Julian Rose

  • Julian Rose

    THIS PAST MAY, the New York City Department of Buildings issued work permit number 220288230-01-EW-OT to Thomas Hirschhorn’s Gramsci Monu­ment. The project, located in the central courtyard of the Forest Houses, a New York City Housing Authority–administered complex in the South Bronx, was constructed over the following six weeks out of some forty-five hundred shipping pallets, two hundred sheets of plywood, ten thousand linear feet of lumber, and fifteen miles of PVC tape. A sprawling compound of enclosed pavilions atop a raised platform, the temporary structure was undeniably architectonic.


    RENOWNED ARCHITECT TOYO ITO, winner of this year’s Pritzker Prize, has spent his career exploring the subtle yet vital connections between the physical and ephemeral qualities of space. If his early designs were marked by a pioneering interest in the effects of new media and digital technology on the urban environment, his more recent work has investigated architecture’s capacity to cultivate modes of social interaction and produce vibrant public spaces. Indeed, the buildings he has produced over the course of more than four decades are praised equally for their formal inventiveness, structural

  • Frank Gehry

    The term sculptural has haunted Frank Gehry for much of his spectacularly successful career. While his supporters may use it in effusive descriptions of his building’s formal expressiveness, in the hands of his critics, it has become a potent means of implying that his designs lack the formal rigor that one should expect from architecture—another way of saying that the wild shapes that have made him famous are arbitrary, unmotivated, even willful. It is surprising, then, that his work appears most deliberate—and most grounded in deeply architectural processes and problems—in

  • Richard Nonas

    It is disconcerting to hear Richard Nonas refer to James Fuentes gallery, the site of his most recent solo show in New York, as an “uneasy, unsteady space,” until it becomes clear that this is a compliment. What he means is that the place has character; rather than the neutral background of a white cube, it offers the idiosyncrasies and imperfections that make a space worth engaging. Explaining further, Nonas describes himself as “fascinated by architecture but also upset by it”—fascinated by its power to shape space and thereby establish place, a fundamental concern of his own work, but

  • Anthony McCall

    Appropriately enough, given the beautiful paradox of “solid light” with which he refers to them, Anthony McCall’s projections are often described as simultaneously embodying film, sculpture, and drawing. But McCall’s recent show “Face to Face,” which combined a physical intervention into the gallery space with his latest solid-light piece, suggested another medium—architecture—as equally fundamental to his practice.

    The exhibition’s titular 2013 work, installed in the gallery’s main space, is the first that McCall has projected onto freestanding screens, rather than directly onto a

  • “Thomas Hirschhorn: Gramsci Monument”

    In the South Bronx’s Forest Houses development, Thomas Hirschhorn and a team of local residents will soon begin constructing the fourth and final of the Swiss artist’s “monuments” to philosophers. This tribute to the great Italian Marxist Antonio Gramsci promises to be the most ambitious yet, with a significantly larger footprint than Hirschhorn’s previous ad hoc pavilions, including offices for a daily newspaper and a performance space for everything from poetry readings to philosophy lectures. This structural and functional complexity transcends mere public sculpture,

  • “Richard Rogers: Inside Out”

    In more ways than one, the career of British architect Richard Rogers has been defined by contradiction. Stylistically, he has merged a modernist faith in technology and the open plan with a colorful Pop-inflected exuberance, an amalgamation immortalized in his design (with Renzo Piano) for the Centre Pompidou in Paris. Ideologically, he has maintained a steadfast faith in the transformative potential of public architecture, even as some of his most celebrated projects have been corporate headquarters for private clients, the iconic Lloyd’s building in London among them.


    BREAKING THROUGH A WALL might have once seemed like a radical gesture, but by now it has become something of a cliché. From the pockmarked cavities of Lawrence Weiner’s 1968 A WALL CRATERED BY A SINGLE SHOTGUN BLAST, to the open gap in the facade of the Pomona College art gallery left by Michael Asher’s now-legendary 1970 removal of its doors, to the ragged cuts through abandoned buildings that defined Gordon Matta-Clark’s entire oeuvre, the hole in the wall was a mainstay of pioneering post-Minimal and Conceptual practice. And the basic gesture of piercing an architectural surface continues to

  • “A New Sculpturalism: Contemporary Architecture From Southern California”

    There is a certain irony in using the rubric of “sculpturalism” to encapsulate the influential architecture that has emerged from Southern California in recent decades, because its sculptural quality is now probably its least defining characteristic; its once-novel forms—and the pioneering digital technologies that enable them—have become ubiquitous, and what previously had the cachet of a local style has become a global export. Fortunately, the region’s architecture has always been distinguished above all by its heterogeneity and restless experimentation,


    Trading Spaces a roundtable on art and architecture Art and architecture meet more often and more profoundly today than ever before—from public art to the art-fair tent, from the pavilion to the installation. But if the interchange between these fields offers a host of new possibilities for structure, space, and experience, it also makes reflection on their status more urgent. To chart this complex constellation of interactions, Artforum invited critics HAL FOSTER and SYLVIA LAVIN; artists THOMAS DEMAND, HILARY LLOYD, and DORIT MARGREITER; architects STEVEN HOLL and PHILIPPE RAHM; and curator HANS ULRICH OBRIST—a group whose pioneering work marks the front lines of art-architecture exchange—to engage in a conversation moderated by Artforum senior editor Julian Rose.

    JULIAN ROSE: While many agree that there is an unprecedented level of interchange between art and architecture today, there is surprisingly little consensus about what, specifically, these interactions entail or where they actually take place. Which models of interaction between art and architecture are most significant, and where can we begin to locate them?

    STEVEN HOLL: Architecture is an art—the premise of a division is specious.

    THOMAS DEMAND: I do think there is a clear difference between the practices, though. Every time I’ve ever worked with an architect, the collaboration was based

  • “Foreclosed: Rehousing the American Dream”

    TWO INTERRELATED CLAIMS provide the premise for “Foreclosed: Rehousing the American Dream,” a recent workshop and forthcoming exhibition organized by the Department of Architecture and Design of the Museum of Modern Art in New York. The first is that the foundation of the American dream, particularly as it has evolved over the past century, is ownership of a single-family suburban house; the second is that America’s current foreclosure crisis should force a wholesale rethinking of this dream. Barry Bergdoll (the museum’s chief curator of architecture and design) and Reinhold Martin (of Columbia


    IT’S EASY ENOUGH to see the work of Oscar Tuazon as a vehement attack on architecture. The Paris-based artist’s two most recent shows, for example—an untitled project at the Kunsthalle Bern and My Mistake at London’s Institute of Contemporary Arts this past spring and summer, respectively—each staged a dramatic encounter between installation and white cube. Both were large-scale frame constructions, assembled from eight-by-eight- or twelve-by twelve-inch beams of unfinished wood, roughly cut to size with a chain saw and bolted together. In both shows, the frames filled an entire floor, weaving

  • Julian Rose

    THE CENTRAL PROPOSITION behind architect Jean Nouvel’s design for the new National Museum of Qatar seems to be that good metaphors make good architecture. The first thing that everyone—the architect, the developer, the museum’s director—wants you to know is that the building looks like a “desert rose,” a small crystalline structure (so named because its shape is an aggregation of thin, bladelike petals) formed by salinated sand just below the desert’s surface. When the design was unveiled at the Museum of Modern Art in New York this past spring, Nouvel began his presentation with a photograph