimate luxury in Manhattan, that volume managed to feel cheap.
MoMA has doubled down on details and dun-colored materials, but the museum wasn’t so foolish as to ask its new architects for more grand spaces. Instead, they were asked to solve a traffic problem: how to get 2.8 million visitors per year through the galleries without choke points and lines, confusion and disappointment. Hence the hydra, which springs from a lobby that appears power-washed and forks into gallery after gallery of greatest hits and new surprises. The power of the new MoMA – the flex – comes from the art, not the architecture.
No amount of decor can cover the truth in Succession: It’s not the furniture, it’s the humiliation
In Season 2, Episode 4 of the HBO series Succession, someone fires a gun.
This is far from the first gunshot (in the previous episode, for example, the top managers at Waystar Royco, the fictional Murdoch-esque media-and-entertainment company, were flown to a castle in Hungary for a team-building retreat which involved hunting wild boar). But this gunshot, fired in the offices of ATN—the company’s Fox News-y cable network—sends members of the inner circle into a different sort of panic.
“I’m in the wrong panic room,” says the venal, hapless Minnesotan Tom Wambsgans (played by Matthew Macfadyen). Tom, you see, is an executive married to Shiv Roy (Sarah Snook), Titian-haired princess of Waystar Royco. No one, including Tom, thinks he is good enough for her, and here is physical proof: a white-walled breakroom with snacks and a laminate countertop that’s neither sealed nor secure. Tom recognizes that his wife and her father, company founder Logan Roy (Brian Cox), aren’t in his room. They are in a better one.
Panic room hierarchy serves as a neat shortcut into the Roy family’s architectural psychology. This is not a show that merits deep reading of throw pillow choices or kitchen island family dynamics. What matters most is: Who’s in the room?
What if the future of early-childhood education didn’t involve an iPad? What if, on the playground, movable blocks and ladders replaced fixed plastic slides and tubes? What if teachers acted more like guides and were less beholden to worksheets? School would be more like the creative process (rather than the counting-the-minutes crucible that many students experience) and the tools would look quite different: wooden play pieces, ropes and pulleys, nuts and bolts. That’s where Cas Holman comes in. Holman is the founder of the toy company Heroes Will Rise, a professor at the Rhode Island School of Design, and one of six designers profiled in the second season of “Abstract: The Art of Design,” on Netflix. In the episode that features Holman, we get a glimpse of the educational future, as Chinese kindergartners, dressed for the rain in full-body yellow slickers, create a life-size version of a Hot Wheels track out of ladders and barrels, learning about coöperation, gravity, and momentum along the way.
Holman, who is forty-five, is best known as a member of the design team behind the Imagination Playground blocks: blue foam logs, bricks, arches, and chutes, some as big as a preschooler; they allow children to build their own playground and, in the process, practice teamwork. Since 2010, when the blocks were launched, in a park in lower Manhattan, they have spread to libraries, children’s museums, more parks, and schools in more than seventy countries. The blocks, which are bulky but lightweight, make it possible to set up play practically anywhere; the minute they hit the floor, the kids take over, creating their own world, with their own hands—not without some bickering. “The reason I design for children is I’m designing for people,” Holman said. “These are the people that are going to make the world suck or not suck. Good toys make good people.”