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The Hearst Tower discussion continues: 33 / 34 / 35
Someone makes the point that the top of the addition looks "lopped off." Agreed, from the original plan photos I thought it would be tapering, not boxy at the top. From the ground it does appear to taper. But from the side, at a distance, you can see it's just another damn box with a fake geodesic exterior. And the relationship to the "base"--hoo wheee. Check out the photos in the thread of the Urban Ziegfeld interiors--wild!
In case anyone missed this cheeky reply to the floating island...
Public - Fri September 30, 2005 7:30 pm to 9:00 pm
Gallery Talks
Remote Viewing Artists: Steve DiBenedetto
In Steve DiBenedetto's paintings and drawings, swirls, tendrils, lattices, and vortices crisscross, interweave, sever, and re-form, resulting in topsy-turvy underworlds that disturb almost as much as they enchant.
Gallery Talks: Remote Viewing Artists Join these exhibiting artists as they discuss their process, ideas, and approach to art making.
These Gallery Talks are free with Museum admission, which on Fridays from 6 to 9pm is pay-what-you-wish.
There's little of what Susan Sontag, referring to photojournalism's relationship to war, called "the photography of conscience." There's no Goya, nothing wrenching or ravishing. Mumford obviously cares about the troops, but his drawings have an academic, bleached-out detachment. The work is attentive but not insightful, detailed but not affecting. You never get the feeling he's examined the moral ambiguity of war, the guilt, adrenaline rush, deprivation, or self-gratification of it. The pictures are proficient but impersonal.
smithson blitz at nyt