The architecture of a new museum is poignant reflection of the moment, which will mark that period in time. When it comes to the monumental construction of the Louvre’s newest addition, the design stands to define the interpretation of an era.
Lille France is home of the new branch of the Louvre-LENS scheduled to open in 2012, an environment planned to be condusive to a new way of ingesting art. Designed by a team of architects from the New York, Tokyo and Paris, including Imrey Culbert, Sanaa, and Mosbach Paysagistes, the space will include 300,000 square feet of new construction, with over 75,000 square feet of galleries and storage for the Louvre’s storied collection.
The quarters will be sequestered into a series of five pavilions. Polished and anodized aluminum façade clad surface make for muted enhancements of the surrounding facade that evolve into something else with changes in the scenery, the weather, and the perspective of the viewer.
The Louvre was founded in 1793 — and is the world’s quintessential art museum, but with this expansion, the Louvre is able to coexist in a contemporary society, with collections of the Louvre that will be on temporary exhibition.
The aim is to educated the public on viewing art and the structure is designed to be a part of that conversation.
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courtesy: El Museo del Barrio
It used to resemble a community center, with telltale signs of it’s history as a public classroom, the answer to a demand for artistic representation. African Americans and Puerto Rican parents, teachers, and community activists in central and East Harlem lobbied for an institution that celebrated the arts of their people. A grassroots effort realized in 1969 has indeed blossomed into a vibrant and progressive institution after 40 years with it’s latest refinishing. Now it looks like a real museum, rising to the occasion of it’s all too important mission — to represent the Latin American art community with some of it’s acquired 6,500 works, and many more stories and cultures interwoven in the fabric of it’s visual representations.
El Museo del Barrio opened their doors to members and special guests this week from the art world. The mood was festive amid the salsa and chatter of new patrons, ushering in the 44-million-dollar renovation by architect Jordan Gruzen. Wood, glass and metal beckoned to passerbys on 5th Ave.
Inside were the coming-out exhibits Nexus New York: Latin/American Artists in the Modern Metropolis curated by Deborah Cullen, Director of Curatorial Programs, which centered upon New York-based artists of Latin American and Caribe descent who produced works from 1900 to 1942. Voce y Visiones, curated by Elvis Fuentes, is a broader examination that covers the depth of the museum’s collection. Here are two diverging shows with the common theme of a museum putting it’s best foot forward.
The corridors were packed with work in both shows — maximizing the space to the gills in a rich and authoritative brush stroke on the Latin American art movement. The recognizable icons Diego Rivera and Frida Kahlo were intermixed with Joaquin Torres-Garcia’s “Fourteenth Street.”
Small crowds of people marveled around contemporary work like Ester Hernandez’s provocative “Sun Mad” and a work by Marcos Dimas, discussing the context. The 1987 piece “La Cama” by Pepon Osorio was a focal point in the midst of it all.
The big opening is Sat. It’s free, and rain or shine, it will be busy.
courtesy of NY Times
Fifth Ave. at 104th St. (212-831-7272)—“Voces y Visiones: Four Decades through El Museo del Barrio’s Permanent Collection.” Opens Oct. 17. | “Nexus New York: Latin/American Artists in the Modern Metropolis.” Opens Oct. 17. through Feb. 2010 (Wednesdays through Sundays, 11 to 5.)
“The influence of blues is in my cells. It’s a big part of who I am,” said Eyrkah Badu to a group of Texas youth. “I am the blues.
Fifth graders attending the International House of Blues Foundation (IHOBF) Blues SchoolHouse Program in Dallas had their own private Badu concert on Wednesday. They also learned how blues influence’s Badu’s outlook and music, as Badu wove her personal story within the lineage of this critical art form as it emerged from the African continenent. Her charity, Beautiful Love Incorporated Non-Profit Development (BLIND), helped coordinate the event. Here’s to artists spreading knowledge in the community.
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