ESS 001 Pine Barrens Nancy Holt 1975
“Oh yeah, I take walks pretty near every day. I just come back from taking a walk. I didn’t see anything today, just a few birds, that’s about all.”
“A Piney is a person who’s lived in the Pines all their life and seldom ever goes to a city, because we don’t care for the city. There’s too many people there. We like to be more alone, you know. I’m not cutting the city down or nothin’ like that, but here you got open spaces, you got a tree to go to if you know what I mean, and stuff like that.”
The Pine Barrens is a wilderness of sand and pine trees 1.000 square miles in area in the central part of southern New Jersey. It’s the forgotten land of the northeastern urban belt: New York is an hour and 45 minutes away to the north, Philadelphia to the west, Atlantic City to the south. (more...)
ESS 002 Exhibiting architecture: show, don't tell Carson Chan 2010
As the 12th Venice Biennial of Architecture opens this year under the title "People Meet in Architecture" — a truism that is precise if not especially revealing of the exhibition's theme — we are reminded that many of the concepts employed in the making of architecture exhibitions are just as vaguely defined and ineffectual. The history of exhibition-making, whether in art or architecture, dates back no further than the turn of the 18th century in Europe, when private collections began migrating into the public salons. As a relatively new activity within the human history of art and architecture, it bears reminding that the practice of exhibition-making still necessitates definition, its methods still need theorizing. How is architecture exhibited? What is an architecture exhibition? These questions are often addressed, but rarely answered. Wallis Miller, in her essay about Ludwig Mies van der Rohe's work and exhibitions, refers to exhibitions Mies designed, participated in, and benefited from (by being exhibited in, as well as reviewed within), simply as his exhibition projects (Wallis Miller, "Mies and Exhibitions", in Mies in Berlin, ed. Terrence Riley & Barry Bergdoll, New York: The Museum of Modern Art 2001). The way the exhibition form has served architecture straddles so many modes and functions that it is a matter of accuracy, if not simply clarification, to address exhibition making as a distinct discipline, and not as Philip Johnson understood it as simply a "branch of architecture."(more...)
ESS 001 Pine Barrens Nancy Holt 1975
“Oh yeah, I take walks pretty near every day. I just come back from taking a walk. I didn’t see anything today, just a few birds, that’s about all.”
“A Piney is a person who’s lived in the Pines all their life and seldom ever goes to a city, because we don’t care for the city. There’s too many people there. We like to be more alone, you know. I’m not cutting the city down or nothin’ like that, but here you got open spaces, you got a tree to go to if you know what I mean, and stuff like that.”
The Pine Barrens is a wilderness of sand and pine trees 1.000 square miles in area in the central part of southern New Jersey. It’s the forgotten land of the northeastern urban belt: New York is an hour and 45 minutes away to the north, Philadelphia to the west, Atlantic City to the south. (more...)
ESS 002 Exhibiting architecture: show, don't tell
Carson Chan 2010
As the 12th Venice Biennial of Architecture opens this year under the title "People Meet in Architecture" — a truism that is precise if not especially revealing of the exhibition's theme — we are reminded that many of the concepts employed in the making of architecture exhibitions are just as vaguely defined and ineffectual. The history of exhibition-making, whether in art or architecture, dates back no further than the turn of the 18th century in Europe, when private collections began migrating into the public salons. As a relatively new activity within the human history of art and architecture, it bears reminding that the practice of exhibition-making still necessitates definition, its methods still need theorizing. How is architecture exhibited? What is an architecture exhibition? These questions are often addressed, but rarely answered. Wallis Miller, in her essay about Ludwig Mies van der Rohe's work and exhibitions, refers to exhibitions Mies designed, participated in, and benefited from (by being exhibited in, as well as reviewed within), simply as his exhibition projects (Wallis Miller, "Mies and Exhibitions", in Mies in Berlin, ed. Terrence Riley & Barry Bergdoll, New York: The Museum of Modern Art 2001). The way the exhibition form has served architecture straddles so many modes and functions that it is a matter of accuracy, if not simply clarification, to address exhibition making as a distinct discipline, and not as Philip Johnson understood it as simply a "branch of architecture." (more...)