SeiSmic ShiftS - National Academy Museum

Seismic
Shifts :
10 Visionaries
in Contemporary Art
and Architecture
Seismic
Shifts :
10 Visionaries
in Contemporary Art
and Architecture
Marshall N. Price
Curator of Modern & Contemporary Art
Diana Thompson
Assistant Curator
With a foreword by
Carmine Branagan
Director
January 31– May 5, 2013
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The National Academy is grateful to the following
for their generous support of our exhibitions
and programs: The Bodman Foundation, The Bonnie
Cashin Fund, The Greenwich Collection, the F.
Donald Kenney Exhibition Fund, the Estate of
Geoffrey Wagner in memory of Colleen Browning,
NA, and from public funds from the New York City
Department of Cultural Affairs in partnership with
the City Council, and the New York State Council
on the Arts, a state agency.
Table of Contents
Director’s Foreword 6
Seismic Shifts: 10 Visionaries in
Contemporary Art and Architecture 10 ExhibitORS 16
Exhibition Checklist 76
Board of Governors 83
DIRECTOR’S FOREWoRD
The reopening of the National Academy Museum & School in
September 2011, following a period of reflection and renovation,
heralds a new era for the Academy. Expanded and improved
galleries allow us to present more works in better exhibition
spaces; reconstituted governance and a revised financial
structure provide enhanced stability; and a redesigned museum
lobby, featuring a ceiling engraved with the names of the more
than 2,000 Academicians, presents historic context as well as
a welcoming environment for visitors. Most importantly, the
revitalization of the Museum accompanies a renewed dedication
to our mission of exhibiting American art.
Vik Muniz, Wangechi Mutu, Betye Saar, Bill Viola, and recent
projects by architects Greg Lynn/FORM, Kate Orff/SCAPE, and
Moshe Safdie/Safdie Architects each reflect the diversity of
revolutionary work being produced.
I would like to enthusiastically thank the participating artists and
architects who worked closely with Academy curators to develop
this exhibition, as their efforts were instrumental in bringing it
to fruition. Additional lenders include Paul Carter and The Paul
and Rose Carter Foundation; James Cohan Gallery, New York/
Shanghai; Andrew Edlin Gallery, New York; Luhring Augustine,
New York; Michael Rosenfeld Gallery LLC, New York; SCAPE
Landscape Architecture, PLLC; Sikkema Jenkins & Co., New
York; Souls Grown Deep Foundation, Atlanta, GA; Jack Shainman
Gallery, New York; and Jerome L. and Ellen Stern.
Established in 1825 for the express purpose of celebrating
American artists and architects through education and
exhibitions, the Academy has a storied legacy of highlighting
the work of living artists and architects. It is within this historic
context that we present Seismic Shifts, an exhibition that
underscores our continued commitment to contemporary art.
This exhibition explores the work of ten cross-disciplinary artists
and architects who have each deeply influenced their respective
disciplines. Works by Nick Cave, Thornton Dial, Tom Friedman,
The following individuals deserve our sincere thanks for their
assistance with the exhibition: Michele Amicucci, Jack Shainman
Gallery, New York; Lucie Amour, VAGA; William Arnett, Souls
Grown Deep Foundation, Atlanta, GA; Roland J. Augustine,
Luhring Augustine, New York; Sean Boyd, Greg Lynn/FORM;
Angela Brazda, Gladstone Gallery, New York; James Cohan, James
Cohan Gallery, New York/Shanghai; Karen Del Aguila, Wangechi
Mutu Studio; Matthew Droege, Sikkema Jenkins & Co., New
York; Andrew Edlin, Andrew Edlin Gallery, New York; Alexandra
Ferrari, Luhring Augustine, New York; Danielle Fisk, Michael
Rosenfeld Gallery LLC, New York; Alexandra Giniger, Wangechi
Mutu Studio; Tamsen Greene, Jack Shainman Gallery, New York;
Sara Harari, Andrew Edlin Gallery, New York; halley k harrisburg,
Michael Rosenfeld Gallery LLC, New York; Laurie Harrison, James
Cohan Gallery, New York/Shanghai; Jack Henry, Andrew Edlin
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Gallery, New York; Laura Higgins, Andrew Edlin Gallery, New
York; Bobby Jablonski, Bill Viola Studio, CA; Michael Jenkins,
Sikkema Jenkins & Co., New York; Phillip March Jones, Souls
Grown Deep Foundation, Atlanta, GA; Helen Kongsgaard, SCAPE
Landscape Architecture, PLLC; Eric Leishman, Greg Lynn/FORM;
Lawrence R. Luhring, Luhring Augustine, New York; Katie Mahler,
Safdie Architects; Meg Malloy, Sikkema Jenkins & Co., New
York; Rebecca Mei, Michael Rosenfeld Gallery LLC, New York;
Kate Murphy, Safdie Architects; Christopher Prause, Gladstone
Gallery, New York; Michael Rosenfeld, Rosenfeld Gallery LLC,
New York; Kat Savage, James Cohan Gallery, New York/Shanghai;
Jack Shainman, Jack Shainman Gallery, New York; Brent Sikkema,
Sikkema Jenkins & Co., New York; Chella Strong, SCAPE
Landscape Architecture, PLLC; Luke Turner, Jack Shainman
Gallery, New York; Gena Wirth, SCAPE Landscape Architecture,
PLLC; and Lauren Wittels, Luhring Augustine, New York.
It takes many people to realize an exhibition, and special thanks
go to the entire staff of the National Academy Museum for
bringing Seismic Shifts to fruition.
We hope you enjoy this exhibition as well as future offerings from
the National Academy.
Sincerely,
Carmine Branagan
Director
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Seismic Shifts:
10 Visionaries in Contemporary Art and Architecture
Marshall N. Price
Curator OF Modern & Contemporary Art
How is innovation defined today? For most, the instinctive
tendency is to think about it in the context of technological
innovation. With an increasing reliance on technology and
bombarded daily as we are with pronouncements of innumerable
advancements, innovation has become a concept that is
overused to the point at which it has lost much of its cultural
currency. Innovations, we are told, improve efficiency and
decrease cost, enhance yields and minimize waste, accelerate
and expand our connectivity to one another, and in the process
of all of this, ostensibly improve human lives. But how are the
more nuanced and subjective artistic, aesthetic, and cultural
innovations manifested and identified, and can they, too,
affect a similar improvement? Seismic Shifts: 10 Visionaries in
Contemporary Art and Architecture explores these ideas.
Seismic Shifts includes work by seven artists: Nick Cave,
Thornton Dial, Tom Friedman, Vik Muniz, Wangechi Mutu,
Betye Saar, Bill Viola; and recent projects by three architects:
Greg Lynn/FORM, Kate Orff/SCAPE, and Moshe Safdie/
Safdie Architects. The exhibitors not only reflect the diversity
of contemporary American art and architecture today, but
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their achievements have also established them as iconoclasts
and leaders in their respective fields. Their work has been
consistently prescient and includes a sense of cultural
investigation, conceptual inventiveness, and an indefatigable
curiosity of materials, as well as an inherent desire to affect
significant social, political, cultural, intellectual, and/or
ecological change. While these artists and architects have all
made tremendous individual contributions, it is collectively
through their innovative work that they have created seismic
shifts in how we perceive contemporary culture.
The foundation of true innovation begins with a fundamental
transformation in understanding or perspective. Indeed, the
word “innovate” comes from the Latin verb innovare, “to renew
or change.” The ten visionaries presented in Seismic Shifts
work across disciplines and in a variety of media. In one way
or another, their works have challenged audiences and raised
crucial questions relating to a broad range of current issues.
These artists and architects are cultural innovators, who work in
a variety of artistic approaches and mediums, and who represent
different ethnic backgrounds across several generations. They
work in an extradisciplinary way, in which not only subject and
medium but also analytical thought and critical inquiry transcend
circumscribed and conventional boundaries. The result has been,
in every instance, new creative strategies employed in these
disciplines and paradigmatic shifts in thinking about art and
architecture.
Some of the participants in this exhibition first created
breakthrough projects several decades ago and continue to
push boundaries, while others are closer to the beginning of
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promising careers with recent significant contributions to their
disciplines. Several of the participants in this exhibition were
born outside the United States, but have primarily resided in this
country. Nearly all of them, however, have worked or exhibited
internationally. On the one hand, they symbolize a prevailing
internationalism that characterizes contemporary global society;
while on the other, they represent the changing complexion
of American art. This is exemplified by two artists who have
a deep concern for the human condition in a global context.
Indeed, with her collages and installations, Wangechi Mutu has
established herself at the forefront of a generation of artists who
speak with an internationalism that transcends geographical
boundaries. Similar to Mutu in foregrounding social issues, Vik
Muniz’s photographs of trash pickers and the children of sugarcane field workers become a universal story of empowerment for
an otherwise marginalized group.
Others included in the exhibition also share an interest in
addressing specific concerns but arrive at them using very
different means. The three architects in the exhibition, for
example, come from two different generations and represent
distinct philosophies with regard to living, urbanism, and
habitat. Moshe Safdie has, for nearly fifty years, helped change
the way we think about urban living and its necessities in an
exponentially growing world. His headquarters for the United
States Institute of Peace in Washington, D.C., was designed
with an optimistic view that meaningful architecture can play
an important role in conflict resolution throughout the world.
Greg Lynn is represented in the exhibition with a project that
tackles issues of habitation through an experimental and
futuristic lens. In the last decade he has helped transform and
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nurture burgeoning ideas in digital architecture. Coming from
a much different position—and unlike many of her colleagues,
but still engaged with problems of urban dwelling—Kate Orff
takes a decidedly low-tech approach to urbanism and habitat.
Conservation, sustainability, and achievability are central to her
practice through her use of the oyster, made even more relevant
in the wake of increasingly alarming and destructive weather
patterns.
Two artists in the exhibition work primarily with assemblage
and collage: Betye Saar and Thornton Dial. Both have had long
careers during which they have each tackled tough issues
related to race, gender, and disenfranchisement. Saar’s work
frequently uses popular cultural stereotypes and draws on
various fetishistic traditions found in the Caribbean and the U.S.,
creating works that engage with racial dynamics both past and
present. Dial also uses assemblage, but often combines objects
at hand, including twisted metal, fabric and clothing, and even
concrete to create powerful abstract tableaux vivants. These
complex, three-dimensional mosaics emanate from a distinct
regional tradition, but in Dial’s hands they speak volumes to the
universal human condition. Both artists have received renewed
and much deserved attention in the last few years.
Nick Cave and Tom Friedman also gather and assemble, but in
much different ways than Saar and Dial. For Cave, this process
is manifested by embarking into the realms of costuming,
performance, and dance. Cave’s Soundsuits further blur the lines
between these traditions, and in so doing, create a fantastical,
enigmatic, and yet accessible narrative. Friedman’s artistic
strategies are often cumulative in nature as well, and employ
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an obsessive, process-based approach to shifting the viewer’s
perceptions, frequently in a humorous way.
The performative and conceptual come together and play an
important role in the creation of Bill Viola’s videos. With
the human figure as the locus and through a slow-motion
presentation, the artist’s haunting works recall some of the
world’s great ecclesiastical paintings, but more importantly
they tap into visceral notions of consciousness at the center
of the human condition.
While these artists and architects are intrinsically disparate in
their strategies and creative processes, the most important
common denominator among them is their shared belief in a
higher purpose or a greater intellectual and social responsibility
in their work. It is important to note, however, that theirs is more
than simply an “art as anodyne” approach but instead one that
is rooted in a greater search for understanding, expression, and
enlightenment. Their work is not solipsistic, ironic, or facetious
in any way, but earnest, sincere, aspiringly and ultimately
transformative, making each of their contributions indisputable
seismic shifts.
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EXHIBITors
Nick Cave
Thornton Dial
Tom Friedman
Greg Lynn/FORM
Vik Muniz
Wangechi Mutu
Kate Orff/SCAPE
Betye Saar
MOSHE SAFDIE/
SAFDIE ARCHITECTS
Bill Viola
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Nick Cave
(b. 1959, Jefferson City, Missouri)
Nick Cave’s transformative work crosses many boundaries of
the increasingly blurred areas of performance, fashion, and
art. Cave currently serves as chairman of the Fashion Department at the School of the Art Institute of Chicago. Because of
his multi-disciplinary training as a dancer with the Alvin Ailey
American Dance Theater and his academic degrees in sculpture
and textiles, he is best known for his wearable Soundsuits that
are much more than simply whimsical costumes and outlandish
figures. Extremely colorful and extravagant and based on the
scale of the artist’s own body, Cave’s hybrid sculpture Soundsuits mask the body, concealing race, gender, and age. They are
at the core of the artist’s practice and have taken a strong narrative dimension in his most recent body of work. Over the past
ten years, Cave’s Soundsuits have caused a sensation in the art
world not only because of their inventive forms and materials
but also through their use in various performances.
Soundsuit, 2010
Mixed media
Approximately 90 x 30 x 16 inches
The Paul and Rose Carter Foundation
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Nick Cave
Included in Seismic Shifts are three of Cave’s signature Soundsuits, each one representing recent directions in the artist’s
work. They possess an overriding shamanistic quality and evoke
the regional African-American vernacular tradition of Indian
suits for Mardi Gras in which costuming, dance, music, and
poetry come together.1 Since 2009 Cave’s work has taken a
more narrative turn as each suit or group of suits, when seen
together, vaguely suggests a chronological or story-like dimension. They are not without purely formal beauty, however, as
the Soundsuit with brilliantly colored hair possesses the quality
of an abstract painting come to life. These are truly wondrous
objects that suggest transformation, myth, ceremony, and
ritual; and they evoke such traditions as Japanese Butoh, Indian
Bhangara, New Orleans Mardi Gras, Brazilian Carnivale, African
dances, and other performance traditions both Western and
non-Western.
Even when Cave’s sculptures are still, they appear to be in
movement, as if leading an enigmatic and transcendent choreography. Cave is part of an important lineage of transgressive
artists who helped make ambiguous the lines between fashion,
performance, and art. Some art historians have suggested a
relationship to the British performance artist and fashion beacon Leigh Bowery, the singer, song-writer, and performer Boy
George, and the influential German performance artist Joseph
Beuys.2 In the context of these potential predecessors, Cave’s
work is at once escapist and empowering. The Soundsuits have
been recognized as playing a key role in reconciling the differing concepts of static sculpture with the time-based nature of
performance.
With the intent of eliminating the performer’s individual identity, the wearer of the Soundsuit (and by extension, the artist)
becomes part of a much larger narrative of wonderment and
fantasy, a player in an unspecified drama. In the end, however,
Cave’s creative impulse comes from a larger desire for change.
He feels an intrinsic social responsibility and, as he has stated:
“To me, everything outside of myself is community. I don’t see
myself as an artist but as a humanitarian using art to create
change. If I can create an opportunity to bring people of all
creeds, identities, and interests together, then I am doing my
work.”3
Soundsuit, 2011
Mixed media
98 x 27 x 14 inches
Courtesy of the artist and Jack Shainman Gallery, NY
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-MNP
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Nick Cave
Soundsuit, 2009
Human hair
97 x 26 x 20 inches
Courtesy of the artist and Jack Shainman Gallery, NY
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Thornton Dial
(b. 1928, Emelle, Alabama)
Born to a family of sharecroppers and sent to work in the fields
by the age of six, Thornton Dial received very little formal education. By the age of twelve he had left school, after only having
made it to the third grade. He spent the next decades of his life
working at a succession of jobs involving bricklaying, carpentry,
and welding, until he became a metalworker at the PullmanStandard railway-car company in Birmingham, Alabama. Dial’s
experience with, and propensity for, making things would eventually set him on a circuitous course toward critical acclaim and
widespread recognition as a creative artist.
After the Pullman plant closed in the early 1980s, leaving Dial
unemployed, he began to make monumental sculptures constructed from scavenged materials like metal, wood, rope, plastic, and paint. Emerging from the tradition of “yard art”—an African American southern custom of displaying found and made
objects on front lawns—Dial’s work also recalled the assemblage
Proud Stepping, 2012
Metal, cloth, wood, cowboy boot and paint on wood
48 x 36 x 6¼ inches
Courtesy the artist, Souls Grown Deep Foundation and Andrew Edlin Gallery, New York
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Thornton Dial
tradition of early Modernism that had its origins in the welded
sculptures of Picasso and Braque, and continued on a trajectory in the “combines” of Dial’s close contemporary, Robert
Rauschenberg. Remarkably, however, Dial arrived at this artistic
practice independently and without any influence from these
traditions, without formal education, and without ever stepping
foot in an art museum.
As Dial’s work began to receive the attention of collectors and
curators of contemporary art in the 1980s, longstanding stigmas
in the art world relating to issues of race and the amorphous
category of folk art prevented him from breaking out of the
essentializing label of “outsider” artist. Recent reappraisals of
these constricting definitions have catapulted Dial to the forefront of a dialogue about the very nature of contemporary art,
and have revealed that he is an artist whose work transcends its
origins and defies categorization. Dial’s powerful, complex, and
original handling of such issues as equality, bigotry, poverty, and
war elevates him far above any demeaning definition that threatens to relegate his work to the marginalizing, confining, and
often useless classifications of Western art history.
Dial’s three recent works in Seismic Shifts represent an artistic
reinvigoration that occurred after a period of personal struggle
with loss, illness, and aging. Coming Back Clear (2011) conveys
notions of survival, regeneration, and regrowth, as a budding
plant springs forth from the dismal-looking ground beneath it.
The Berry Patch (2011) evokes a similar sense of renewal, with
the triumph of life over destruction symbolized by the presence
of a golden bird, winding foliage, and bursts of vibrant colors. In
Proud Stepping (2012), a cowboy boot brings to mind the idea
of a victorious man who emerges from, climbs atop, and rises
above the clutter, chaos, filth, danger, and wretchedness of the
earth. As a pioneering figure on the contemporary art scene
today, Dial is making work with a message that is even more
powerful and monumental than its scale, ultimately transcending conventional notions of “outsider” art.
Coming Back Clear, 2011
Wood, metal fencing, concrete, clothing, quilt top,
and enamel on canvas on wood
74 x 62 x 9 inches
Courtesy the artist, Souls Grown Deep Foundation
and Andrew Edlin Gallery, New York
The Berry Patch, 2011
Wood, wire fencing, artificial leaves, clothing, barbed
wire, artificial bird, plastic human figure, spray paint,
and enamel on canvas on wood
72 x 90 x 3 inches
Courtesy the artist, Souls Grown Deep Foundation
and Andrew Edlin Gallery, New York
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–DT
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Tom Friedman
(b. 1965, St. Louis, Missouri)
Since his breakthrough in the early 1990s, Tom Friedman’s
process-based work has followed various artistic strategies,
some embodying the ideals of geometry, others representing
the ludicrous, the absurd, or even the sordid. Friedman received
his BFA in graphic illustration from Washington University in
St. Louis in 1988, and an MFA in sculpture from the University of
Illinois in Chicago in 1990. While in graduate school, Friedman
decided to empty his studio, block out the windows, and paint
the entire space white, essentially creating a tabula rasa within
which to create works using everyday materials. The resulting
works of art were visually complex, revealing laborious levels of
craftsmanship and strong underlying conceptual meanings.
Friedman’s work spans the disciplines of drawing, painting,
sculpture, photography, and collage. His materials have included
everything from the utterly familiar—like toothpicks, plastic
drinking cups, aluminum foil, and yarn—to the bizarre, banal, and
even scatological: he carved a self-portrait into a single aspirin
tablet, and notoriously exhibited a minuscule ball of his own
feces atop a pristine white pedestal. Because of the materials
he uses and the concepts underlining much of his work,
Untitled (Styrofoam Blocks), 2012 (detail)
Styrofoam
33½ x 101 x 101 inches
Courtesy of the artist and Luhring Augustine, New York
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Tom Friedman
Friedman has been linked to a variety of artistic traditions,
including Conceptual Art, Minimalism, and Pop Art. But his independent vision, combined with an obsessive process-based
practice, results in his own distinct visual language.
Friedman’s work for Seismic Shifts involves a material that he
has used since as far back as the mid-1990s and to which he
recently returned. Untitled (Styrofoam Blocks) consists of thousands of perfectly-carved blue StyrofoamTM cubes painstakingly
fastened together and built up into a massive mound reminiscent
of some cubist-inspired glacial form. In this work, Friedman not
only exhibits his signature marks of intricate craftsmanship and
obsessive process, but also seeks to expand the limits of the material, revealing the extent to which the substance of Styrofoam
can be transformed.
Friedman’s work frequently eschews an interest in the technological and instead emphasizes craft and the handmade. Of the
artist’s engagement with his ideas, one writer has noted: “In our
modern world, we are led to believe that only technology can
create perfection. By working with unheroic materials, Friedman reminds us of both the power of human craft and the gift of
patience. Friedman creates entire new languages in his artworks
that cause us to re-evaluate our perception. By using everyday
materials, Friedman sets himself new challenges with every exploration. Lying behind each work is a gentle fragility, belied by a
first-perceived stability.”4
The artist has frequently used the word “alchemy” when talking
about his work, and here he has proved yet again that he is such
a transformer. In an accessible yet often visually deceptive
way, Friedman has shifted our notions of perception, logic, and
possibility by morphing commonplace objects into something
new, constantly challenging, and pushing the boundaries of art
and reality.
–DT
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Untitled (Styrofoam Blocks), 2012
Styrofoam
33½ x 101 x 101 inches
Courtesy of the artist and Luhring Augustine,
New York
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Untitled (Styrofoam Blocks), 2012 (detail)
Styrofoam
33½ x 101 x 101 inches
Courtesy of the artist and Luhring Augustine,
New York
GREG LYNN/FORM
(b. 1964, North Olmstead, Ohio / firm founded 1994)
At the forefront of digital architecture and design for more than
a decade, Greg Lynn and his architectural firm, FORM, have
challenged conventional ideas on shaping space through technological advancements in architectural modeling. His practice
is informed by an interest in mathematics and calculus, his
reading of philosophy, and his study of networking and systems
and how these elements inform and relate to architecture. Lynn
has used recent developments in CNC (computerized numerically controlled) routing technology to create models for undulating, irregular buildings that are at once original, beautiful, and
functional. He is also an important educator and theorist who
has been partly responsible for the articulation of a new architectural language, one that acknowledges tradition but seeks
solutions for the seemingly impossible.
Lynn became widely known for his innovative approach to architectural thought through several early publications in which he
questioned the idea that architecture had to be static or inert.
In 1993 he contributed to Folding in Architecture, a publication
RV (Room Vehicle) Prototype, 2012
Architectural model, 1/5 scale,
as installed at Biennale Interieur, Kortkijk, Belgium
Courtesy of Greg Lynn FORM, Venice, CA
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Greg Lynn/FoRM
RV (Room Vehicle) Prototype (Section A-A), 2012
Digital architectural rendering
24 x 56 inches
Courtesy of Greg Lynn FORM, Venice, CA
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Greg Lynn/FORM
dedicated to defining a new sense of conceptual complexity in
the field. Several years later, Lynn’s first book, Animate Form
(1999), was in many ways a manifesto of new architectural strategies articulated for the digital and information age. He noted,
“Just as the development of calculus drew upon the historical
mathematical developments that preceded it, so too will an
animate approach to architecture subsume traditional models
of statistics into a more advanced system of dynamic organizations.”5 Since that time, Lynn has designed numerous projects
both large and small. His ideas continue to be immensely influential and have helped lay the foundation for a post-digital, or
so-called “plectic architecture” of the future.
Lynn’s RV (Room Vehicle) Prototype is an exploration of the notion of habitation, transgressive by virtue of the fact that it is
informed by digital communication, intelligent control of machines, a commitment to sustainability, and recognition of the
current need for mobility. The project is a malleable living environment in which, in the architect’s words, “intelligent movement and compact comfort [are brought] to the living space as
an alternative to over-inflated ‘McMansions’ by reducing the
footprint and material while also bringing the enthusiasm and
activity of theme park, a hamster ball, an exercise machine, a
natural landscape or sporting equipment to the human living
sphere.”6
The project made its debut at the Biennale Interieur in Kortkijk,
Belgium in early 2012 as one of seven commissioned rooms by
architects for the exhibition Future Primitives. In response, Lynn
mined his ideas about non-static architecture to create a new
type of dwelling environment on a domestic scale. Because of
its movability, the 60 square meters of living space is distributed across the entire surface of the interior, including the walls
and ceiling, reducing the physical space of the footprint and
consequently the energy footprint of the habitat. Constructed of
lightweight and incredibly strong carbon fiber, RV Prototype rotates on two axes and thus proposes a new and dynamic typology to dwelling, based on interaction and movement.
–MNP
RV (Room Vehicle) Prototype: Panel Assembly Sketch, 2012
Ink on paper
8½ x 11 inches
Courtesy of Greg Lynn FORM, Venice, CA
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Vik Muniz
(Vicente José de Oliveira Muniz)
(b. 1961, São Paulo, Brazil)
Vik Muniz has spent the better part of his career exploring the
transformative and socially empowering possibilities of art.
Muniz grew up in a poor family in São Paulo, but his childhood
penchant for drawing eventually earned him a scholarship to art
school. After working his way into the advertising business as a
young man, Muniz was shot in the leg. With the money he received from his aggressor in exchange for not pressing charges,
he gave up his advertising career and decided to move to America to pursue a career as an artist. By the early 1980s he was
living in New York’s East Village and working as a framer.
Woman Ironing (Isis)
From Pictures of Garbage, 2008-11
Portfolio of 7 chromogenic prints
33¼ x 23½ inches
Edition of 30
Courtesy of Sikkema Jenkins & Co., New York;
Art © Vik Muniz/Licensed by VAGA, New York, NY
Muniz gradually became interested in photography, and after
a trip to the West Indies in 1996 he recognized the medium’s
great potential for social change. Working with families on sugar
plantations and using the very substance they harvested, Muniz
created joyous portraits of the harvesters’ children, too young
to know the hardships of working in the fields. Since then Muniz
has used a range of everyday materials, including chocolate and
discarded objects, to create images that he then captures with
his camera. Often appropriating images from well-known art
The Sower (Zumbi)
From Pictures of Garbage, 2008-11
Portfolio of 7 chromogenic prints
30¼ x 23½ inches
Edition of 30
Courtesy of Sikkema Jenkins & Co., New York;
Art © Vik Muniz/Licensed by VAGA, New York, NY
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Vik Muniz
historical sources, he frequently includes a playful or humorous
element, such as Action Photo, after Hans Namuth (1997), a portrait of the artist Jackson Pollock poured from chocolate syrup, or
the head of the Medusa (after Caravaggio) inscribed in a plate of
spaghetti marinara.
Seismic Shifts features Muniz’s series, Pictures of Garbage
(2008–11), portraits created while the artist was working for several years with a group of catadores—pickers of recyclable materials—in Jardim Gramacho, the world’s largest garbage dump, on
the outskirts of Rio de Janeiro. Rejected by society and relegated
to the lowest social class, the catadores are portrayed by Muniz
with compassion for their character, while endorsing the environmental and economic importance of their work. For this series
of photographs, Muniz captured images of the catadores as they
gathered recyclables. He then guided them as they arranged
these materials into a series of compositions that re-create images from art history. The works in the exhibition are the photographs that resulted from this collaboration.
Film director Lucy Walker documented the project in the 2010
film Waste Land, and Muniz’s efforts in bringing attention to the
catadores has helped to integrate them into the recycling industry of their country, and to secure much-needed resources
for their community, such as education, medical centers, and a
small-business training program. In the hands of Muniz, art is an
important vehicle for transformative social change. As he has
stated, “What I want to be able to do is to change the lives of
people with the same materials they deal with every day.”7
–DT
The Bearer (Irmã)
From Pictures of Garbage, 2008-11
Portfolio of 7 chromogenic prints
30¾ x 23½ inches
Edition of 30
Courtesy of Sikkema Jenkins & Co., New York;
Art © Vik Muniz/Licensed by VAGA, New York, NY
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Vik Muniz
The Gypsy (Magna)
From Pictures of Garbage, 2008-11
Portfolio of 7 chromogenic prints
30 x 23½ inches
Edition of 30
Courtesy of Sikkema Jenkins & Co., New York;
Art © Vik Muniz/Licensed by VAGA, New York, NY
Mother and Children (Suellem)
From Pictures of Garbage, 2008-11
Portfolio of 7 chromogenic prints
30½ x 23½ inches
Edition of 30
Courtesy of Sikkema Jenkins & Co., New York;
Art © Vik Muniz/Licensed by VAGA, New York, NY
Atlas (Carlão)
From Pictures of Garbage, 2008-11
Portfolio of 7 chromogenic prints
30 x 23½ inches
Edition of 30
Courtesy of Sikkema Jenkins & Co., New York;
Art © Vik Muniz/Licensed by VAGA, New York, NY
42
Marat (Sebastião)
From Pictures of Garbage, 2008-11
Portfolio of 7 chromogenic prints
30¼ x 23½ inches
Edition of 30
Courtesy of Sikkema Jenkins & Co., New York;
Art © Vik Muniz/Licensed by VAGA, New York, NY
43
Wangechi Mutu
(b. 1972, Nairobi, Kenya)
Informed by her background in anthropology as well as her
heritage as a Kenyan-born woman, Wangechi Mutu has created a body of work that has had a tremendous impact in the
realm of contemporary culture. Her work has raised critical
issues relating to globalism, feminism, cultural identity, postcolonialism, and many other topics that are at the forefront of
public consciousness today. Mutu emerged in the early 2000s
with complex collages of female figures that combined images
of fashion, pornography, documentary photography, and other
engaging and sometimes provocative content. Since then she
has expanded to work in sculpture and installation with found
and repurposed materials. Her works have a strong psychological dimension that often critiques various institutions that control aesthetic power.
A Dragon Kiss Always Ends in Ashes, 2007 (detail)
Ink, paint, mixed media, plant material and plastic pearls on Mylar
53 x 92 inches
Jerome L. and Ellen Stern
44
45
Wangechi Mutu
Raised in Nairobi, Kenya, Mutu initially studied in Wales at the
New World College of the Atlantic before continuing at the New
School for Social Research and the Parsons School of Art and
Design in New York. Shortly after graduate school she continued
her training and earned a BFA from Cooper Union and an MFA in
sculpture from Yale University. She became known for challenging and frequently confrontational collages with explicit imagery
that centered on the female body. Her figures are not conventional portraits of specific individuals but represent broader notions of the person encapsulated in a moment in time.8 Mutu’s
works are inherently tied to and informed by a deep concern
for human rights and are related to her childhood in Kenya and
the treatment of girls and women there. She has been identified
by many as one of the most important African-born artists to
emerge in a global context in recent years.
In many ways Mutu, like several of her contemporaries, has led
a reinvigoration of the discourse surrounding pressing feminist
issues. For the artist, however, these works are created and perceived through the lens of a global context. In so doing, they are
presented with an unflinching intensity and tremendous gravity.
These photo-collage works frequently articulate two primary
concerns, and Mutu has noted two types of female representation that she imagines and images in her work: those women’s
bodies that are vulnerable to the whims of changing movements, governments, and social norms; and the concept of the
pursuit of a perfect notion of body image.9
–MNP
Included in the exhibition is Mutu’s immense collage A Dragon
Kiss Always Ends in Ashes, a quintessential example of her work
from the late 2000s. Sprawled across the Mylar® collage are
two entangled figures, one a lithe, reclining female figure with
her head tilted back, the other a sinuous dragon-like animal
form that is joined to the female figure by way of a kiss. The
cautionary title of the work reinforces its inherently narrative
dimension. Like many of her other works, this one illustrates a
tough feminist stance and an ambiguous struggle between entities that can be understood within the larger context of a deep
interest in the human condition.
46
47
Wangechi Mutu
A Dragon Kiss Always Ends in Ashes, 2007
Ink, paint, mixed media, plant material and plastic pearls on Mylar
53 x 92 inches
Jerome L. and Ellen Stern
48
49
Kate Orff/SCAPE
(b. 1971, Crofton, Maryland / firm founded 2007)
Kate Orff has helped to reshape conventional notions of landscape architecture. By working collaboratively with the living
environment in the urban landscape, Orff and her firm SCAPE
Studio create an affordable, sustainable, and renewable path to
restorative landscape design. Orff is interested in bioremediation—the use of microorganisms to remove pollutants—and her
firm has focused on developing various natural processes and
wildlife habitats in urban ecology projects aimed at conserving
the natural landscape. Interested in all issues affecting landscape, the firm has developed an innovative approach to the
marine landscape that it calls “Oyster-tecture,” a blend of urbanism, landscape architecture, and ecology that has expanded
the discourse of conventional landscape design both above and
below the waterline.
Oyster-tecture, 2010 (detail)
Architectural model
24 x 96 x 114 inches
Courtesy of SCAPE/KATE ORFF
50
51
Kate Orff/SCAPE
In contrast to general trends in architecture over the past several
decades, Orff takes a decidedly low-tech approach to remediating the landscape. Her approach is based primarily on the restorative qualities of a small bivalve mollusk, the oyster. Orff and her
firm envision a new type of ecologically-based infrastructure that
is attainable without the need for enormous material or financial
resources or institutional support. Hers is a significant shift in the
way conservation projects and bioremediation are considered:
not through large entities and conventional infrastructures, but
through an approach that looks to methods of the past that are
manageable, inherently feasible, and, most importantly, unquestionably sustainable.
Oyster-tecture, 2010
Digital collage
60 x 192 inches
Courtesy of SCAPE/KATE ORFF
52
53
Kate Orff/SCAPE
While Orff and SCAPE have worked on numerous projects
throughout the world, her best known and ongoing is the Oystertecture project envisioned for the Gowanus Canal area of Brooklyn and parts of the New York Harbor. As one of the most polluted sites in the greater New York area, one that is designated as a
Superfund site, the Gowanus Canal is in conspicuous and desperate need of attention and conservation. Through the introduction of active oyster cultures, this miraculous animal can address
pollution by providing significant amounts of biofiltration, abating
storm surges and attenuating waves through its agglomeration
into reef structures, and can respond to rising water levels by
creating an extensive and protective urban wetlands ecosystem.
Oyster-tecture provides an armature for these environments in
which they can flourish and work in a remediative process. The
armature is stretched with “fuzzy rope,” a network of inexpensive supports that allows the oyster spats or developing oysters
to agglomerate and allows them to reach maturity, after which
they are relocated to other areas where they can grow, thrive,
and improve the marine landscape. The system also relies on a
floating upwelling system, or “FLUPSY” that serves as a nursery and floating island at the same time. This project is not only
about ecological remediation, however, but also serves as a new
natural urban water park, Palisades Reef State Park, which would
include recreational possibilities such as diving platforms and
boardwalks. In many ways, Oyster-tecture is a way to enable the
natural environment to regenerate in a sustainable and affordable way. Ecosystems that once existed before human intervention destroyed their natural habitat can now provide restorative
effects. As Orff has stated, we can look to the past as a way to
the future.10
–MNP
Living Reef, 2010
Digital collage
49½ x 60 inches
Courtesy of SCAPE/KATE ORFF
54
55
Betye Saar
(b. 1926, Los Angeles, California)
Rhythm & Blues, 2010
Mixed media assemblage
16 x 14¼ x 9½ inches
Courtesy of Michael Rosenfeld Gallery LLC,
New York, NY
56
Betye Saar was raised in a family that fostered creativity; as a
child growing up during the Great Depression, she learned early
on to find value in things that others had discarded or deemed
useless. Saar studied design at UCLA, and several years after
graduating in 1949 she continued graduate studies at California
State University at Long Beach with the intention of pursuing
a teaching career. Before long, she began to focus instead on
printmaking, to which she had been introduced while studying
at Long Beach. After seeing the work of Joseph Cornell in the
1960s, however, Saar delved into the medium of assemblage,
for which she is perhaps best known, and with which she connects her childhood attraction to found objects. Her work from
around this time often dealt with aspects of mysticism and the
occult, and by the end of the 1960s she began to focus on civil
rights issues.
The Destiny of Latitude & Longitude, 2010
Mixed media assemblage
54 x 43 x 20½ inches
Courtesy of Michael Rosenfeld Gallery LLC,
New York, NY
57
Betye Saar
Throughout the 1970s Saar’s work continued to convey powerful
political and social messages combating racial and gender stereotypes, and was fueled by her own heritage of African, Native
American, Irish, and Creole backgrounds. After receiving a grant
from the National Endowment for the Arts in 1974, Saar traveled
to Haiti, Mexico, and Nigeria, where she was exposed to different cultures, traditions, and religions, and where she further
developed her interest in mysticism and sacred rituals. These
experiences led to Saar’s experimentation with installations that
included assemblages and altars made from anthropological and
ancestral objects that she collected; she has continued working
predominantly in this vein since the mid-1970s.
Myth & Mourning, 2009
Mixed media assemblage
63¼ x 19½ x 8½ inches
Courtesy of Michael Rosenfeld Gallery LLC,
New York, NY
Saar’s installation featured in Seismic Shifts includes work drawn
mostly from her Cage series. These works are installed so as to
create a complete environment, a ritualistic and reverent setting that draws the viewer into a time and space that is saturated
with truths about our collective cultural history. Saar’s assemblages and collages force viewers to examine the tangible dichotomies of freedom and confinement that permeate our society,
both past and present. George Lipsitz, Professor of Black Studies
at the University of California Santa Barbara, has commented on
Saar’s Cage series: “Through ordinary objects salvaged from the
activities of everyday life…Saar reminds us that people can be
imprisoned just as surely, just as securely, by desires, stories,
and ideas as by stone walls and iron bars.…Birdcages compel us
to acknowledge and assess our complex social roles as both captives and captors.”11
Serving Time, 2010
Mixed media assemblage
64 x 17½ x 9¾ inches
Courtesy of Michael Rosenfeld Gallery LLC,
New York, NY
In a curative manner, Saar confronts us with our own reproachable histories and realities so that we may acknowledge and be
freed of them. Over the past several decades she has questioned
and challenged power structures, exposed social injustices, and
continuously addressed issues related to gender and racial stigmas. Through her attempts to break down social stereotypes and
transcend cultural boundaries, Saar makes unexpected connections between the things that bind together our common human
experience.
Red Ascension (from RED TIME), 2011
Mixed media assemblage
17½ x 96½ x 3¼ inches
Courtesy of Michael Rosenfeld Gallery LLC,
New York, NY
–DT
58
59
Betye Saar
Flight of the Trickster, 2012
Mixed media collage on hand-made
paper
68 x 39 x 1 inches
Courtesy of Michael Rosenfeld Gallery LLC,
New York, NY
Globe Trotter, 2007
Mixed media assemblage
32½ x 18¼ x 14 inches
Courtesy of Michael Rosenfeld Gallery LLC,
New York, NY
60
61
Birds of a Feather, 2010
Mixed media collage on paperboard
12¾ x 12 inches
Courtesy of Michael Rosenfeld Gallery LLC,
New York, NY
MOSHE SAFDIE/
SAFDIE ARCHITECTS
(b. 1938, Haifa, Israel / firm founded 1964)
Few living architects have had as sustained a career as Moshe
Safdie. Born in Israel, Safdie moved to Canada with his family
and attended McGill University, graduating with a degree in
architecture in 1961. He apprenticed with the legendary
architect Louis Kahn in Philadelphia, after which he returned
to Canada to oversee the master plan for Expo ’67, the 1967
World’s Fair in Montreal. Central to the exposition and adapted
from his thesis project, Safdie’s Habitat ’67 presented new
ideas on habitation that in many ways made it a new paradigm
for urban living. Habitat ’67 has become an architectural landmark not only for the way in which the structure was conceived
through its interlocking forms and pre-fabricated components,
but also for the way in which it reimagined and improved the
dense urban living environment through social integration.
United States Institute of Peace, Washington, D.C.,
View from SW at night, 2011
Digital photograph
40 x 50 inches
Courtesy of Safdie Architects, Boston
Photo: Timothy Hursley
62
Since Habitat ’67, Safdie has continued to develop environments
that have challenged conventional notions of space through
their innovative design and imaginative use of materials. As a
63
Moshe Safdie/Safdie Architects
United States Institute of Peace, Atrium,
2011
Digital photograph
41 x 52 inches
Courtesy of Safdie Architects, Boston
Photo: Timothy Hursley
64
65
Moshe Safdie/SAFDIE ARCHITECTS
result, he has created buildings in which beauty and function harmoniously coexist; as world populations have grown exponentially, Safdie has continued to grapple with problems of urban living,
global growth, and human settlement patterns. Most importantly,
however, Safdie’s transcendent spaces are at once purposeful
and inspired. They contain an inherent transformative power that
humanizes architecture, communicates to the visitor, and creates an affecting and lasting experience.
In 2001 Safdie’s firm won the design competition for the Washington, D.C. headquarters of the United States Institute of Peace,
an independent, non-partisan federal institution created and
funded by the U. S. Congress. The Institute’s mission is to promote peaceful resolution of violent conflict throughout the world.
The location for the project was the last buildable site on the
Mall, located at the western end near the Lincoln Memorial. The
five-story, 150,000-square-foot structure is actually three buildings, all of which are connected and punctuated by a soaring
curved roof that creates two glass-enclosed atria, one facing the
Potomac River and the other facing the Lincoln Memorial and the
Mall, enhancing transparency and openness to various areas of
the city.
Drawing on the mission of the organization and using it as the
driving concept for the design, Safdie felt that the building must
possess seven qualities that were embodied in its mission: to
be an inspiring workplace, provide interaction for the community, be a symbol in its physical presence and form, use light as
a metaphor for peace, embrace the notion of the garden as a
metaphor for tranquility, reside harmoniously within nature, and
be a place of serenity.12 The most striking feature of the building’s
design is the roof, which billows out in a series of repeated white,
translucent toroidal glass-and-steel forms, covering the atria and
extending downward over the façade, each one terminating in a
point. The building, which opened to the public in the fall of 2011,
provides multiple uses, with a public space for exhibitions, conferences, and educational programs; a library and archive; and
offices for employees of the organization.
United States Institute of Peace, View looking up
at sculptural roof, 2011
Digital photograph
50 x 39 inches
Courtesy of Safdie Architects, Boston
Photo: Timothy Hursley
United States Institute of Peace, computer model
showing rational shapes forming roof, 2011
Computer generated rendering
12 x 16 inches
Courtesy of Safdie Architects, Boston
United States Institute of Peace, view of the
National Mall, Washington, D.C., 2011
Digital photograph
16 x 20 inches
Courtesy of Safdie Architects, Boston
Photo: Timothy Hursley
66
–MNP
67
Bill Viola
(b. 1951, New York, New York)
Widely recognized as one of the most influential artists working
today, Bill Viola has made immense contributions in the realm of
video art through his innovative processes and ingenious content with transcendent results. During the past four decades,
his work has included video, installations, sound environments,
electronic music performances, and works for television broadcast. After earning a BFA in Experimental Studios from Syracuse
University in 1973, Viola worked as technical director of production at Art/Tapes/22, one of the first video art studios in Europe. He also traveled abroad to study and record the traditional
performing arts of cultures in the Solomon Islands, Java, Bali,
and Japan.
Much of Viola’s work focuses on a creative analysis and expression of universal human experiences, such as birth, death, and
consciousness. Through his arresting images, sometimes accompanied by sound, sometimes silent, and usually shown in
ultra-slow motion, Viola creates comprehensive environments
that envelop the viewer. His work is informed by both Eastern
and Western artistic practices and spiritual traditions, such as
Zen Buddhism, Islamic Sufism, and Christian mysticism. Viola
often explores the interaction between the human form and the
elements of fire, light, and water.
Still from Tempest (Study for the Raft), 2005
Color high-definition video on flat panel display mounted on wall
Courtesy of the artist and James Cohan Gallery, New York/Shanghai
Photo: Kira Perov
68
69
Bill Viola
His 2005 video Tempest (Study for the Raft) simultaneously
refers to Shakespeare’s play The Tempest and to The Raft of the
Medusa (1818–1819) by the French Romantic painter Théodore
Géricault. In the video, a group of nineteen men and women
from various generations and ethnic and economic backgrounds
are suddenly sprayed by a powerful blast of water. Some of
the people are knocked over immediately, while others fight to
brace themselves against the inundation. The oncoming water
then ceases as quickly as it began, leaving a crumpled group of
individuals who attempt to regain their senses and help themselves—and, if they are able, help others around them. Their reactions are recorded in high-speed film but unfold for the viewer
in ultra-slow motion. Like its historical references, this work
evokes images of anguish and supplication.
Dualism is a theme that Viola constantly explores in his work.
In Tempest it is manifested in the disparity between the group’s
state of calm before the storm and their distress during and
after the deluge. By slowing down time, Viola has allowed the
presence, significance, and power of this duality to reverberate strongly within the viewer. Through this work, as in so many
of Viola’s other works, our senses are awakened and our selfawareness is heightened by the palpable link of shared shock
and sympathy that is created between us, the viewers, and the
subjects, as victims. Viola has been instrumental in establishing
video art as a vital part of contemporary artistic practice; but
he has also transformed the way we perceive the interactions
between spirituality, technology, and history. As he stated, “I
think technology and spirituality are, in fact, actually very, very
close together. They both deal with invisible things. They both
deal with energy systems, which can transmute, turn into other
things, and recombine themselves. They deal with this idea of
rebirth. Destruction, creation, rebirth: they are part of the same
cycle.”13
–DT
Stills from Tempest (Study for the Raft), 2005
Color high-definition video on flat panel display mounted on wall
Courtesy of the artist and James Cohan Gallery, New York/Shanghai
Photo: Kira Perov
70
71
Bill Viola
Stills from Tempest (Study for the Raft), 2005
Color high-definition video on flat panel display mounted on wall
Courtesy of the artist and James Cohan Gallery, New York/Shanghai
Photo: Kira Perov
72
73
NOTES
1
Dan Cameron, Pamela McClusky, et al., Nick Cave: Meet Me at the Center of the Earth, exh. cat.
(San Francisco: Yerba Buena Center for the Arts, 2009), 20.
2
Ibid.
3
Ibid., 221.
4
“Tom Friedman,” Press release, Stephen Friedman Gallery, London, October 2012.
5
Greg Lynn, Animate Form (New York: Princeton Architectural Press, 1999), 9–10.
6
Greg Lynn, Future Primitives, exh. cat. (Kortrijk, BE: Interieur Design Biennale, 2012), 5.
7
Vik Muniz, quoted in Carol Kino, “Where Art Meets Trash and Transforms Life,” The New York Times
(October 24, 2010), Arts: AR23. Available online at: http://www.nytimes.com/2010/10/24/arts/
design/24muniz.html?pagewanted=all/. Accessed November 24, 2012. In June 2012 Jardim Gramacho
was closed.
8
Okwui Enwezor, “Cut and Paste,” Arise Live (February 2011). Available online at: http://www.ariselive.
com/articles/cut-paste/87416/. Accessed November 16, 2012.
9
Lauri Firstenberg, “Wangechi Mutu, Perverse Anthology: The Photomontage of Wangechi Mutu,” in
Looking Both Ways: Art of the Contemporary African Diaspora, exh. cat., edited by Laurie Ann Farrell
(New York and Ghent: Museum for African Art and Snoeck Publishers, 2003), 142.
10
Available online at: http://scapestudio.com/news/see-yourself-oyster-tecture-mystery-revealed/?pa.
Accessed November 16, 2012.
11
George Lipsitz, Betye Saar: CAGE, A New Series of Assemblages & Collages, exh. cat. Michael
Rosenfeld Gallery, New York (Nov. 6, 2010–Jan. 15, 2011), 9.
12
Moshe Safdie and Richard H. Solomon, eds., Peace Building: The Mission, Work, and Architecture
of the United States Institute of Peace (Washington, DC: United States Institute of Peace Press, 2011),
23–24.
13
Karen Pyudik, “Bill Viola: The Interview,” Highbrow Magazine, October 2, 2011. Available online at:
http://highbrowmagazine.com/bill-viola-interview. Accessed November 24, 2012.
74
75
EXHIBITION CHECKLIST
Not all works in the exhibition are illustrated
in the catalog.
Nick Cave
Soundsuit, 2009
Human hair
97 x 26 x 20 inches
Courtesy of the artist and Jack Shainman Gallery,
NY
Soundsuit, 2010
Mixed media
Approximately 90 x 30 x 16 inches
The Paul and Rose Carter Foundation
Soundsuit, 2011
Mixed media
98 x 27 x 14 inches
Courtesy of the artist and Jack Shainman Gallery,
NY
Thornton Dial
The Berry Patch, 2011
Wood, wire fencing, artificial leaves, clothing,
barbed wire, artificial bird, plastic human figure,
spray paint, and enamel on canvas
on wood
72 x 90 x 3 inches
Courtesy the artist, Souls Grown Deep Foundation
and Andrew Edlin Gallery,
New York
Coming Back Clear, 2011
Wood, metal fencing, concrete, clothing, quilt top
and enamel on canvas on wood
74 x 62 x 9 inches
Courtesy the artist, Souls Grown Deep Foundation
and Andrew Edlin Gallery,
New York
76
77
Proud Stepping, 2012
Metal, cloth, wood, cowboy boot, and paint
on wood
48 x 36 x 6¼ inches
Courtesy the artist, Souls Grown Deep Foundation
and Andrew Edlin Gallery,
New York
Tom Friedman
Untitled (Styrofoam Blocks), 2012
Styrofoam
33½ x 101 x 101 inches
Courtesy of the artist and Luhring Augustine,
New York
Greg Lynn/FORM
RV (Room Vehicle) Prototype, 2012
Architectural model, 1/20 scale
17 x 18 x 25 inches
Courtesy of Greg Lynn FORM, Venice, CA
© Greg Lynn FORM
RV (Room Vehicle) Prototype, 2012
Video of architectural model, 1/5 scale
Courtesy of Greg Lynn FORM, Venice, CA
© Greg Lynn FORM
RV (Room Vehicle) Prototype, 2012
Video of rendered interior
Courtesy of Greg Lynn FORM, Venice, CA
© Greg Lynn FORM
RV (Room Vehicle) Prototype: Alternative Rolling,
2012
Ink on paper
8½ x 11 inches
Courtesy of Greg Lynn FORM, Venice, CA
© Greg Lynn FORM
RV (Room Vehicle) Prototype: Evolution of Robotic
House, 2012
Ink on paper
8½ x 11 inches
Courtesy of Greg Lynn FORM, Venice, CA
© Greg Lynn FORM
RV (Room Vehicle) Prototype: Panel Assembly
Sketch, 2012
Ink on paper
8½ x 11 inches
Courtesy of Greg Lynn FORM, Venice, CA
© Greg Lynn FORM
RV (Room Vehicle) Prototype: Ring Column
Concept, 2012
Ink on paper
8½ x 11 inches
Courtesy of Greg Lynn FORM, Venice, CA
© Greg Lynn FORM
RV (Room Vehicle) Prototype: Rolling Mechanism,
2012
Ink on paper
8½ x 11 inches
Courtesy of Greg Lynn FORM, Venice, CA
© Greg Lynn FORM
RV (Room Vehicle) Prototype (Plan), 2012
Digital architectural rendering
24 x 56 inches
Courtesy of Greg Lynn FORM, Venice, CA
©Greg Lynn FORM
RV (Room Vehicle) Prototype (Section A-A), 2012
Digital architectural rendering
24 x 56 inches
Courtesy of Greg Lynn FORM, Venice, CA
©Greg Lynn FORM
RV (Room Vehicle) Prototype (Section B-B), 2012
Digital architectural rendering
24 x 56 inches
Courtesy of Greg Lynn FORM, Venice, CA
© Greg Lynn FORM
RV (Room Vehicle) Prototype (Section C-C), 2012
Digital architectural rendering
24 x 56 inches
Courtesy of Greg Lynn FORM, Venice, CA
© Greg Lynn FORM
78
Vik Muniz
Atlas (Carlão)
From Pictures of Garbage, 2008-11
Portfolio of 7 chromogenic prints
30 x 23½ inches
Edition of 30
Courtesy of Sikkema Jenkins & Co., New York
Art © Vik Muniz/Licensed by VAGA,
New York, NY
The Bearer (Irmã)
From Pictures of Garbage, 2008-11
Portfolio of 7 chromogenic prints
30¾ x 23½ inches
Edition of 30 Courtesy of Sikkema Jenkins & Co., New York
Art © Vik Muniz/Licensed by VAGA,
New York, NY
The Gypsy (Magna)
From Pictures of Garbage, 2008-11
Portfolio of 7 chromogenic prints
30 x 23½ inches
Edition of 30
Courtesy of Sikkema Jenkins & Co., New York
Art © Vik Muniz/Licensed by VAGA,
New York, NY
Marat (Sebastião)
From Pictures of Garbage, 2008-11
Portfolio of 7 chromogenic prints
30¼ x 23½ inches
Edition of 30
Courtesy of Sikkema Jenkins & Co., New York
Art © Vik Muniz/Licensed by VAGA,
New York, NY
Mother and Children (Suellem)
From Pictures of Garbage, 2008-11
Portfolio of 7 chromogenic prints
30½ x 23½ inches
Edition of 30
Courtesy of Sikkema Jenkins & Co., New York
Art © Vik Muniz/Licensed by VAGA,
New York, NY
The Sower (Zumbi)
From Pictures of Garbage, 2008-11
Portfolio of 7 chromogenic prints
30¼ x 23½ inches
Edition of 30
Courtesy of Sikkema Jenkins & Co., New York
Art © Vik Muniz/Licensed by VAGA,
New York, NY
Woman Ironing (Isis)
From Pictures of Garbage, 2008-11
Portfolio of 7 chromogenic prints
33¼ x 23½ inches
Edition of 30
Courtesy of Sikkema Jenkins & Co., New York
Art © Vik Muniz/Licensed by VAGA,
New York, NY
Wangechi Mutu
A Dragon Kiss Always Ends in Ashes, 2007
Ink, paint, mixed media, plant material and plastic
pearls on Mylar
53 x 92 inches
Jerome L. and Ellen Stern
Kate Orff/SCAPE
Back to the Future, 2010
Digital collage
60 x 43 inches
Courtesy of SCAPE/KATE ORFF
Barge Mooring Pier, 2012
Digital rendering
22 x 17 inches
Courtesy of SCAPE/KATE ORFF
Fuzzy Rope Elevation, 2012
Rendering
16 x 24 inches
Courtesy of SCAPE/KATE ORFF
Fuzzy rope sample
Approximately 48 x 48 inches
Courtesy of SCAPE/KATE ORFF
79
Living Reef, 2010
Digital collage
49½ x 60 inches
Courtesy of SCAPE/KATE ORFF
Oyster-tecture, 2010
Architectural model
24 x 96 x 114 inches
Courtesy of SCAPE/KATE ORFF
Oyster-tecture, 2010
Digital collage
60 x 192 inches
Courtesy of SCAPE/KATE ORFF
Betye Saar
Birds of a Feather, 2010
Mixed media collage on paperboard
12¾ x 12 inches
Courtesy of Michael Rosenfeld Gallery LLC,
New York, NY
The Destiny of Latitude & Longitude, 2010
Mixed media assemblage
54 x 43 x 20½ inches
Courtesy of Michael Rosenfeld Gallery LLC,
New York, NY
Flight of the Trickster, 2012
Mixed media collage on hand-made paper
68 x 39 x 1 inches
Courtesy of Michael Rosenfeld Gallery LLC,
New York, NY
Globe Trotter, 2007
Mixed media assemblage
32½ x 18¼ x 14 inches
Courtesy of Michael Rosenfeld Gallery LLC,
New York, NY
Myth & Mourning, 2009
Mixed media assemblage
63¼ x 19½ x 8½ inches
Courtesy of Michael Rosenfeld Gallery LLC,
New York, NY
Red Ascension (from RED TIME), 2011
Mixed media assemblage
17½ x 96½ x 3¼ inches
Courtesy of Michael Rosenfeld Gallery LLC,
New York, NY
Rhythm & Blues, 2010
Mixed media assemblage
16 x 14¼ x 9½ inches
Courtesy of Michael Rosenfeld Gallery LLC,
New York, NY
Serving Time, 2010
Mixed media assemblage
64 x 17½ x 9¾ inches
Courtesy of Michael Rosenfeld Gallery LLC,
New York, NY
Servitude, 2008
Mixed media assemblage
14 x 7 x 7¼ inches
Courtesy of Michael Rosenfeld Gallery LLC,
New York, NY
Moshe Safdie/Safdie Architects
United States Institute of Peace, Atrium, 2011
Digital photograph
41 x 52 inches
Courtesy of Safdie Architects, Boston
Photo: Timothy Hursley
United States Institute of Peace, National Mall,
Washington, D.C., 2011
Digital photograph
16 x 20 inches
Courtesy of Safdie Architects, Boston
Photo: Timothy Hursley
United Nations Institute of Peace, Washington,
D.C., View from SW at night, 2011
Digital photograph
40 x 50 inches
Courtesy Safdie Architects, Boston
Photo: Timothy Hursley
80
United States Institute of Peace,
View from SW, 2011
Digital photograph
16 x 20 inches
Courtesy Safdie Architects
Photo: Timothy Hursley
United States Institute of Peace, View looking up
at sculptural roof, 2011
Digital photograph
50 x 39 inches
Courtesy of Safdie Architects, Boston
Photo: Timothy Hursley
United States Institute of Peace,
computer model of roof forms, 2011
Computer generated rendering
12 x 16 inches
Courtesy of Safdie Architects, Boston
Sketches of Washington, D.C., 2011
Sketchbook
Courtesy of Safdie Architects, Boston
United States Institute of Peace, Washington,
D.C., 2011
Powerpoint presentation
Courtesy of Safdie Architects, Boston
Bill Viola
Tempest (Study for the Raft), 2005
Color high-definition video on flat panel display
mounted on wall
Courtesy of the artist and James Cohan Gallery,
New York/Shanghai
United States Institute of Peace,
computer model showing rational shapes forming
roof, 2011
Computer generated rendering
12 x 16 inches
Courtesy of Safdie Architects, Boston
United States Institute of Peace, Sketches
of roof forms, 2011
Digital reproduction of ink sketches
16 x 20 inches
Courtesy of Safdie Architects, Boston
United States Institute of Peace,
South Elevation, sketch, 2011
Digital reproduction of ink drawing
12 x 16 inches
Courtesy of Safdie Architects, Boston
United States Institute of Peace,
South Elevation, roof sketch, 2011
Digital reproduction of ink drawing
12 x 16 inches
Courtesy of Safdie Architects, Boston
81
CREDITS
Copy Editor: Monica Rumsey
Designer: Susanne Schaal
Cover
Bill Viola
Still from Tempest (Study for the Raft), 2005
Color high-definition video on flat panel display
mounted on wall
Courtesy of the artist and James Cohan Gallery,
New York/Shanghai
Photo: Kira Perov
82
BOARD OF GOVERNORS
David Kapp, NA
Chair
Bruce Fowle, NA
President
Gregory Amenoff, NA
Vice President
Dawn Handler Harbart
Secretary
Anne Abrons
Hugo Bastidas, NA
Robert Berlind, NA
Willard Boepple, NA
Walter Chatham, NA
Nancy Friese, NA
Gayle Gross
Barbara Grossman, NA
Helene Jaffe
Henry Justin
Melissa H. Kaish
John Moore, NA
Anthony Panzera, NA
Deven Parekh
Stephanie Terelak
Frederica Wald
Teresa Waterman
83