Edward Dimendberg

  • passages March 29, 2016

    Edward Soja (1940−2015)

    ANALYSIS OF THE SOCIAL, cultural, and economic significance of space is so pervasive in many contemporary art practices and academic disciplines that it is easy to forget that the “spatial turn” has both a history and a place of origin. If the concerns once pursued in relative isolation by architects, planners, and geographers today appear omnipresent in art schools and course syllabi, book series and conferences, the ideas of geographer and urban theorist Edward Soja (1940–2015) played a key role in catalyzing this shift. Soja began his career as a specialist in Africa and by the time of his

  • film March 11, 2016

    Chocolate Factory

    CALIFORNIA ABOUNDS WITH BEGUILING PLACE NAMES. The divergence between promise and reality may be no greater than in the case of the Chocolate Mountains. Stretching more than sixty miles across the Colorado Desert that traverses Riverside and Imperial counties in Southern California, they form a geography that few Californians have seen, let alone visited. Home to the Chocolate Mountain Aerial Gunnery Range, a practice site used by the Navy and Marines and inaccessible to the public, the region’s arid and inhospitable topography is magnified by the unsettling thought that somewhere over a distant

  • the Broad museum and urban development in Los Angeles

    ALTHOUGH I MOVED to Los Angeles in 1990, I still get lost downtown. What the municipal government somewhat wishfully calls the Central City area is actually an amorphous zone, more or less bounded on the south by the Santa Monica Freeway, on the west by the Harbor Freeway, on the north by the Hollywood Freeway, and on the east by Alameda Street. And it contains multitudes: government buildings and courthouses clustered around city hall; the financial district; Grand Avenue, which is home to many of the city’s museums as well as the Music Center, including Walt Disney Concert Hall; the Broadway

  • Balthazar Korab

    Balthazar Korab (1926–2013) thought himself “an architect who makes pictures rather than a photographer who is knowledgeable about architecture.” This exhibition—the first in this gallery, which is devoted to architecture and design—included nearly thirty silver gelatin prints of photos taken between 1959 and 1999. Exemplary in their ability to palpably convey what it means to occupy a building, these images validate Korab’s self-assessment and confirm his position in the firmament of architectural photographers that includes Julius Shulman, Ezra Stoller, Ken Hedrich, Henry Blessing,

  • “Everything Loose Will Land”

    “Everything Loose Will Land,” curated by architectural historian Sylvia Lavin at the MAK Center for Art and Architecture, was among the most compelling exhibitions in the 2013 series sponsored by the J. Paul Getty Trust, “Pacific Standard Time Presents: Modern Architecture in L.A.” Surveying a rich cultural moment between the political radicalisms of the 1960s and the postmodernist practices of the 1980s, the show’s strength lay in its irreducibility to a single story line and its opening up of multiple trajectories through a history it revealed to be anything but settled. Lavin made good on