Sentences with phrase «architecture critic in»

Not exact matches

To be sure, Tebele isn't the only player in the game, and he's largely banking on a type of humor that, as one critic puts it, «is charmingly moronic by its very architecture.»

Michael Sorkin, an award - winning architect and the architecture critic for The Nation, wrote a manifesto - length essay in response («Architecture Against Trump») that describes the AIA statement as «temperate, agreeable, indeed feckless.»

The critic D. J. Taylor wrote of my novel The Upstart that my hero's repentance «leaves the novel's architecture in fragments....

Catesby Leigh, an art and architecture critic, addressed the spiritual dimension of Reed's labors in a remembrance delivered at the Requiem Eucharist for Reed celebrated at St. Thomas Church Fifth Avenue.

Critics say that, as is, that's simply putting a Band Aid on a larger wound: Just last week, New York Times architecture critic Michael Kimmelman, in a larger critique of the problems at the much - maligned terminal, called that plan «a project born of political expediency,» noting that Cuomo has «brushed off more sweeping proposals that might tackle once and for all the whole panoply of problems that plague Penn Station.»

He is the editor and creator of the videogames and architecture zine Heterotopias and for the past 5 years he has worked as a games critic, specialising in virtual architecture and games as cultural objects.

In 1946 Motherwell asked Chareau to serve as the architecture editor for his review Possibilities, which he coedited with the critic Harold Rosenberg and the composer John Cage.

We discuss, among other topics, about photography in the Middle East with Peggy Sue Amison, artistic director at East Wing; net art and networked cultures with Josephine Bosma, Amsterdam - based journalist and critic; urban digital art and criticality in the media city with curator and researcher Tanya Toft; art and technology with curator Chris Romero; the politics of surveillance and international security with political scientist David Barnard - Wills; art and architecture with Maaike Lauwaert, visual arts curator at Stroom, an independent centre for art and architecture in the Netherlands; the intersections of art, law and science with curator and cultural manager Daniela Silvestrin; the architecture of sacred places with curator Jumana Ghouth; the historical legacy of feminism today with Betty Tompkins and Marilyn Minter; hacktivism and net culture with curator and researcher Tatiana Bazzichelli; culture, place and memory with Norie Neumark, director of the Centre for Creative Arts in Melbourne; anthropology and the tactical use of post-digital technologies with artist and philosopher Mitra Azar; or feminism and the digital arts with curator Tina Sauerländer.

Hunter Drohojowska - Philp is a journalist and art critic specializing in art, design and architecture.

Experts in Latin American architecture, artists, musicians, and art critics have been invited to take part in lectures and discussions.

Roberta Smith, co-chief art critic of The New York Times, praised Mr. Sala's «roiling explorations, mostly in video, of sound, time, color, architecture and the politics of modern life.»

When the gallery opened, its jaw - dropping location over Porthmeor beach and its seductively curvy architecture were ecstatically admired, but the light flooding in through the great windows may have blinded a few critics to its problems as a gallery.

Frank Gehry, architect, in conversation with Paul Goldberger, architecture critic and author, Building Art: The Life and Work of Frank Gehry.

In turn its head critic, Michael Kimmelman, made his reputation by hanging out with well - known artists, then writing favorably about them, before taking on the role of architecture critic without reviewing buildings (other than his hopes for Penn Station).

Contemporary architecture for art has come to be defined by what critic Brian O'Doherty in a 1976 essay christened «The White Cube»: the minimal, white - walled, timber - floored, top - lit room that submits itself to art by stripping itself of almost all architectural expression.

Edwin Heathcote is architecture and design critic, Financial Times, and editor - in - chief, Reading Design; based in London

As a critic and architecture historian, Pettena has organized exhibitions on contemporary architecture around the world, and was involved in a number of critical publications, among them L'anarchitetto (1973) and Radicals: Architettura e design 1960 — 1975 (1996).

In this traditional paperback, renowned critic and curator Hans Ulrich Obrist teams up with Dutch avant - garde architect and paradigm - shifting intellectual, Rem Koolhaas, for a discussion of Koolhaas's work in China, his designs for Prada, architecture as metaphor, and the development of urbanism in the slipstream of globalizatioIn this traditional paperback, renowned critic and curator Hans Ulrich Obrist teams up with Dutch avant - garde architect and paradigm - shifting intellectual, Rem Koolhaas, for a discussion of Koolhaas's work in China, his designs for Prada, architecture as metaphor, and the development of urbanism in the slipstream of globalizatioin China, his designs for Prada, architecture as metaphor, and the development of urbanism in the slipstream of globalizatioin the slipstream of globalization.

Specializing in the topics of art, design and architecture, Ms. Drohojowska - Philpis an accomplished journalist and art critic who has contributed to multiple art periodicals, newspapers and radio stations.

Monument Lab Keynote Conversation: The Futures of Memory Wednesday, November 15 at 6 p.m. Pennsylvania Academy of the Fine Arts A keynote conversation featuring author and professor Michael Eric Dyson, New York Times architecture critic Michael Kimmelman, and scholar and activist Salamishah Tillet on the overarching themes of Monument Lab and the future of memory in public space.

Mo» MoMA, Mo» Problems — In his defense of the Folk Art Museum, which faces impending demolition by its neighbors and new owners at the Museum of Modern Art, New York Times architecture critic Michael Kimmelman suggests that some native New Yorkers are beginning to feel a bit miffed by the nonstop growth and creeping corporatism of the city's beloved repository of 20th - century art.

The exhibition's only critical mention came with regard to San Francisco's Embarcadero Center, admitting that «this type of architecture would have its critics in ensuing years....»

Ruskin became renowned for his rich and flowing prose, and later in life he branched out to become an active and wide - ranging critic, publishing works on architecture and Renaissance art, including the Stones of Venice.

In this excerpt from Phaidon's Selldorf Architects, architecture critic Ian Volner sheds light on the philosophy behind these New York - based architects.

Gerhard Mack is an art and architecture critic based in Switzerland.

Gehry, who is among those who believe signature architecture and good gallery spaces can go hand in hand, says of his critics, «I think they should search their souls on this fairy - tale thing that an art museum has to be neutral and not there architecturally so that it doesn't compete with the art.»

Anulfo AKA The Evolving Critic is a preservationist and blogger with a strong interest in architectural history, urbanism, and the parallels between fashion and architecture.

«Äù Vija Celmins «Äô drawings show at the Hammer Museum in Los Angeles (# 3 out of 10), garnered similar hyperbole, as did Puryear «Äôs current retrospective at MoMA (# 5; TIME «Äôs art and architecture critic / blogger Richard Lacayo proclaims Puryear «Äúone of the greatest living American artists «Äù).

By anthologizing essays, documents, and interviews by leading critics, historians, and artists on issues of site - specificity, conceptualism, feminism, and architecture practice, Surface Tension reveals the connections between cultural production and the very spaces in which such work functions.

Etienne Wynants (Art historian, managing editor of art publication the Witte Raaf, and business coordinator of the Etablissement d'en face in Brussels) Hans Theys (Art critic and curator, author of more than 30 books on Contemporary art, lecturer at the Royal Academy of Art in Antwerp and Ghent) Sam Steverlynck (Art critic for publications such as De Standaard, H ART, Damn magazine, and Artsland; curator of the exhibition «A Simple Plan» in a private villa designed by Stéphane Beel) Liesbeth Huybrechts (Author, researcher on topics such as digital media, lecturer for various academic art institutes such as LUCA and Mondriaan Foundation) Hans De Wolf (Art historian, professor, author of numerous publications on contemporary art, distinguished specialist on Marchel Duchamp) Pierre - Yves Desaive (Art historian and critic specializing in contemporary art, curator at the Musuem of Royal Arts, Brussels) Eric Rinckhout (Art, architecture, and literature writer for De Morgen; author of three books on Willem Elsschot)

With a previous Ph.D. in Architectural Theory, History and Criticism from Princeton University, Abrams had worked for more than 20 years as an architecture and design critic and editor, organizing numerous conferences and salons, and writing for publications including frieze, I.D. Magazine, Blueprint, and The New York Times.

Organized by UCLA architecture critic and historian Sylvia Lavin, this show examines the ways in which technology has been employed (and not) in the world of design — a show that will be staged in the historic Rudolph Schindler House, which the architect designed with the aid of a drafting machine.

In a review of a 1989 show at the center, Paul Goldberger, then the chief architecture critic for The New York Times, wrote that the Drawing Center «deserves to rank not with the SoHo galleries that are its neighbors, but with the major museums of which it is now virtually a peer.»

In 1963 the College Art Association gave Ms. Ashton and the architecture critic Lewis Mumford the first Frank Jewett Mather Awards for distinguished arts journalism.

BALTIC, Gateshead, until 26 February 2017 The critic Jane Harris, writing in Artforum some years ago, described Italian artist Monica Bonvicini as «something of a heckler», who is «taking aim at the granddaddy of all aesthetic boys clubs: architecture».

His notable works include Double Negative (1969 - 70), a pair of trenches in the desert near Overton, Nevada, created by displacing 240,000 tons of rock, and City, an ongoing project in Lincoln County, Nevada, described by critic Michael Kimmelman as «a suite of giant, variously shaped abstract sculptures over an area that covers more than a mile end to end — modern art turned into monumental abstract architecture, with ancient ruins as the model.»

Dezeenwire: Guardian architecture critic Jonathan Glancey writes about newly knighted architect Sir David Chipperfield to coincide with the opening of the his extension to Museum Folkwang in Essen, Germany.

Los Angeles - based architecture critic Esther McCoy, who spent time in Cuernavaca and befriended the influential yet under recognized designer Clara Porset, will be next.

Back in England, Hepworth and Nicholson were also involved with Paul Nash as well as the influential art critic Herbert Read, in the formation of Unit One Group, formed in 1933 to promote British modern art, architecture and design.

That work was cited by critic Stephen Parnell in his essay «Post-truth architecture.»

The Heatherwick Studio in London is the subject of a current retropsective at the Hammer Museum, and architecture critic Christopher Hawthorne toured it with the architect.

The exhibition spans the entire career of Bernard Rudofsky (1905 1988), including his roots in the early years of European modernism; his world travels, which shaped his views as a designer and critic; and his influence as a curator and writer on international discourse on architecture, fashion, and design.

The moderator, Toronto Globe and Mail architecture critic Lisa Rochon, asked for questions but the typical Toronto audience would rather make speeches than listen to answers, so she had to field them herself: «In the face of all this sprawl and disaster how do you find the energy to continue?

And as Edwin Heathcoate, the British architecture critic, pointed out recently, there's something to be said for simplicity and open - endedness in toys.