Open floor plans are less open than we think—and ripe for intervention. Oppenheimer’s latest effort is on view at the Pérez Art Museum Miami.
Although appropriately sized, the Little People—a civilization whose many dwellings once populated street gutters, building cracks, and window sills in Manhattan and other parts of the world—certainly would have refused to move into one of the micro-sized (though hardly micro-priced) apartments that are now springing up in New York City.
Buildings are big, expensive, and they have a tendency to stick around a long time. So what’s an artist who wants to disturb “the repressive architecture of bureaucracy and luxury” to do?
“Some people are happy calling me an artist, others a Conceptual or post-Conceptual artist, others say sculptor, and others use a string of modifiers. Someone suggested once that I was simply performing these categories, which I like.”
North of Paris, west of Texas—Laster’s community-based social sculptures span cultures and continents.
For Tatiana Bilbao, an architectural project’s limitations are opportunities to experiment with new approaches. With artist Terence Gower she revisits recent ventures and Mexico’s architectural tradition.
Nature, sustainability, urbanism, and the overlapping interests of two artists who produce very different work.
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.
Liza Béar talks to Turkish artist Serkan Ozkaya about his monumental David Double.
On October 1, millions of people in Toronto ventured outside their homes to experience the 6th annual Nuit Blanche. Rebecca Melnyk spoke to the curators about the multi-city event and the role of public art.
Alison Saar and Hadley Roach take a stroll through Madison Square Park to explore the stages and cycles of the Seasons.
Shifting Connections continues with Kathleen MacQueen’s interview with Daniel Canogar, one of the artists featured in New York’s Into the Light event.
This fictional site operates simultaneously with our everyday lives. It is a place where relationships unfold in time, and structures unfold in space; lying together they suggest the abstract material of sociability. These formations are the relatives of architecture, the turf of Andrea Blum’s work.
Liza Béar talks to Miquel Barceló about his 26-foot bronze sculpture, Gran Elefandret, which was recently unveiled in New York’s Union Square.
Friends of the High Line commissions artists to make site-specific works along the former railway. Tabitha Piseno speaks to curator Lauren Ross and artist Kim Beck about art and the urban environment.
Departing a clandestine appointment in a San Francisco office tower, Jejune Institute inductees puzzle over an encrypted instruction key.
One of my greatest motivations has always been to make those doors not depend on social conditions; to make them not a privilege but a right in a just society.
En los últimos años Medellín se ha vuelto visita obligada de los arquitectos que vistan Colombia y América del Sur.
Having just celebrated its eighth incarnation last April and May, Chicago’s Version Fest is a 10-day mash-up of curatorial projects, public interventions, musical events, and academic forums.
Though we share acquaintances, Smiljan Radic and I have never met in person, nor spoken over the phone. This interview is the result of a series of email exchanges between Smiljan in Santiago and myself in Mexico City during October of 2008.