Granville Island is a tourist destination populated with specialty shops, food markets and art galleries that’s accessible via a short ferry ride from the Vancouver waterfront. It was there that I stumbled upon this monumental work of public art locked away behind the security fences at Ocean Concrete. I immediately recognized the larger-than-life mural, entitled Giants, as the creation of one of my favorite street artist duos, Brazilian twin brothers Gustavo and Otávio Pandolfo a.k.a. Os Gemeos. Continue reading Giants By Os Gemeos on Granville Island
Born in Tokyo in 1934, Shiro Kuramata studied at the city’s polytechnic high school and Kuwsawa Design School. He revolutionized design in postwar Japan by considering the relationship between form and function, adhering to minimalist ideas but embracing surrealism as well. During the 1970s and 1980s, Kuramata began to use new technologies and industrial materials. He was inspired by Ettore Sottsass and joined the Memphis Group at its founding in 1981.
The Kyoto Table (1983) is an example Kuramata’s innovative use of concrete and glass to create minimalist form with surface interest. Kuramata’s furniture and interiors have been influential both is his native country and abroad.
Photographed in the Met Breuer in NYC.
At the turn of the 20th century, New York City’s wealthy elite gathered in opulent private ballrooms to define their social status. In contrast, Central Park granted democratic access to public space when it was established in the 1850s as one of the nation’s first urban parks.
Open House is a new commission by Los Angeles-based artist Liz Glynn (b. 1981, Boston, MA) that highlights these historic class distinctions. It references one of the grandest Fifth Avenue interiors designed by Gilded Age architect Stanford White: the now-demolished William C. Whitney Ballroom.
Open House transforms Doris C. Freedman Plaza into an open air ballroom, where only scattered furniture and arches remain eight blocks south from the original mansion.
Glynn’s lavish Louis XIV sofas, chairs, and footstools evoke the historic home, but with a twist —- these objects feature sculpted additions and are cast in concrete, a populist material more commonly seen in modern architecture.
With this revision, the artist invites the public to enjoy a previously exclusive interior space that is now open and accessible to all. In this strange facsimile, Glynn addresses the evolving face of a city: who has access to space in a society that is increasingly divided along socio-economic lines?
Open House will be on Exhibit Through September 24th, 2017, at the Doris C. Freedman Plaza, Located at 5th Avenue and 60th Street at the Entrance to Central Park in Manhattan.