On April 24, at a private VIP opening at the new 220,000 sq. ft., Renzo Piano-designed Whitney Museum in Manhattan's Meatpacking District, Ronald Mallory's contained mercury sculpture will be on display.
As I walked up the familiar steps and entrance everything seemed as it had been during my time as a student. The inside, however, was quite different and the courtyard was bathed in light, still surrounded by some familiar artwork.
Renzo Piano speaks in a soft voice and listens carefully to the questions posed to him. It was especially so at the inauguration of his latest building in Paris, the city where he made his name with the Pompidou Museum of Modern Art almost 40 years ago.
There was a front-page story in the Los Angeles Times today entitled: "Burst the film museum's bubble." In it, the paper's architectural critic continues his vendetta against the museum's design by the legendary architect Renzo Piano.
If you've ever wondered why LACMA's east campus looks like a Lincoln Center-wannabe emerging from an '80s porn star's pink-tiled shower stall, this exhibition will tell you exactly why. But the showstopper, which entranced me for a solid three hours yesterday, is Zumthor's proposed redesign.
Not long after my flight landed in Kristiansund on Norway's western coast, I found myself on a harbor cruise, gliding by its mustard yellow and barn red homes tucked into the hillsides and old fish warehouses used to dry and salt cod.
"Olmec: Colossal Masterworks of Ancient Mexico" features masterworks from roughly 1400 to 400 BC, allowing us the opportunity to experience human history through the objects that people made and left behind.