The opening of the National Public Housing Museum for the Chicago Architecture Biennial is an opportunity to see a cultural diamond in the rough. When you visit, you will experience a museum-in-the-making, featuring three interesting and insightful exhibits against the backdrop of an abandoned public housing building. As a visitor, you are a participant in the history of this building as it unfolds. This is a once-in-a-lifetime chance to experience the building in a unique way, unlike how the residents of the past experienced it, and distinct from the visitors who will follow when we officially open our doors in 2017.
The anchoring exhibit for the Biennial is entitled, "House Housing," an exhibition first presented by the Temple Hoyne Buell Center for the Study of American Architecture in the third-floor apartment of Columbia University’s Casa Muraro in June 2014, to coincide with the opening of the 14th International Architecture Exhibition in Venice. After the exhibition in Chicago, House Housing will also appear as a part of the Wohnungsfrage (“The Housing Question”) exhibition at the Haus der Kulturen der Welt in Berlin, and then again in the spring at the MAK Center for Art and Architecture’s Schindler House location in West Hollywood, CA. In 23 brief, historical episodes, running from 1910 to 2014, Housing Housing presents a critical analysis of architecture's engagement with real estate development, particularly in the design of housing. The second exhibition, entitled "We, Next Door," is organized by NPHM with its “Youth Advisory Council” (YAC) to respond creatively and critically to the House Housing exhibition’s episodes curated by the Buell Center —situating the issues it addresses specifically in Chicago, and in the teens’ lived experience of public housing.
The third exhibition, entitled "Collection, Building, Action." Through artifacts and media the Collection, Building, Action exhibition illuminates the activist mission of the NPHM and the work of NPHM staff, volunteers and advisors in oral history and material culture collections and programming around public housing history, practice and policy since 2007. The exhibit invites visitors to engage NPHM’s ongoing efforts to shed new light on the history of public housing, to envision its future, and to draw renewed attention to the meaning of “the public good” in civic discourse.
We would like to emphasize that this a unique opportunity to experience three outstanding exhibitions within an ABANDONED PUBLIC HOUSING BUILDING. You will be experiencing a cultural diamond in the rough. Therefore, we cannot guarantee you all the conveniences of a fully-restored museum.
What you need to know:
There are no bathroom facilities. We have permission from local establishments for our visitors to use their bathroom facilities.
Due to the fact that we are not a fully-restored building, there is no disabled access to the building at this time.
The flooring is old and can be tricky- please watch your step and wear appropriate footwear (we recommend well-fitted, close-toed shoes)!
There is no climate control in the building. It could be chilly inside. Dress appropriately.
We enjoy looking at historic interiors, but there’s more to them than meets the eye. Behind the walls, below the floors, and underneath the painted surfaces are the back-stories few people have heard about the city’s known and not-so-known landmarks. The authors of Interior Landmarks: Treasures of New York (The Monacelli Press; September 29, 2015) will take us behind the scenes of some of the City’s most interesting spaces. They will tell little-known and fascinating stories about places like City Hall and the Tweed Courthouse, Loew’s Paradise Theater, the Four Seasons Restaurant, the Dime Savings, and Manufacturers Trust bank buildings. They will share stories of the political wrangling, financial skullduggery, design competitions, preservation challenges, and restoration problems that designers and builders dealt with to provide insight into why these venues are so special and how even being a landmark doesn’t guarantee that a great space will remain safe from damage, or change. This program delves into the themes of our exhibition Saving Place: 50 Years of New York City Landmarks, on view through January 3.
Book signing to follow.
Judith Gura, Design Historian and Exhibitions and Public Programs Consultant at the New York School of Interior Design
Kate Wood, President at LANDMARK WEST!
Larry Lederman, Photographer
The event is co-presented by the New York School of Interior Design (NYSID).
$10 tickets (regularly $16) using the code SAVE50
Historic preservation activism in New York City did not begin in the 1960s with the fight to save Penn Station and the effort to pass the Landmarks Law—it began in the late 19th century. Little-remembered preservation pioneers like Andrew H. Green and Albert Bard, as well as various women's garden clubs, and patriotic and civic organizations laid the groundwork for the generations of preservationists that would follow. Join us to recount the triumphs, failures, and tactics of these early preservationists, and discuss what they might teach us moving forward.This program delves into the themes of our exhibition Saving Place: 50 Years of New York City Landmarks, on view through January 3.
Michael Miscione, Manhattan Borough Historian
Anthony Wood, Founder and Chair, New York Preservation Archive Project
Amy Freitag, Executive Director at JM Kaplan Fund
Seri Worden, Field Services at National Trust for Historic Preservation
$10 tickets (regularly $16) using the code SAVE50
Fifteen I Tatti Fellowships, each for twelve months, are available
annually for post-doctoral research in any aspect of the Italian
Renaissance broadly understood historically to include the period from
the 14th to the 17th century, and geographically to include
transnational dialogues between Italy and other cultures (e.g. Latin
American, Mediterranean, African, Asian etc.).
Deadline Oct 15, 2015
Wallace Fellowships, for four or six months, are available for scholars
who explore the historiography and impact of the Italian Renaissance in
the Modern Era (19th-21st centuries). Projects could address a range of
topics from historiography to the reaction to, transformation of, and
commentary on the Italian Renaissance and its ties to modernity. Also
welcome are projects on museum and collecting history, and on the
survival of the Renaissance in modern art and architecture, in
literature and music, and in philosophy and political thought.
Berenson Fellowships, for four or six months, are available for
scholars who explore "Italy in the World". Projects should address the
transnational dialogues between Italy and other cultures (e.g. Latin
American, Mediterranean, African, Asian etc.) during the Renaissance,
broadly understood historically to include the period from the 14th to
the 17th century.
Mellon Fellowships in the Digitial Humanities, for four or six months,
are available for projects that cut across traditional disciplinary
boundaries and actively employ digital technology. Applicants can be
scholars in the humanities or social sciences, librarians, archivists,
and data science professionals. Projects should apply digital
technologies such as mapping, textual analysis, visualization, or the
semantic web to topics on any aspect of the Italian Renaissance
Deadline December 14, 2015
See website for details about these and other grants, including:
Craig Hugh Smyth Fellowships, for three months, are available for
curators and conservators. Projects can address any aspect of the
Italian Renaissance art or architecture, including landscape
David and Julie Tobey Fellowship, for three months, is awarded to
support research on drawings, prints, and illustrated manuscripts from
the Italian Renaissance, and especially the role that these works
played in the creative process, the history of taste and collecting,
and questions of connoisseurship.
A One-day colloquium, co-organised by the Architecture, Space and Society Network and Birkbeck Institute for Social Research
Friday 23 October 2015, 10am-5pm.
The concept of architectural design is accounted for on separate terms to the world in which it emerges – it is not socially dependent. Yet, there are building projects where the past plays a creative part in the design process.
In archaeology, an exploration of temporal details can unsettle the sequence of design followed by occupation and instead reveal how people design with living.
In between these two disciplines, ethnographic accounts of making demonstrate how design emerges through routine practices of reiteration and alteration. Architecture in time considers the social complexity of buildings, it brings to the fore time as a creative force in design, and makes architecture depend on society.
Architecture in Time is an interdisciplinary colloquium that considers the social complexity of buildings, brings to the fore time as a creative force in design, and makes architecture depend on society.
Key themes: the production of architecture, architecture and participation, the temporality involved in the mediation between matter and form, and the relation between design and occupation.
This conference looks at practices of leisure, recreation and sociability in pre-modern societies and how these were reflected in and shaped by spatial practices. As is the case today, sociable, leisure and recreational practices and events were important means for strengthening associations and social bonds, creating local and regional identities, and maintaining distinctions. While the role and practices of sociability in clubs, societies and guilds have been well explored in recent decades, their connections with leisure and recreation have been neglected. Sociability has in recent years featured prominently in histories of consumer societies and material culture. A new interest in spatiality has also led to an intensive investigation of sociable public places such as coffee houses, clubs, salons, shops, and taverns and their connection with the emergence of a (political) public sphere. (Spatial) practices and modes of sociable leisure and recreation in early modern society, however, have received much less attention. The main research undertaken in this area is largely concerned with English urban developments in commercial leisure in the eighteenth century, while practices and spaces of recreation, diversion and sociability before 1660 and beyond Europe have only very recently come into clearer focus.
The aim of this conference is to take stock of the current state of research in the field of spatial practices of leisure, recreation and sociability. It aims to bridge the gap between histories of recreation, leisure and sociability in the eighteenth century and earlier periods, and to facilitate conversations between historians working on different case studies in Europe and beyond in order to develop comparative perspectives. Contributions might investigate spatial practices or the creation and usage of public, economic, exclusive or private places and spaces for leisure and sociability in urban, courtly or rural contexts. Papers are also welcome to explore different forms of leisure and recreation (sport, games, performances, drinking and eating etc.) and sociability (for example, with family, friends, neighbours, status groups, work and religious associations etc.)
Papers could address issues such as the following, but are not limited to this list:
Topographies of places and spaces. What are the different places and spaces of leisure, recreation and sociability in early modern towns and villages? How are they connected? Are different spaces used by the same groups on different occasions or do they co-exist?
Multi-functionality of spaces. What other purposes do sociable places serve and does the multi-functionality of places influence or reflect on the practices of leisure and sociability?
Comparisons. How do practices and spaces differ between town and country, between different regions, between countries? Are there similarities?
Transfer of practices from town to country and vice versa, between cities, between countries. Who are the agents of transfer? How are fashions created and transferred?
Change over time. How did spatial practices of leisure and sociability change over time? Which spatial practices or places formerly in use were abandoned, and what replaced them? Who or what initiated these changes? Who opposed these changes and how?
Social relations created in sociable places and spaces and modes of inclusion or exclusion (gender, status, age).
The conference will be held at the German Historical Institute London on 19-21 May 2016. Proposals from scholars at any stage in their career are invited and papers with an interdisciplinary approach are particularly welcome.
Standard travel expenses and the cost of accommodation for the duration of the conference will be reimbursed.
If you are interested in presenting a paper, please submit an abstract of up to 300 words and a short CV by 8 November 2015.
All enquiries and proposals should be sent to Angela Schattner: firstname.lastname@example.org
German Historical Institute London
0207 309 2029
We invite researchers and practitioners from all aspects of the history of construction to submit presentation and paper abstracts on subjects relating to the Americas for the 5th Biennial Meeting on Construction History, to be held in the city of Austin, Texas. The meeting will be hosted by the Construction History Society of America and the School of Architecture at the University of Texas at Austin from May 26-29, 2016. The meeting follows successful meetings for the CHSA held in Minneapolis MN (2014), Cambridge MA (2012), Philadelphia PA (2010), and Atlanta GA (2008).
How do architectural projects like The 606, the Riverwalk, Maggie Daley Park, and the Navy Pier redesign affect the greater city? Architecture sometimes affects not only the experience of users within the structure but reshapes a community’s infrastructure. In this discussion, a part of the Chicago Architecture Biennial, we’ll look at how the work of a few designers is changing Chicago and other cities.
Join Gina Ford (Riverwalk), Matthew Urbanski (The 606, Brooklyn Bridge Park), Andrew Vesselinovitch (The 606, Riverwalk), and Sarah Weidner Astheimer (Navy Pier) for a conversation on how architectural projects can redraw urban boundaries.
After the discussion, we’ll take a walking tour of The 606 led by Jean Linsner and docents from The Trust for Public Land and gain a deeper understanding of how it’s reshaping the adjacent neighborhoods.
Gina Ford, Principal, Sasaki’s Urban Studio
Matthew Urbanski, Principal, Michael Van Valkenburgh Associates
Andrew Vesselinovitch, Urban Designer, Ross Barney Architects
Sarah Weidner Astheimer, Senior Associate, James Corner Field Operations
Michelle Ha Tucker, IDEO
Free and open to the public.
This program is presented as part of Chicago Public Library’s One Book, One Chicago.
House Housing: An Untimely History of Architecture and Real Estate in Twenty-three Episodes at the National Public Housing Museum's future site in the historic Jane Addams Homes invites visitors to experience history as ever-present, circulating in and through the built environment that surrounds us. Throughout the now-crumbling rooms of the once-pioneering public housing project in Chicago’s Near West Side, the Buell Center has narrated exhibition episodes that the visitor will experience through a mixture of domestic media from across the century—from phonograph to television, answering machine to iPad—converting the former apartments into a whispering, humming history machine.
Presented in partnership with the NPHM and the Chicago Architecture Biennial.
The Second Empire style has come to epitomize Victorian architecture, and often in a negative setting. Everyone from Charles Addams to Alfred Hitchcock has worked to cement the image of a house with a mansard roof representing age, decay, and obsolescence, if not murder and mayhem. Yet this style (as historians have defined it) was extraordinarily popular in the third quarter of the nineteenth century. Architects and taste-makers generally despaired at its universal popularity for all classes of society and all types of buildings (except churches). Yet the public was infatuated, as the perceptive critic Mariana Griswold van Rensselaer observed in 1886:
None too pleasing, it seems to me, even in its proper size and station, this so-called ‘French roof’ was ludicrous indeed when set on top of our flimsy little wooden walls in a greatly diminished but still all-too-massive form. It was supremely ludicrous and supremely ugly, yet no feature we have ever made our own has been more universally beloved.
Why was this style so popular and why did it lose popularity? A common assumption that it found favor is that there was a widespread infatuation with France during the Second Empire. While there is truth in that, especially for the grand public buildings, it does not fully explain the popularity of the “French roof” from Maine to California. Its popularity grew during and shortly after the Civil War, well before many of the iconic buildings such as the State, War, and Navy Building in Washington and the Philadelphia City Hall were under construction.
This lecture is national in scope and based upon an investigation of the extensive listings in the National Register of Historic Places. It will look at the origins of the style in America and explore the spread of its popularity across the country. Many sources for the spread of its popularity are investigated, including literary journals, early architectural journals, style books, agricultural journals, and pattern books. By 1870, and during the decade that followed, the Second Empire style was arguably the most popular architectural style in America. It demise, unlamented by most architects, rapidly followed despite the continued use of the “French roof” is ways no longer recognizable to the country of its origin.
Roger G. Reed is an historian for the National Register and National Historic Landmark Programs. He is the author of Building Victorian Boston, The Architecture of Gridley J. F. Bryant.
The First Congregational United Church of Christ
945 G Street NW, Washington, DC 20001
6:30 pm – reception and book signing, 7:00 pm – lecture
Reservations are not required. $10.00 for Latrobe Chapter members, student members (full time) free with ID, $18.00 for non-members.
Described from the outset as Levitt and Sons’s “most de luxe venture,” Belair at Bowie, Maryland (1960‐70), grew out of more than a decade’s experience in mass housing design, construction, and marketing by a firm whose name and identity was synonymous with postwar residential construction.
For the company, which started in 1958 at Levittown (later Willingboro), New Jersey, Belair provided their initial product and marketing redirection away from what had previously been a largely working‐class base. With ground broken two years later at Belair, Levitt and Sons made the final turn from minimum houses created mainly for the middle‐income working class to those designed expressly for middle‐class consumption.
The Latrobe Chapter will visit this significant development with Jamie Jacobs, author of the recently published Detached America: Building Houses in Postwar Suburbia. The 2‐2 ½ hour tour will allow members to experience first‐hand the significant architecture and landscape of Belair at Bowie, Maryland.
Tour participants will meet at Belair Mansion, 12207 Tulip Grove Drive, Bowie at 10:30 a.m. Reservations are required. See attached for registration information.
The doctoral students of the Planning + Architecture Research Group (P+ARG) at the University of Michigan's Taubman College of Architecture and Urban Planning are pleased to announce a graduate student conference, “Rule & Form: Confronting the Spatial Transactions and Logistics of Capital,” which will take place February 5-6, 2016.
Cities are increasingly dominated by commodified spatial forms that are built and governed by exceptional rules. Across the continent of Africa, corporations are building privately owned company towns modeled after successful New Urbanist developments on other continents. Wealthy cities are collaborating with famous architects to develop self-sustaining research and technology zones, like Masdar City in Abu Dhabi and Barcelona’s architecturally iconic Innovation District. Designs for the “entertainment city” continue through stadium development, museums, parks, and other consumer experiences whose success is evident from the immediate popularity of New York City’s High Line. Free zones, ports, and distribution hubs are emerging as spaces of exception and demonstrating a strategic infrastructural architecture to purposely expedite transactions and evade local responsibilities. These forms are being built and governed privately or quasi-privately in cities competing for investment capital, separate from the ordinary politics of the city and responsive primarily to an elite demographic and the needs of global capital. This produces cities with profit and business logistics foremost in mind rather than local culture and aesthetics or social equity. As architects and urban planners, are we complicit in these processes that produce homogenous city forms and limit democratic control of urban space? Can we challenge them?
How have the spatial forms and rules of the neoliberal city developed historically?
Can we identify historical antecedents to neoliberal city building? How were these projects contested, and what can we learn from those disputes?
What theoretical and methodological innovations can scholars employ in the study of neoliberal spatial forms and rules?
In particular, does emerging work on the geography of infrastructure and logistics change how we conceptualize this field of study?
How can planners and architects intervene today to produce cities that are responsive to local place and culture and socioeconomically just?
We aim to bring together doctoral students at different phases of study from institutions across the U.S. and internationally to foster dialogue on a pressing topic that impacts the fields of both architecture and urban planning. This day-and-a-half conference includes a keynote speaker, graduate student panels, break-out sessions and informal social events. This conference is open to all doctoral students whose research concerns the built environment, particularly architecture and urban planning, but also across related disciplines.
PARTICIPANTS AND STRUCTURE
We seek twenty-minute paper presentations from researchers whose work reflects on questions related to the theme. Doctoral students are invited to submit an abstract (300 words max.) of their proposed presentation to email@example.com by November 16, 2015. Applicants will be notified of the status of their submission by December 4, 2015. While no travel stipend can be offered to accepted presenters, Taubman College extends free registration for this event to presenters and all attendees.
Call for Posters
2016 NCPH/SHFG ANNUAL MEETING
Challenging the Exclusive Past
Renaissance Baltimore Harborplace Hotel – Baltimore, Maryland
The Poster Session is a format for public history presentations about projects that use visual evidence. It offers an alternative for presenters eager to share their work through one-on-one discussion, can be especially useful for works-in-progress, and may be a particularly appropriate format for presentations where visual or material evidence represents a central component of the project.
The poster session will be held on Thursday, March 17, 2016 from 5:00-7:00pm at the Renaissance Baltimore Harborplace Hotel, Baltimore, Maryland. Set-up will start an hour before the Poster Session begins.
Proposals must be submitted electronically (in ONE PDF document). See http://bit.ly/CallforPosters for more details.
Deadline: OCTOBER 1, 2015. Email your proposal to firstname.lastname@example.org with the subject line “2016 Poster.”
National Council on Public History
Florence / Rome-Vatican, October 5 - 06, 2015
The Sistine Chapel
International Study Day
Institut für Kunstgeschichte der Ludwig-Maximilians-Universität
München and Zentralinstitut für Kunstgeschichte Munich in
collaboration with Musei Vaticani, Gabinetto Disegni & Stampe degli
Uffizi and Kunsthistorisches Institut in Florenz - Max-Planck-Institut
Monday, 5 October 2015
FLORENCE: Kunsthistorisches Institut - Max-Planck-Institut, Palazzo
Grifoni Budini Gattai, Via dei Servi 51
Welcome & Introduction
(Arnold Nesselrath, Musei Vaticani & Ulrich Pfisterer, LMU Munich)
Stefano Pierguidi (Sapienza, Rome):
"The Rivalry of the Quattrocento Painters"
Ulrich Pfisterer (LMU, Munich):
"Speed! On the chronology of the Quattrocento frescoes"
Tristan Weddigen (University of Zürich):
"Raphael's Tapestries for the Sistine Chapel"
FLORENCE: Gabinetto dei Disegni e delle Stampe degli Uffizi, Via della Ninna 5
13.30 – 15.30
Introduction Marzia Faietti (Uffizi; Gabinetto Disegni & Stampe):
"The 'Piermatteo d'Amelia'-drawing of the ceiling"
ROME-VATICAN: Musei Vaticani, Viale Vaticano
19.30 – 22.00
Visit Sistine Chapel
Introduction Chiara Franceschini (Italian Academy, Columbia Univ./EHESS Paris):
"Movement in the Sistine Chapel"
Tuesday, 6 October
ROME-VATICAN: Musei Vaticani, Lecture Room, Viale Vaticano
Peter Howard (Monash University):
"The Visual Art of Preaching in the Frescoes of the Sistine Chapel"
Giovanni Careri (EHESS Paris):
"The Ancestors of Christ"
David Summers (University of Virginia):
"The Great Sabbath. Michelangelo, Pico, and the Sistine Chapel Ceiling"
Kim Butler (American University, Washington DC):
"Im/maculate Bodies in the Sistine Chapel"
Vitale Zanchettin (Musei Vaticani):
"L'architettura dipinta della volta"
Peter Gillgren (Stockholm University):
"Being in the Sistine Chapel: The Wennerberg Experience"
Bernadine Barnes (Wake Forest University):
"Viewing the Last Judgment from within and outside the Sistine Chapel"
Peter Lukehart (CASVA Washington):
"The Afterlife of Nude Saints in Michelangelo's Last Judgment"
Massimiliano Rossi (Università del Salento):
"L''età dell'oro': la maniera moderna nella Sistina come paradigma epocale"
Carmen Bambach (Metropolitan Museum NYC) Matteo Burioni (LMU Munich)
Michael Cole (Columbia University NYC) Tobias Daniels (Bibliotheca
Hertziana / Max-Planck-Institute Rome) Ana Debenedetti (Victoria &
Albert Museum, London) Sybille Ebert-Schifferer (Bibliotheca Hertziana
Thomas Ertl (University of Vienna)
Marc Evans (Victoria & Albert Museum, London) Fabian Jonietz (KHI,
Florence) Klaus Krüger (FU Berlin) Florian Métral (Université Paris 1
Panthéon Sorbonne) Philippe Morel (INHA Paris) Cristina Ruggero (LMU
Munich) Andreas Schumacher (Alte Pinakothek Munich) Gerhard Wolf (KHI,
Organization: Arnold Nesselrath (Musei Vaticani and Humboldt
University, Berlin) & Ulrich Pfisterer (LMU Munich)
Recent projects by Meejin Yoon of MIT and Howeler + Yoon Architecture/ MY Studio examine architectures role as an interface between degrees of publicness. Featuring projects which aim to generate new modes of action, forms of of production and types of agency, HYA/MYS has created a new ecology of practice where relationships between cultural producers are extended, reconfigured, and amplified by new technologies.
Guidelines for Submission to the NHA Blog
The National Humanities Alliance Blog features voices from throughout the humanities community--scholars at
any phase in their career, K-12 educators, public humanities professionals, as well as those who have
participated in a course of study in the humanities or public humanities programs.
As an advocacy organization, we are specifically interested in highlighting the value of the humanities to a
variety of audiences, both within and outside the humanities community. We welcome blog posts that focus on
a specific humanities project and describe its impact in a way that will resonate widely.
A few examples:
• A public-facing program that provides educational opportunities to underserved populations
• A cultural tourism effort that fosters economic development in a particular region
• Preservation activities that rescue cultural heritage that would otherwise be lost
• Scholarly work relevant to a specific community or a contemporary policy debate
• Humanities teaching practices that lead to deep student engagement
These are, of course, just examples and we are always eager to learn more about the ways that humanities
work effects positive change, whether on a local or global scale.
Blog posts should:
• Focus on a particular humanities project (i.e. a scholarly project, museum exhibition, community oral
• Showcase the impact of the program in a way that will resonate both within and outside the
• Highlight the funding, partnerships, and collaborations that made the work possible
• Include a title
• Include hyperlinks to any online material
• Be approximately 500-800 words
• Include an author bio of approximately 50 words, along with links to your professional website
and/or Twitter handle.
• Include an image or video related to the project, if possible.
Please note, NHA staff might offer edits or request revisions for focus, length, style and clarity.
To submit a blog entry for consideration:
Email the entry and accompanying images/video to Beatrice Gurwitz at email@example.com.
Images may be sent as JPEG, TIFF, or PNG files. Please provide captions and credits for any photographs. It is
the responsibility of the guest blogger to secure permissions from the image copyright holder. Permissions
should be forwarded along with the image and the associated credit line.
Tour Day is Docomomo US’ annual national event that works to raise the awareness of and appreciation for buildings, interiors and landscapes designed in the United States during the mid-20th century. Now in its ninth year, Tour Day invites organizations and people across the country to take stock of significant 20th century built design in their state, city, region or neighborhood and celebrate that work with a tour.
The theme "Explore Modern" encourages participants to explore the innovative and progressive work of mid-century architects and designers found in their cities - from the planned community and iconic monument to the house next door.
As a collective, national event, Docomomo US Tour Day is able to offer distinctive tours and events that are open to the public, as well as opportunities to celebrate recent preservation achievements and identify new issues affecting local communities. This year anticipates the participation of thousands of attendees, made possible through a wide variety of partnerships that collectively offer an exciting range of tours and events.
This year, Germany and Israel are celebrating 50 years of diplomatic relations. For the Bauhaus Dessau Foundation, this marks an occasion to reflect on the idea of collective building and thus the relationship between Bauhaus and Israel in a symposium. The symposium is broken down into three panel discussions with related content. The first panel deals with the role of the architect using the example of Arieh Sharon. Four structures are then considered in their historical and current contexts and finally, the reception to and impact of Bauhaus in Israel over time is discussed. The symposium also offers tours through the Bauhaus and a trip to Dessau-Törten.
Lecturers are well-known representatives from the realms of architecture, landmark preservation and the arts and cultural sciences – including Jeremie Hoffmann, director of Tel Aviv’s Municipal Conservation Department and Ines Weizman, junior professor for architectural theory, Bauhaus University Weimar and director of the Bauhaus Institute for Architectural History and Theory.
The symposium is geared toward architects, landmark preservationists, art historians, cultural scientists and sociologists as well as Israel and Bauhaus enthusiasts.
The symposium will be followed by a book presentation:
"Carmel. International Style in Haifa"
with Ines Sonder (Potsdam), Michael Levin (Ramat Gan) and the photographer Stephanie Kloss (Berlin)
In the afternoon we offer a trip to the Balcony Access Houses by Hannes Meyer, fee EUR 4.00, registration at firstname.lastname@example.org by 1 October.
You can find programme details at www.bauhaus-dessau.de
NASHVILLE, Tenn. (September 16, 2015)—Marking the first time works by Michelangelo have ever been exhibited in Nashville, the Frist Center for the Visual Arts proudly presents Michelangelo: Sacred and Profane, Masterpiece Drawings from the Casa Buonarroti, on view from October 30, 2015, through January 6, 2016, in the Center’s Ingram Gallery. The Casa Buonarroti, the artist’s family home in Florence, possesses the largest and most important collection of the artist’s drawings in the world, and many of its greatest works will be on view.
The exhibition offers an intimate view into the mind of Michelangelo Buonarroti (1475–1564), one of the giants in the history of Western art. The rich and varied selection of twenty-six drawings—ranging from rapid sketches to presentation drawings—attests to the High Renaissance master’s accomplishments as a sculptor, painter, architect and military engineer. The works span almost six decades, from around 1504, when Michelangelo was a mature artist of nearly thirty, until a few years before his death. They show the incredible diversity of his projects and the dynamics of a career spent largely working for ambitious popes in Rome and Florence.
“These drawings illuminate how Michelangelo worked and thought, his extraordinary range and technical brilliance, as well as his playful attitude toward ancient architecture,” says Frist Center Curator and Renaissance scholar Trinita Kennedy. “During his long career, he used pen and ink and red and black chalk on paper to generate ideas and communicate them to his patrons, friends and assistants. He deliberately destroyed many of the drawings, including the large-scale cartoons for the Sistine Chapel frescoes, so the remaining sheets are exceedingly rare and valuable. ”
Michelangelo’s powers to evoke the sacred are fully displayed in the large and deeply moving drawing Madonna and Child (ca. 1524), which is one of Michelangelo’s most admired images. The sculptural figures are rendered in a fascinating mixture of techniques that includes underdrawing in black chalk and flesh tones in the child’s arm in red chalk.
Michelangelo’s Study for the Head of Leda (ca. 1529), a mythological subject, is equally beautiful. He made it in preparation for the panel painting Leda and the Swan (destroyed in the seventeenth century) commissioned by Duke Alfonso d’Este of Ferrara in 1529 and completed in 1530. Red chalk proved to be the ideal medium for conveying Leda’s delicate features and allure.
Michelangelo’s legacy as an architect was no less monumental than his stature as a sculptor and painter. The Casa Buonarroti, from which highlights have been chosen, holds the most extensive and significant collection of Michelangelo’s architectural drawings. The important ecclesiastical designs chosen for display include several plans too ambitious and costly to be realized: the San Lorenzo façade, the rare book room of the Laurentian Library, and the church of San Giovanni dei Fiorentini in Rome. Like his older contemporary Leonardo da Vinci, Michelangelo was called upon to invent fortifications. He responded with fantastic drawings of bastions equipped with pincers like giant crabs.
These visionary drawings gain impact from their notable dimensions, which range in height and width from twelve to fifteen inches, and a few are even larger. Impressive in their own right, the works provide dynamic links to a better understanding of Michelangelo’s interdisciplinary virtuosity. “Our knowledge of Michelangelo’s life, career and working methods is infinitely richer thanks to these sheets that have survived the past five centuries,” says Ms. Kennedy.
This exhibition was organized by the Muscarelle Museum of Art at the College of William & Mary in Virginia in partnership with Fondazione Casa Buonarroti and Associazione Culturale Metamorfosi.
This exhibition is accompanied by a fully illustrated catalogue with essays by Aaron H. De Groft, Adriano Marinazzo, Pina Ragionieri and John T. Spike.
The Frist Center for the Visual Arts gratefully acknowledges the Friends of Italian Art.
The Frist Center for the Visual Arts is supported in part by the Metro Nashville Arts Commission, the Tennessee Arts Commission, and the National Endowment for the Arts.
SarasotaMOD Weekend, a festival of architecture in Sarasota, Florida, Nov. 6 to 8, focusing on the architecture of Paul Rudolph. Presentations, parties and tours. Highlights include the grand opening of a full-size replica of Rudolph's 1952 Walker Guest House at The Ringling museum; parties at exclusive private homes like Rudolph’s 1953 Umbrella House and at his newly renovated 1960 complex at Sarasota High; presentations by architects who knew and worked with Rudolph.