Architect Carlos Brillembourg’s poetic meditation on Keith Sonnier’s sculptures at Mary Boone Gallery
Commodity fetishism or a city as art? Architect Richard Serra and others add to the panoply of voices in Hal Foster’s new collection of essays, The Art-Architecure Complex.
Peter Eisenman prefers Milan to Istanbul. He is an architect and theorist whose work is firmly grounded in the European classical tradition from the Italian Renaissance to the present.
George Negroponte’s new work has substituted the expression of the brush with that of the knife.
Just when we thought of Asia as fertile territory for the monumental interventions of a handful of star architects, Joseph Grima features a few projects that let us in on the true nature of the architecture shaping contemporary China, South Korea, and Japan. Although Grima’s methodology, which he calls a “Polaroid of a changing continent,” is fragmentary, the result is holistic.
The photographs in Adam Bartos’s Boulevard, taken in Paris and Los Angeles, document places that are at once ubiquitous and hidden.
BOMB architecture editor Carlos Brillembourg parses the varied subjects and themes of artist Guillermo Kuitca’s 1991 MoMA show.
The shortcomings of New York’s Housing Act of 1949 are examined in City without a Ghetto, an exhibition at the Center for Urban Pedagogy.
Jesús Tenreiro-Degwitz and I “spoke” via email from fall 2001 to late summer 2002. I have known Jesús most of my life; we became close in 1979 when we and 15 other architects founded the Instituto de Architectura Urbana (IAU) in Caracas.
Reviewer Carlos Brillembourg finds the absurd task of representing 500 years of Brazilian history in a single exhibit further hampered by Jean Nouvel’s Guggenheim redesign and the franchising of the museum brand.
While some artists are now using “architectural objects” for their art, some architects are claiming “artistic objects”; Set Diagram, a collaboration between Terry Winters and Rem Koolhaas, attempts to highlight the unique roles of both architecture and painting, while at the same time achieving an integration of the two artistic disciplines.
José Antonio Hernandez-Diez poses an inversion of the ordinary, an inversion that makes the viewer complicit in the humor that constructs his artwork.
The only International style building in New York, The Museum of Modern Art of 1939, designed by Philip Goodwin and Edward Durrel Stone, is once again scheduled for renovation and expansion
Before the Guggeheim museum opened on October 21, 1959, some of New York’s prominent contemporary artists protested against its construction because “of its disregard of the fundamental rectilinear frame of reference.”