Philadelphia

   I went home with Rob for Thanksgiving and went to Philadelphia for the first time. Saw the new Barnes Collection building, went to the Philadelphia Museum of Art, got yelled at for climbing a Sol LeWitt, and went to Terrain, the plant store owned by Urban Outfitters. 

delirious new york

Yayoi Kusama

Bruce High Quality Foundation at Lever House

Martin Puryear

Brooklyn Museum on 4th of July

IAC building by Frank Gehry, 100 Eleventh Ave by Jean Nouvel as seen from the High Line

New Richard Serra piece at Moma

Starrett Lehigh building

Tara Donovan & Robert Irwin at Pace's Summer Show on 57th st.

Rob & I reflected in a Robert Irwin piece

Guggenheim

Guggenheim

Isamu Noguchi Museum

Homage to Louis Kahn in the ceiling plan at the Noguchi Museum

New York, I love you.

Here are a few snapshots of some of my favorite things I've seen and done since I moved to New York a few weeks ago.

 Frank Stella in some building lobby.

 Frank Gehry apt building at 8 Spruce Street.

 Brooklyn Bridge

 Lever House by Gordon Bunshaft

 Chuck Close up close

 Gloomy Guggenheim

 Opening at AIA Center for Architecture

 ROBERT IRWIN <3 at The Pace Gallery

 Governor's Island

 Seagram Building by Mies van der Rohe

Sarah Morris, Big Ben, 2012

new blog project

I'm starting a new blog project to improve my architectural writing skills. Bookmark it, RSS it, google reader it, or whatever the cool kids are doing these days, cause it's going to be colloquial architectural history for everyone! I'm very excited about this.
www.seeingisforgetting.com

the past few months

1. Roxy Paine sculpture at Tadao Ando's Ft. Worth Museum of Modern Art
2. Roxy Paine, Conjoined, 2007
3. Louis Kahn's Kimbell Museum of art in Ft. Worth
4. Matisse inside the Kimbell

5. Tony Cragg sculptures in Renzo Piano's Nasher Sculpture Center in Dallas
6. Renzo Piano's Cy Twombly gallery in Houston

7. Inside Cy Twombly gallery

8. Dan Graham's Triangular Solid with Circular Inserts, Variation F. at the MFAH's Cullen Sculpture Garden

9. Dan Flavin at Richmond Hall

10. McArthur Binion exhibit at the CAMH

11. Asia Society Texas Center by Yoshio Taniguchi (opens to the public in April)
12. Courtyard of the Byzantine Fresco Chapel by François de Menil

Richard Serra: Drawing

A retrospective of Richard Serra's drawings opened on Thursday night at the Menil. I was fortunate enough to attend both the book signing and the conversation between Serra and co-curator of the exhibit, Michelle White.

Richard Serra is extremely charismatic and filled the room with laughter more than a handfull of times with his anecdotes of Robert Smithson's dinner parties (where Carl André and Donald Judd were both guests) and his frequent and perfectly timed, humorous interruptions of White's questions.

He spoke of drawing as a language, completely separate from writing and speaking and emphasized the importance of the notebooks he constantly carries (a few of which are on view outside the galleries). Individuals create different visual languages depending on what it is they are trying to convey, and after an intense back and forth banter with an audience member, Serra made it clear that his visual language is not composed to evoke emotion. If I may attempt to quote him, "It's fine if you have an emotional reaction to the work, just don't blame me."

From quoting Louis Kahn on the importance of responding to your materials,
(some variation of this famous quote --
You say to brick, “What do you want, brick?” Brick says to you, “I like an arch.” If you say to brick, “Arches are expensive, and I can use a concrete lintel over an opening. What do you think of that brick?” Brick says, “I like an arch.”)

to visually showing his distaste (by pretending to gag himself with a finger down his throat) for the ways acclaimed art historian Rosalind Krauss has described his work, to making puns about his former color theory professor Josef Albers while defending his use of only black when he said he just isn't interested in how red looks when placed next to pink, Serra humorously asserted his place in the art historial canon.

The drawings themselves warrant their own post, which I will write up after I got back and see them in natural light; I feel the experience will be very different than in the gallery lighting of the late night opening.