Asia Society is the leading pan-Asian organization dedicated to promoting mutual understanding and strengthening partnerships among peoples, leaders and institutions of Asia and the United States in a global context. They recently opened their new Yoshio Taniguchi-designed home in April.
MENIL COLLECTION EXPANSION, MENIL DRAWING INSTITUTE AND OTHER PLANNED STRUCTURES
“Those facilities include the Menil Drawing Institute and Study Center, an auditorium, a café, additional space for Menil archives and buildings devoted to the work of individual artists.”
The firm of British architect David Chipperfield has been selected to design a master plan for the expansion of the Menil Collection campus. What’s to be added?
Those facilities include the Menil Drawing Institute and Study Center, an auditorium, a café, additional space for Menil archives and buildings devoted to the work of individual artists.
The Menil Foundation is also interested in developing “income-producing properties” along the coming Richmond rail line, reports Douglas Britt in the Houston Chronicle.
Fitting in so many new buildings, of course, will be a lot easier once the Menil decides which of its many neighboring properties it wants to knock down. And owning 30 acres in the area means there are plenty of possibilities!
Which will go first? The gray-washed arts bungalows? The small rental properties? Richmond Hall? Richmont Square?
* * *
Chipperfield, one of six architects initially in the running for the planning job, presented four initial ideas to a Menil committee. “Chipperfield is incredibly open and flexible,” Menil deputy director Emily Todd tells Britt.
Those preliminary schemes don’t appear to have been released, but British website Building includes these images with its report of the Chipperfield selection:
Resized and spliced together, they appear to be a much-wider-angled version of this view of the Menil campus looking south from Sul Ross, just east of Mulberry — minus, of course, all those oaks.
The large porticoed structure on the right appears to represent the Menil itself. Notable also: the small brownish building just left of center looks to be one of the few Menil bungalows left standing in this scheme — several of them now line the south side of Branard.
Gary Tinterow returns to Texas to run the Museum of Fine Arts—and to grow it even larger
“My role will be different than it ever could have been at the Met,” says Tinterow of his new position in Houston.
F. CARTER SMITH/COURTESY MUSEUM OF FINE ARTS, HOUSTON
Gary Tinterow is having his Proustian moment. After leaving Houston 40 years ago to attend Brandeis University in Massachusetts and then graduate school at Harvard, he spent almost three decades at the Metropolitan Museum of Art in New York, since 2008 as chairman of the department of 19th-century, modern, and contemporary art. Earlier this year, Tinterow returned to his hometown to take over the directorship of the Museum of Fine Arts, Houston. He felt well prepared for the job but not for the rush of dormant memories triggered by certain smells or voices.
“When I left for college, I couldn’t get far enough away from Texas,” said Tinterow during a brief trip back to New York in February for the Met’s opening of “The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde,” organized under his stewardship. “I wanted to go to an environment with brick sidewalks and gas lamps, someplace historic. Houston I felt was all about new. Coming back, the big change for me is how great it feels to be in Houston.” Indeed, the tall, willowy 58-year-old, who often seemed in perpetual motion in the galleries at the Met, projects a new sense of calm.
Tinterow is returning to a museum—he interned under the former MFAH director William Agee in 1975 and 1976—that was formative to his early love of art. He has indelible memories of sketching the Mies van der Rohe– designed pavilion as a teenager and of seeing a show of Color Field paintings by Kenneth Noland, Morris Louis, and Jules Olitski. Tinterow feels lucky to have inherited such a financially healthy institution from his predecessor, Peter Marzio, who died in late 2010. During his 28-year tenure, Marzio built the encyclopedic collections to 63,000 objects and oversaw the Rafael Moneo–designed expansion that opened in 2000, making the museum one of the ten largest in the country. Its endowment is valued at approximately $1 billion, behind only the Getty’s and the Metropolitan’s. Underway for some time have been plans for a third museum building, to house modern and contemporary collections. The institution acquired a two-acre site, currently a parking lot, across the street from the two museum buildings and adjacent to both its Isamu Noguchi–designed sculpture garden and Glassell School of Art. In February, with Tinterow’s input, the museum named Steven Holl as the project architect.
“Among the most compelling of Holl’s ideas on a practical basis was the proposal to excavate two floors of underground parking underneath the entire new museum site and Glassell School, allowing for a low-rise building that would be respectful of Moneo and Mies,” says Tinterow of the structure, which will likely connect by tunnel under the street to the existing galleries. He also feels that Holl’s proposal to use a translucent skin of milky glass that would glisten by day and be illuminated by night would provide a harmonious contrast with the black steel of the Mies building and the limestone of the Moneo. He estimates that the overall project will cost from $250 to $300 million, and at the top of his to-do list is to begin raising the money.
If spearheading a new building from the ground up is a monumental project, Tinterow anticipates it being easier than the challenge he just left: negotiating an outpost for the Metropolitan’s modern and contemporary art in the Whitney Museum of American Art’s Madison Avenue building once the Whitney’s staff and collections move to its new home downtown, in 2015. Tinterow first had the epiphany for an off-site facility while looking at the back of the head of Nicholas Serota, director of the Tate in London, who was sitting a few rows in front of him on a plane in 2008. “I thought, Tate Modern, Tate Britain, Tate Modern, Tate Britain—Met Modern, Met,” he recalls saying to himself as he realized there was going to be an empty building on Madison. While he received immediate interest in the idea from then-chairman of the Whitney board Leonard Lauder and former Metropolitan director Philippe de Montebello, bringing the Met’s trustees on board took much longer than he expected. Last May, both institutions agreed in principle to a multiyear collaboration.
“The Met’s trustees asked very tough questions, as they should given their role as governors of the institution,” says Tinterow, noting the museum’s complicated and sometimes contentious relationship with contemporary art, dating back a century to when trustee J. Pierpont Morgan questioned what the Met was doing buying the work of the contemporary French artist Pierre-Auguste Renoir. Yet Tinterow feels the perception of the Metropolitan’s resistance to contemporary art was a gift to him because anything he was able to accomplish in that area looked significant. He is particularly proud of how he enlivened the rooftop garden with works by living artists, including Cai Guo-Qiang, Roxy Paine, Jeff Koons, and Mike and Doug Starn—who, with a team of rock climbers, continually constructed a monumental bamboo structure with internal pathways, which visitors could traverse, throughout the course of the 2010 exhibition.
“There were many naysayers, but in fact ‘Big Bambú’ was a spectacular success, a great work of art, and the public loved it,” says Tinterow. “It really gave the Met a different sensibility.” During his tenure, Tinterow organized more than 40 exhibitions, built up the museum’s great collection of 19th-century paintings, and addressed some of the holes in the 20th-century collection with, for instance, the acquisition of the Metropolitan’s first major Rauschenberg.
While Tinterow unequivocally refers to the Metropolitan as “the greatest museum in the world,” he clearly has settled into his new life. “Texans like to think big,” says Tinterow, who relishes the space and light of the new house he bought with his partner and has found a dog sitter as well as a tuner for his harpsichord, which he hopes he will find more time to practice. He wants to build on Marzio’s active engagement with the city’s diverse communities and provide opportunities for young people to have the kind of experiences that he had as a kid there, zooming around the museum district on his bike.
Tinterow hopes to work with other museums in the district and with the city to create a more pedestrian-friendly zone—with better crosswalks, more cafés, and retail stores, the kind of amenities that will encourage people to stay longer in the area. “That’s where my role will be different than it ever could have been at the Met,” he says. “In these early days, the opportunities seem infinite. In New York, I knew all too well what would not be possible. I don’t yet know that about Houston and I hope I never find out.”
Hilarie M. Sheets is a contributing editor of ARTnews.
Copyright , ARTnews LLC, 48 West 38th St 9th FL NY NY 10018. All rights reserved.
Chipperfield’s Museum Expansion Set To Finally Open In St. Louis
The museum, which houses one of the most comprehensive art collections in the United States (including an impressive catalog of post-war German artists), is located in the city’s large urban landscape, Forest Park. In 2005, the Museum Board selected Chipperfield to design the expansion, with St. Louis-based HOK serving as the project’s architect of record. Two years later the Museum finally released plans and renderings of the design, which sparked controversy among local residents.
Halted in 2008 during the economic downturn, the project did not break ground until 2010. Now, eight years in the making, the expansion—Chipperfield’s largest U.S. project to date—will finally open this summer. Read more.
Featuring a polished concrete façade that incorporates Missouri river aggregates, innovative skylights, and large windows, the new East Building design is decidedly more modern than the Beaux Arts-style building designed by Cass Gilbert for the 1904 World’s Fair. The modern design was actually a point of controversy among some residents, who feared the addition would clash with the iconic building. Thankfully, Chipperfield’s design provides a seamless transition between the two buildings, featuring a distinctive coffered ceiling that provides natural light and dynamic viewing experiences within the galleries. The oscillation of daylight was one of the central themes behind the design of the space, and which creates better light conditions to view the artworks as well as highlighting the architecture of the galleries. The new building, which sits on over 211,000 square feet, includes 21 new galleries as well as a new parking garage (an important amenity for a city so reliant on car travel!)
All photos: via St. Louis Art Museum
While the St. Louis Art Museum is a public institution supported by regional property tax, the expansion was funded entirely through private donations. The construction of the expansion, which totaled $130 million, was the largest capital campaign for a cultural institution in the history of the city. The museum will be open to all, and admissions will be free, following a 100-year old ordinance that uses regional property tax to cover the operating costs of the city’s cultural institutions. Continuing it’s commitment to the local community, the construction of the East Building has allowed for the expansion of the education infrastructure, creating new classrooms and study spaces within the building, as well as renovations to the 480-seat auditorium.
St. Louis Art Museum debuts $160 million expansion
Located in one of America’s most splendid urban parks, next to one of St. Louis’ grandest structures, the new East Building at the St. Louis Art Museum aspires to be adored on its own terms.
White oak floors and a dark polished facade, skylights and concrete coffers – the East Building is both airy and weighty.
On June 29, St. Louisans get their first look at the building and the museum’s extensive modern and contemporary art collection. Even director Brent Benjamin is amazed by the experience.
“I’ve seen the objects but never the extent and quality of this material out at one time,” said Benjamin. “The fact that we were able to more than double the presentation of the postwar material, but also increase the presentation of everything from Asian art to antiquities to African art to European art, is extraordinary.”
Designed by acclaimed British architect David Chipperfield, the Gold LEED-certified East Building is 210,000 square feet and features 21 galleries, a 300-space underground garage, a restaurant and a gift shop. The $160 million project also includes new classrooms, flooring and updated galleries in the main and south buildings, as well as $30 million to pay for increased operating costs.
“Visitors expect a gracious experience, and they should have it,” Benjamin said. “It seems kind of prosaic, but it’s really important.”
IF YOU GO
St. Louis Art Museum Grand Opening Celebration
When • 9:30 a.m.-10 p.m. Saturday, June 29, and 10 a.m.-5 p.m. Sunday, June 30
The new East Building of the St. Louis Art Museum will offer art lovers a fresh look at some of contemporary art’s best works. Some pieces, such as Tony Smith’s “Free Ride,” have been locked in storage for decades; others, such as Donald Judd’s “Untitled,” have been on view, but never side-by-side with their acclaimed contemporaries.
Mark Rothko, Jackson Pollock, Frank Stella, Andy Warhol — all of the big names of modern art are represented. So are today’s hottest artists — Gerhard Richter, Kiki Smith, Kerry James Marshall and St. Louis’ own Tom Friedman.
Here, Simon Kelly, curator of modern and contemporary art, and Tricia Paik, assistant curator of modern and contemporary art, highlight of the most intriguing works featured in the new permanent exhibition space “A New View: Contemporary Galleries” and “Postwar German Art in the Collection,” the first exhibit in the East Building’s special exhibition galleries.
“In Beige with Sand,” 1945
Influenced by European surrealists, Robert Motherwell was one of the youngest and most prolific members of the New York School, which also included Jackson Pollock, Mark Rothko and Franz Kline. In this earlier work, Motherwell uses a number of media including sand and wood veneer.
“His best-known works play with stripes and circles and this one does too. You can see him looking forward to the later black and white paintings,” Kelly said.
“Red, Orange, Orange on Red,” 1962
Visitors will get a real “wow” moment as the enter the abstract expressionism gallery. This Mark Rothko painting literally glows with color.
“It’s really spectacular experience,” Kelly said. “He builds up these thin layers of luminous pigment to create these really wonderful, floating blocks of color. To me, it is abstract but it also suggest landscape. You have a sense of a horizon line and sunrise.”
“Room 112,” 1957
Philip Guston served as an instructor at Washington University in the 1940s. He was replaced by another famous artist with a huge presence at the St. Louis Art Museum — Max Beckmann. The museum owns five of Guston’s paintings, including two featured in the New York School gallery — the colorful, abstract piece “Room 112” and the more monochromatic work, “Group 1.”
“Free Ride,” 1962
Like many of the works returning to view, “Free Ride” required significant conservation. Specialists managed to restore the work’s dark, rich tone after years of outdoor exposure corroded its painted steel surface. This major work, one of an edition of three, reflects Tony Smith’s core interest in arranging cubic forms.
“In this case the composition was originally based on three Alka-Seltzer boxes he just started playing around with on a table,” Kelly said.
The East Building features two complementary Lichtensteins, the black-and-white painting “Curtains” and the ceramic sculpture “Black and White Head,” which the museum lent out for the recent traveling Roy Lichtenstein retrospective.
“There is this interest in suburban America in pop art of the 1960s,” Kelly said. “What’s interesting to me is the ironic element of their work that does critique of the grand aspirations of the abstract expressionists. The very fact he chooses curtains as the subject of a painting is interesting.”
“Spectrum II,” 1966-67
One of Ellsworth Kelly’s renowned “Spectrum” works, “Spectrum II” is a series of painted panels connected to create a single, almost glowing work. Like many of the works in this gallery, “Spectrum” is enormous — almost 23 feet long. The new East Building with its 16-foot ceilings and large galleries gives breathing room to works like Donald Judd’s “Untitled ” and Frank Stella’s 25-foot “Madinat as-Salam III.”
St. Louisans have been walking in and around the steel sculptures of Richard Serra for years. There is the 1981 sculpture “Twain,” located on the Gateway Mall and the 2000 work, “Joe,” located in the courtyard of the Pulitzer Foundation for the Arts. This earlier work, however, is made of rubber and lies flat. Serra mixed rubber with orange paint and poured it on a corrugated iron door to create three separate mats. The work has not been show in almost a decade.
“People don’t know his rubber pieces so well and I think it will be eye-opening for people,” Kelly said. “It is an important piece and it needs to be better known.”
“New Continent,” 1962
Born in Russia, but obsessed with New York, Louise Nevelson called herself the original recycler. For “New Continent,” one of Nevelson’s famed wall sculptures, she scavenged the streets of New York for table legs, spindles and other found objects. Today, many artists transform trash into art, but in the 1960s, her approach was as curious as it was compelling.
One of the best known works of the collection, “Keith” is a black-and-white large-scale painting of a photograph of friend Keith Hollingworth. Chuck Close used an airbrush to create the smooth surface yet the details — pores, wrinkles and hair — provide texture. Kelly calls it one of Close’s best works.
“Untitled (Seascape),” 2012
John Burroughs School and Washington University graduate Tom Friedman is an international art superstar. Known best for colorful, conceptual and often comic sculptures, “Untitled (Seascape)” is a folded piece of archival paper, creased to create the impression of moving waves.
“It’s an abstract but it speaks to the sea,” Kelly said. “One of the things I like about it is it has a great relationship with artistic tradition. You think of the photographer (Hiroshi) Sugimoto or Gerhard Richter seascapes and the minimalistic compositions of Gustave Le Gray. This is what he has done but has given it his own twist by the way he has created the sea in this clever way.”
“Fading Cloth,” 2005
El Anatsui stitches together thousands of crushed metal caps and twisted foil wrappers from liquor bottles to create monumental wall sculptures that look like ornate undulating tapestries.
Grave Stele of Kallistrate, late 5th–early 4th century BC
The new East Building does feature one gallery of ancient art. One reason is practical: Located near the front door, these ancient objects of stone can stand up to fluctuations in climate better than their fragile counterparts of today. But the other reason is symbolic, says Lisa Çakmak, assistant curator of ancient art.
“The art in this gallery really is the beginning of art in the Western tradition,” Çakmak said. “The art of Renaissance Europe finds its origins in ancient Greece and Rome and that morphed into post-Renaissance, all the way to modern and contemporary. It’s sort of the great-great-great-great-grandfather of modern and contemporary Western art.”
Special exhibition galleries
Gerhard Richter made headlines in May when his painting “Domplatz, Mailand” sold for $37 million, a record for a work by a living artist. The previous record? That would be $34 million in 2012 for Richter’s work “Abstraktes Bild.”
Paik says his iconic work “Betty,” one of eight showcased in “Postwar German Art in the Collection,” is a prime example of his photorealistic painting techniques. She calls “Betty” the museum’s “un-‘Mona Lisa.'”
“Felt Suit,” 1970
The museum dedicates an entire gallery to Joseph Beuys and the artists he taught and influenced. Paik calls him one of the last great Utopian painters of the 20th century. Beuys frequently used felt in his works believing the material offered warmth and healing. He wore this work in a performance piece protesting the Vietnam War.
“He’s someone who really tried to redefine what constituted art because he made artworks that were performances and participatory and ephemeral,” Paik said. “And yet, he still loved the art object. He valued them both.”
“Seated Male Nude — Morocco,” 1976
Neo-expressionist pioneer Georg Baselitz is known today for his large-scale wooden sculptures, but in the 1960s he gained acclaim for paintings featuring upside-down people, buildings and landscapes.
“He is trying to slow down your understanding of the perception of the work by inverting it,” Paik said.
“Burning Rods,” 1984-87
In his meditation on both Egyptian mythology and the Chernobyl disaster, Anselm Kiefer uses lead, straw, porcelain, and iron to create “Burning Rods.”
The 8-foot tall “Titan” looks out onto phase one of the art museum’s new sculpture garden. Unlike the ancient Greeks who created gods from polished marble, Markus Lupertz gives his hero a craggy face and clumsy hands. Still the effect is powerful.
“I like the way he’s peeking out of the space, almost like a threatening presence when you walk in,” Paik said.
“Assistance in Drawing,” 1995
Like many artists in the 1980s, Albert Oehlen is exploring the nature of painting and drawing, first creating more figurative work before embracing abstraction.
“He’s exploring how you draw in different ways,” explained Paik. “There are these grand gestures and shapes but then these intimate and minute gestures used with ballpoint pen. He talks a lot about how he uses both expensive materials and cheap pigments.”
“Pantheon, Rome,” 1990
German photographer Thomas Struth has created monumental photographs of cities, rainforests and families. But some of his best-known works are pictures of museums or rather of the spectators who flock to them, awed by their grandeur.
Michael F. McElroy for The New York Times
A wall-size screen at the Cleveland Museum of Art shows all the objects on display. Visitors can use iPads to devise their own tours
THE ART NEWSPAPER LONDON
Cleveland Museum reopens entrance after seven-year refit
Vast atrium designed to be city’s new meeting space
By Pac Pobric. Web only
Published online: 05 November 2012
The Cleveland Museum of Art’s new 39,000 sq. ft Ames Family Atrium (Photo: Howard Agriesti)
Seven years after starting the project, the Cleveland Museum of Art officially opened its 39,000 sq. ft Ames Family Atrium on Sunday (29 October). The new space is part of a $350m expansion and modernisation, which is due to be completed in late 2013.
“The reason this has taken so long is that the entire campus was redone,” says David Franklin, the museum’s director. “The 1916 building was retrofitted and made state of the art, and [architect] Rafael Viñoly cleared away everything except for the original building and the 1971 Marcel Breuer wing. It will be a brand new museum by the end of 2013,” adding, “We’re right on budget.”
Around 40 local cultural groups took part in the opening, which highlighted the atrium as a civic space for discussion. The aim was to “symbolically return the museum to the city,” Franklin says. “We’re embracing as much as possible the full mosaic of cultural organisations in Cleveland. Each group will have its moment to shine”.
The festivities coincided with the opening of the show “Wari: Lords of the Ancient Andes” (until 6 January 2013) and the unveiling of “Provenance”, the museum’s new restaurant, as well as a new museum store.
With the ballots counted and the electoral votes tallied, the world can stop referring to Ohio using battle metaphors and take notice of what’s really swinging in the Buckeye State: art museums. There’s the reliably stellar Wexner Center (the first major public building designed by Peter Eisenman) in Columbus, Zaha Hadid‘s Contemporary Arts Center Cincinnati, and the Akron Art Museum, which in 2007 gained a soaring glass and steel structure by Coop Himmelb(l)au. But the big news is in Cleveland, where a Rafael Viñoly-designed expansion project is in full swing at the Cleveland Museum of Art, and the Museum of Contemporary Art Cleveland is now welcoming visitors to its new $27.2 million home (above) by Farshid Moussavi. We paid a visit to MOCA Cleveland and have returned to offer these five informational morsels about the sleek and surprising new building–and what’s inside.
5. With six irregularly faceted sides clad primarily in mirror-finish black stainless steel, the 34,000-square-foot building’s striking exterior never looks the same twice. Moussavi happened upon the dusky Rimex paneling after her first choice (anodized gold aluminum) was nixed by the museum’s board of directors. “We discovered that this black steel acquired different dynamics when applied to our shape, with its surfaces that are tilted to different orientations and that catch the light differently,” said Moussavi during the museum’s opening weekend festivities. “It started playing with time.”
4. Visitors step inside to the “urban living room,” an airy ground floor space that includes the museum cafe and shop. Linger as long as you want: admission is only charged for those who ascend the craggy white central staircase to the exhibitions. First up, in the cozy second floor gallery, is David Altmejd’s largest vitrine piece to date, “The Orbit” (2012), a labyrinth of tumbling fruit, furry hands, and disembodied eyeballs. This marks the first time the artist has incorporated architectural elements into one of his Plexiglas-enclosed worlds. “I always deal with structures and of course I’m always confronted with their limitations,” the artist said in an interview with chief curator David Norr. “But I like the idea of constantly breaking that limitation.”
3. MOCA Cleveland director Jill Snyder had three main goals for the non-collecting institution’s new home. “What we strived for was flexibility, transparency, and sustainability,” she told us. Among the features of the soon-to-be-LEED-Silver-certified building are floors stacked to offer glimpses of usually behind-closed-doors museum functions (admin offices, the wood workshop, the loading dock), enclosed fire stairs that double as a sound gallery, and, underneath the adjoining public plaza, geothermal wells.
2. The inside of the building shell is painted dark, matte blue (think Yves Klein ultramarine at midnight). It’s the museum’s new signature color and Moussavi’s ingenious way of both eschewing the typical white box and linking the building’s eccentric exterior to the program inside–while not clashing with the art. “It is part of the dark shell. It’s the inside of it,” said Paul Westlake of Westlake Reed Leskosky, which served as architect-of-record, structural engineer, and lighting designer for the new MOCA Cleveland. “And on one reading, it’s only black. It’s just dark. And on the second reading, it’s color.”
1. Having faced and cleared the hurdles imposed by the recent global financial crisis during a six-year process of fundraising, design, and building, MOCA Cleveland is one sexy museum. “I’m reminded of the words of a friend of mine, who said that the process of doing a building like this is like having sex in the backseat of car: it’s terribly exciting, but it’s not very comfortable,” said Westlake. “That’s what this design process was like.”
Friday, September 16, 2011
TRANSFORMER STATION – 8,000 sq. ft. museum space.
Cleveland Museum of Art announces Ohio City gallery
Come this time next year, Ohio City will have a more contemporary feel.The Cleveland Museum of Art and the Fred and Laura Ruth Bidwell Foundation will open the exhibition space Transformer Station on West 29th Street. Built in the 1920s as a power station for the Detroit Avenue streetcar line, the Transformer Station will be renovated and expanded into an 8,000-square-foot space for art programs, exhibitions and installations.“It’s an opportunity to extend our reach to more Northeast Ohioans, specifically to this important and vibrant West Side of the city,” said David Franklin, the art museum’s director, in a press conference this morning.The Transformer Station will be the museum’s first separate space outside University Circle. “Fundamentally, it strengthens our ancient mission of benefiting all the people forever,” Franklin said.Fred Bidwell, co-founder and co-director of the Bidwell Foundation, said they chose the building to showcase art because of its industrial feel. And there’s an huge crane on the ceiling that can lift 15 tons. Who doesn’t need that?“The diversity, the grit, the intimacy, the urbanity of Ohio City, with its dynamic art scene, we felt was a perfect place for this showplace for the contemporary art,” said Bidwell in the press conference.The hopes are to have the Transformer Station open in late 2012. Franklin wants to encourage curators and collaborators to use the space as a laboratory and set up installations more spontaneously. This space will also allow young and local artists to show their work on the same floor as international artists.City councilman Joe Cimperman, who represents Ohio City, thanked the Bidwells for opening the Transformer Station. “This neighborhood takes this gift very seriously,” he said. “We take you as gifts very seriously. We cherish what you’re doing here, and we are all too well aware that you could have done this anywhere.”
Cimperman predicted the gallery would become important to the neighborhood’s future. “One day, in this building there will be children like me — who grew up on East 74th Street — [who,] but for the arts, would not be able to live the life they lived. So, if you want to know what you are doing today for this community, look 20 years from now to the generation that you are fostering.
Denver Art Museum / Daniel Libeskind
05 Oct 2010
Architects: Studio Daniel Libeskind
Location: Denver, Colorado, USA
Joint Venture Partner: Davis Partnership
Contractor: M.A Mortensen Co. (Colorado)
Structural Engineer: Arup (Los Angeles)
Structural Connection Design: Structural Consultants, Inc.
Civil Engineers: JF Sato and Associates
Mechanical Air: Arup-Los Angeles
Mechanical/Electrical: MKK Engineers and Arup (Los Angeles)
Structural Engineers: ARUP (Los Angeles)
Structural Connection Design: Structural Consultants, Inc.
Civil Engineers: JF Sato and Associates
Interior Designers: Studio Daniel Libeskind with Davis Partnership
Landscape Architects: Studio Daniel Libeskind with Davis Partnership
Lighting Consultant: George Sexton and Associates
Theater Consultant: Auerbach Pollock Friedlander
Acoustical Consultant: ARUP (Los Angeles)
Exterior Façade Consultant: Gordon H Smith, ARUP, BCE;
Project Area: 146,000 sq ft
Project Year: 2006
Photographs: Bitter Bredt, DAM, SDL, Michele Nastasi
The Extension to the Denver Art Museum, The Frederic C. Hamilton Building, is an expansion and addition to the existing museum, designed by the Italian Architect Gio Ponti. Inspired by the vitality and growth of Denver, the addition currently houses the Modern and Contemporary art collections as well as the collection of Oceanic and African Art. The extension, which opened in October 2006, was a joint venture with Davis Partnership Architects, the Architect of Record, working with M.A. Mortensen Co.
To complete the vision for the extension Studio Daniel Libeskind worked closely with the director, curators, core exhibition team, the contract architect and the Board of Trustees. Since its opening, the new building has become a major cultural landmark for Denver, attracting thousands of visitors to the museum complex.
“Nexus is conceived in close connection with the function and aesthetic of the existing Ponti museum, as well as the entire Civic Center and public library. The new building is a kind of city hub, tying together downtown, the Civic Center, and forming a strong connection to the golden triangle neighborhood. The project is not designed as a stand alone building, but as part of a composition of public spaces, monuments and gateways in this developing part of the city, contributing to the synergy amongst neighbors, large and intimate.
“The materials of the building closely relate to the existing context as well as innovative new materials (such as titanium) which together will form spaces that connect local Denver tradition to the 21st Century.
“The amazing vitality and growth of Denver — from its foundation to the present — inspires the form of the new museum. Coupled with the magnificent topography with its breathtaking views of the sky and the Rocky Mountains, the dialogue between the boldness of construction and the romanticism of the landscape creates a unique place in the world. The bold and forward looking engagement of the public in forging its own cultural, urban and spirited destiny is something that would strike anyone upon touching the soil of Colorado.
“One of the challenges of building the Denver Art Museum was to work closely and respond to the extraordinary range of transformations in light, coloration, atmospheric effects, temperature and weather conditions unique to this City. I insisted these be integrated not only functionally and physically, but culturally and experientially for the benefit of the visitors’ experience.
“The new building is not based on an idea of style or the rehashing of ready made ideas or external shape because its architecture does not separate the inside from the outside or provide a pretty facade behind which a typical experience exists; rather this architecture has an organic connection to the public at large and to those aspects of experience that are also intellectual, emotional, and sensual. The integration of these dimensions for the enjoyment and edification of the public is achieved in a building that respects the hand crafted nature of architecture and its immediate communication from the hand, to the eye, to the mind. After all, the language of architecture beyond words themselves is the laughter of light, proportion and materiality.”
The new African art gallery and Oceanic art gallery in the Denver Art Museum expansion building (the Frederic C. Hamilton Building) opening October 7th, 2006Below are some images and information from the exhibition at the Denver Art Museum called
“Building Outside the Box” which is about the new expansion building.I also attended a special preview of the Denver Art Museum expansion on Monday September 25th and at the
bottom of this page is a link to a 2 page virtual tour of the new African and Oceanic galleries.
OR you can CLICK HERE to go directly to Page 1 of the virtual tour.
A rendering of the outside of the Denver Art Museum’s Frederic C Hamilton Building which will nearly double the size
of the Denver Art Museum and is proposed to open in the fall of 2006.
Rendering by David Partnership Architects.
A rendering of the entry of the new building.
Rendering by David Partnership Architects.
A photograph of the model of the new building.
A rendering showing the location of some of the galleries in the north side of the new building
A rendering showing the location of some of the galleries in the south side of the new building
An early conceptual image of the African art gallery.
Rendering by David Partnership Architects.
Above and below are photos of the model that was set up showing the new African art gallery
that will be in the new building. Traditional and contemporary African art will be displayed side
by side in the gallery, which I think will be great.
Below are a few more photos of the model of the new building. In the photo below, the new
building is in the front and the existing building for the Denver Art Museum is shown in the back.
Above is a photo taken from across the street in the courtyard between
the Denver Library and the existing Denver Art Museum building.
Across from the new expansion building are condos that have been built
around the new parking garage. They are called the “Museum
Residences” and they are pretty dramatic. CLICK HERE to read an
article in the NY Times about them (new window)
Above is a photo looking back at the existing Denver Art Museum
building from the same courtyard as the photo above.
Above is a photo of the existing DAM building.
A photo I took of the entrance to the
A view of the Denver Library taken from the DAM
Hamilton Building. The area around the DAM is very
architecturally unique and diverse.
Above is a photo (blurry) from the preview reception on September 25th looking down from the 4th floor.
The inside of the museum is VERY white.
The piece on the left was by far my favorite thing in the new expansion
building, I loved it!
The existing DAM building and the new expansion are
connected by a walkway that spans over the street
between the two buildings.
You had to be there to appreciate what this lady was
doing. She had her camera set up on a timer and she
would run under the spider and jump up. She was
having fun and that’s what matters, right!?
dear reader: this is vincent johnson of fireplace chats in los angeles. i created this post as i am a clevelander by birth. my first experiences of art were in the incredible cleveland museum of art as a child. i remember going to openings at the original cleveland moca in the late 1970’s. were were young artists in training and all of the talk was of moving to nyc where the action was and that happened. yet i am as proud as can be to see cleveland thriving in its cultural sector, even as i live here in los angeles, whose art scene is expanding in an enormous way that no one here ever imagined. looking forward to visiting both moca cleveland and the expanded cleveland museum of art when visiting my family.
vincent johnson in los angeles
MOCA Cleveland: The history
Friday, October 05, 2012 4:38 PM
Museum of Contemporary Art Cleveland to open permanent home after 44 years on the move
Published: Sunday, October 07, 2012, 6:00 AM Updated: Friday, October 12, 2012, 5:52 PM
MOCA opens this weekend David Norr, chief curator at MOCA, Cleveland’s Museum of Contemporary Art, talks about MOCA’s new home at the corner of Euclid and Mayfield in uptown Cleveland. Grand opening parties are this weekend and the museum is free to the public on Monday, October 8. Watch video
You might call it the tale of the wandering museum. Or, with apologies to John Milton, “Paradise Regained.”
The Museum of Contemporary Art Cleveland, which opened in a tiny storefront on Euclid Avenue in University Circle 44 years ago and then left in search of more space, has finally come back to its roots.
From 1 to 6 p.m. Monday, MOCA Cleveland will open to the general public its spectacular new building on the prow of the triangular intersection of Euclid Avenue and Mayfield Road. (Admission is free, but timed tickets are recommended. Regular hours begin Wednesday.)
The $27.2 million, 34,000-square-foot structure is a seductively mysterious four-story gemstone sheathed in reflective panels of black stainless steel. It was designed by architect Farshid Moussavi of London, a native of Iran and an up-and-coming international star. The building is both her first museum and her first assignment in the United States.
Those factors will make the MOCA building news for art- and architecture-loving media outlets from around the world. More to the point for Cleveland, the new MOCA symbolizes the view that investing in the arts is critical for a city on the mend after decades of struggling with population loss and poverty.
“I think it’s the new Cleveland,” said Stewart Kohl, a MOCA board member and co-chair of the museum’s capital campaign.”MOCA will be a kind of draw that we really haven’t had.”
Of course, the museum’s voyage can’t compare to that of Odysseus finding his way home after fighting the Trojan War, or Moses leading his people to the Promised Land, but it does have certain qualities of an epic myth.
It’s the story of an institution that has gone from infancy to maturity, and from the fringe to the center, without ever losing its edge.
It was in 1968 that Marjorie Talalay and Nina Castelli Sundell, two visionary arts advocates, launched the small, for-profit New Gallery in a former dry-cleaning storefront at 11301 Euclid Ave.
Since then, the institution has had three directors,three namesand four rented homes across the city. It evolved from a for-profit gallery to a nonprofit, noncollecting museum. It’s one of many institutions like it around the world that exhibit new art while avoiding the heavy cost of building and maintaining a permanent collection.
Its wanderings took it from the Euclid Avenue storefront to a former frat house on nearby Bellflower Road and then, starting in 1987, the Galleria mall downtown. For the past 22 years, it occupied a spacious second-floor loft in the old Cleveland Play House complex at 8501 Carnegie Ave.
Over the years, it hosted some of the most outrageous, comprehensive, inspiring, shocking and all-around entertaining art exhibitions in the history of Cleveland.
Whatever its name at any particular point, the institution has been the place where many Clevelanders first encountered Andy Warhol, Claes Oldenburg, Robert Rauschenberg, Christo, Jasper Johns and Frank Gehry.
MOCA’s main gallery
Rotate the panorama by clicking the >> and << markers, which appear when you mouse over the image. Stop movement by clicking the X.
It’s where Yoko Ono displayed smashed teacups and asked viewers to glue the pieces together, where performance artist Janine Antoni lowered herself naked into a bathtub filled with lard to make a statement about obsession with body fat, and where Red Grooms encapsulated the entire city in a raucous installation he created on-site in a four-day burst of creativity.
During many years in which the far wealthier Cleveland Museum of Art treated contemporary art with disdain, MOCA was the one place in town that reliably erased the cultural time lag between the avant-garde and the heartland.
“It was amazing to me how often I’d walk into any museum around the world and see something I’d seen in Cleveland a year or two before,” said longtime supporter Becky Dunn.
The opening of the museum’s new home marks the end of one journey and the beginning of another, as MOCA becomes one of the most visible cultural institutions in the city.
Its building is the centerpiece of Uptown, an eight-acre, $150-million-plus campus-edge development next to Case Western Reserve University that includes apartments, shops, restaurants, a bookstore, a supermarket and the expanding Cleveland Institute of Art.
Once a dead zone, Uptown lies at the heart of one of the hottest centers of economic growth in Ohio, anchored by venerable institutions including the Cleveland Orchestra, the Cleveland Museum of Art, the Cleveland Clinic and University Hospitals.
In this heady mix, MOCA will have ready access to the large and steady audience of university students that it has always coveted, plus visitors who flock to other nearby museums.
A very sweet aspect of MOCA’s triumphant return to University Circle is that the once-skeptical Cleveland Museum of Art has done a complete about-face on contemporary art, at least in part in response to relentless pressure from the upstart institution it once ignored.
But more than anything, perhaps, MOCA’s re-establishment in University Circle epitomizes the transformation of Cleveland from an aging blue-collar factory town into a city that is eager to embrace innovation and forward-leaning creativity, no matter what the field.
A MOCA timeline
Follow the history of the Museum of Contemporary Art from its beginnings across the street from its gleaming new building.
Day 1 on Euclid Ave.
Marjorie Talalay and Nina Castelli Sundell open the for-profit New Gallery at 11301 Euclid Ave. in a former dry-cleaning storefront.
Move to a former frat
The New Gallery moves to 11427 Bellflower Road, a former fraternity house.
Talalay takes over
Sundell leaves the New Gallery in the hands of co-founder Talalay.
The New Gallery registers as a nonprofit.
New Gallery’s new name
The New Gallery changes its name to the Cleveland Center for Contemporary Art.
Gallery at Galleria
While remaining on Bellflower, the center opens a gallery in the downtown Galleria mall.
The center moves to the Cleveland Play House complex in Midtown at 8501 Carnegie Ave.
Founder Talaly retires
Talalay retires; trustees hire Gary Sangster as her successor.
Snyder 3rd director
Jill Snyder is hired as director after Sangster’s departure in 1995.
CCCA becomes MOCA
The center is renamed the Museum of Contemporary Art Cleveland.
Gunds kindle building
The Gund Foundation donates $2.1 million, enabling MOCA to seek an architect and commission a design for a new building from Farshid Moussavi in 2006.
Marjorie Talalay dies
Talalay dies in New York.
Play House complex sold
The Cleveland Play House sells its complex to the Cleveland Clinic.
MOCA’s new building
MOCA Cleveland closes its final show in Midtown and prepares to open its new building in University Circle on Monday.
A gallery is born
For Roger Salomon, a key early player in the MOCA saga, the rise of Uptown and the museum’s return to University Circle have taken too long.
“I see it as 30 years of frustrated hopes,” said the retired professor of English at CWRU and honorary member of the MOCA board. But he admits the story has turned out pretty well.
“It makes me feel marvelous,” he said.
Salomon has reason to feel good, because he is widely credited for having arranged the first encounter between Talalay and Sundell, which set MOCA in motion.
Talalay and Sundell came to Cleveland in the late 1960s when their husbands’ careers brought them to the area. Talalay’s husband, Anselm, was a brilliant Russian-born scientist and inventor. He came to Cleveland from New Haven, Conn., to become a vice president of research and development at the B.F. Goodrich Co. Industrial Products Division in Akron.
Nina’s husband, Michael Sundell, came from New York to teach Victorian literature at CWRU.
Salomon, who knew both the Sundells and the Talalays, thought it was natural that Marjorie, who had already run a small gallery in New Haven, might want to start one in Cleveland with Nina.
A key factor was Nina Sundell’s extraordinary family connection to the art world through her father, Leo Castelli, the most important New York art dealer of the day, and his ex-wife, the also highly influential art dealer Ileana Sonnabend.
Talalay, a glamorous, well-dressed woman known for her sharp wit and salty tongue, had already done business with Castelli through her previous gallery in New Haven. Yet Sundell said in a 2008 telephone interview that she and Talalay at first “regarded each other with profound suspicion.” They apparently got over it quickly and exploited their access to a unique supply of cutting-edge art.
The cultural climate they confronted in 1968 was chilly. The Cleveland Museum of Art had been holding its annual May Show of regional artists since 1919, but it paid little attention to contemporary art from outside the Western Reserve.
Art dealer Howard Wise had tried to establish a contemporary gallery in University Circle, but he gave up and moved to New York.
Contemporary-print dealer Art Feldman gathered patronsincluding Peter B. Lewis, then president and chief executive officer of Progressive Corp., the fast-growing auto-insurance company in Mayfield. But Feldman sold his stock privately, without holding exhibitions.
Oberlin College art historyprofessor Ellen Johnson built a powerful collection of contemporary work at the Allen Memorial Art Museum, but Cleveland remained fundamentally insular.
but few buyers
The New Gallery shocked Clevelanders with Warhol prints of Chairman Mao, props from performances by Rauschenberg and a now-famous stunt in which Christo wrapped the storefront itself and helped launch a career that later included wrapping the Reichstag building in Berlin.
Talalay and Sundell found few buyers at first.
“Even though they had really good stuff — very good stuff — they couldn’t get anybody to buy it in Cleveland,” said Cleveland native Agnes Gund, who went on to become a nationally respected arts advocate and president of the Museum of Modern Art in New York.
Yet the New Gallery gathered a coterie of devoted supporters that included Gund and the late Jeannette Dempsey, a sister of Philip Johnson, the famous Cleveland-born architect.
“When Nina and Marjorie came to town, we heard about the Castelli connection and we were very interested, and it became a big part of our lives,” said Hope Hungerford, a current MOCA honorary board member, who was then married to lawyer Andrew Dempsey, Jeannette’s son.
Sundell left the gallery and Cleveland in 1973 when she and her husband moved back East. In 2008, she said that her Cleveland years were “more fun than anything else I’ve ever done in my professional life, and as much fun as the best things I’ve ever done in my private life.”
After her departure, the New Gallery eventually morphed under Talalay’s leadership into the nonprofit Cleveland Center for Contemporary Art.
Talalay’s shows drew the wary attention of the formidable Sherman Lee, director of the Cleveland Museum of Art. He stalked out of the gallery in a silent huff after a visit to the frat house on Bellflower Road to see paintings by Julian Schnabel and a sound installation by Brian Eno.
“He came in, looked around and left very quickly,” said philanthropist Toby Lewis, who then manned the front desk as Talalay’s director of sales. “He was always rather intimidating. Nobody knew whether to go up and say, ‘Hello, Dr. Lee,’ or stay away.”
By snubbing Lewis, Lee ignored someone who soon became a respected arts impresario in her own right — and a generous donor to artistic causes.
After a couple of years working under Talalay, Lewis was invited by her ex-husband, Peter Lewis, to become the curator of the new art collection at Progressive Corp. Under Toby Lewis’ leadership over the following decades, Progressive amassed one of the leading corporate art collections in the country — one that focused entirely on contemporary art.
Toby Lewis has since become a major supporter of MOCA and of its new building. She donated $1 million to CWRU to surround the museum with a new plaza, which the university has named for her.
As for Peter Lewis, MOCA’s impact has had global implications. It was at a reception at the institution in the mid-1980s that Lewis met and befriended architect Frank Gehry.
That encounter led to Gehry’s unrealized plans for a lakefront skyscraper headquarters for Progressive next to Cleveland’s City Hall, along with unrealized and widely publicized plans for a vast house for Lewis in Lyndhurst.
Aspects of the Lewis house live on in Gehry’s concept for the 1997Guggenheim Museum branch in Bilbao, Spain, which touched off a global boom in cultural buildings designed by star architects.
Frustrated by failing twice to bring anything to fruition with Gehry in Cleveland, Lewis came back in the late ’90s with a $37 million gift to CWRU, which bankrolled half of the Gehry-designed building for the Weatherhead School of Management on Bellflower Road.
Throughout the ’80s and early ’90s, Talalay ran the Cleveland Center for Contemporary Art in collaboration with her husband, Anselm, in a hands-on manner that blurred work and home.Board meetings were held around the Talalays’ dining-room table in the modern-style interior of their house on Ludlow Road in Cleveland, just south of Shaker Square. After long days at B.F. Goodrich, Anselm Talalay painted gallery walls, took publicity photos or pasted up catalog pages.
“They didn’t put artists up in hotels,” remembers Kathryn Talalay, one of their three daughters, who was then visiting between semesters in college. “I would come home and expect to go to my bedroom, and my mother would say, ‘I’m terribly sorry, but an artist is in your bedroom.’ ”
Lauren Talalay, Kathryn’s twin sister, remembers coming home from college to find the freezer full of fish that were to serve as props in a performance by a visiting artist.
The children never minded. They viewed their parents’ project as a duet that lay at the heart of their romance.
The center had a chance in the late’80sto createa permanent home when Peter Galvin, a real estate executive and a MOCA board member, arranged to buy a site from CWRU on the northeast corner of Ford Drive and Bellflower Road. The center then commissioned Cleveland architect Don Hisaka to design a 12,000-square-foot building, for which it started raising money.
But when Agnar Pytte became president of CWRU in 1987, he nixed the deal and bought back the land, which eventually became home to the Mandel School of Applied Social Sciences.
A struggleto pull in visitors
The contemporary-art center pivoted and quickly leased space in the Galleria downtown from 1987 to 1990, while maintaining its presence in the house on Bellflower Road. In 1990, with the help of then-board President William Ginn, the center moved a third time, into the second floor of the former Sears store at the Cleveland Play House complex.
Despite a renovation designed by Philip Johnson that linked the Play House to the art center with a long corridor from one lobby to the other, the two institutions rarely collaborated and never created a cultural center of gravity in Midtown. The Play House sold its complex to the Cleveland Clinic in 2009 and moved downtown to the Allen Theatre complex in PlayhouseSquare in 2011.
Throughout the ’90s, the Cleveland Center for Contemporary Art struggled as a virtual stand-alone destination. Attendance drifted as low as 11,000 during the final years of Marjorie Talalay’s tenure, which ended with her retirement in 1993. Anselm Talalay died in Cleveland in 1994 at age 82, and Marjorie died in New York in 2008, at age 87.
Gary Sangster, an art historian from Australia, succeeded Talalay for two years before the center’s board decided the relationship wasn’t working. Sangster went on to become director of the Contemporary in Baltimore, a nonprofit producer and presenter of contemporary art.
Realization of a dream
Arriving in 1996 as director after having led the Aldrich Museum in Ridgefield, Conn., Jill Snyder stabilized the center, renamed it Museum of Contemporary ArtCleveland and charted the path back to University Circle — while presiding over excellent exhibitions and programs that gradually pushed attendance up to 20,000 a year.
Highlights included a major show on Israeli photography, a retrospective on the German-born American sculptor Ursula von Rydingsvard and an installation in which Russian emigre artist Ilya Kabakov created a vast retrospective exhibition for a fictional 20th-century Russian artist named Charles Rosenthal and his supposed disciple, an equally fictional Ilya Kabakov.
By moving to University Circle, MOCA expects that it will more than triple its attendance to 65,000 and play a far more important role in the cultural life of Cleveland. To kick off its new home, MOCA Chief Curator David Norr has organized an exhibition of works by 16 artists from five countries, underscoring the museum’s international aspirations.
For Snyder, the opening on Monday is the realization of a hard-won dream after fighting to raise more than $30 million so far through two recessions and struggling to align Moussavi’s glittering ideas with MOCA’s financial means.
“It was hard,” she said. “It was hard because we had a noble and audacious vision — and one that many people felt we couldn’t achieve.”
Yet MOCA is now back in University Circle. If you stand in front of the museum at the corner of Euclid and Mayfield, you can look diagonally west across the intersection and see the spot on the far side of the Commodore Place apartment building where the long-demolished storefront once stood.
It’s only a couple of hundred yards away, but it took 44 years to cover the distance. Now that MOCA has made the trip, it no longer needs to wander.
Web development: Peter Zicari, The Plain Dealer. Panorama plugin by Arnault Pachot, Openstudio.com
MOCA Cleveland is a non-collecting contemporary art museum designed to serve as a catalyst for creativity and growth in a cosmopolitan Cleveland neighborhood, which is home to one of the country’s largest concentrations of cultural, educational and medical institutions.
Three of the building’s six facets, one of them clad in transparent glass, flank a public plaza which serves as a public gathering place and links MOCA to Uptown attractions and amenities.
Photo: Dean Kaufman
Photo: Dean Kaufman
Located on the corner of its triangular site, the building is designed with entrances on all its sides to allow it to open along its entire perimeter and be used in many different ways.
Clad primarily in mirror-finish black stainless steel, the building envelope reflects its urban surroundings, changing in appearance with differences in light and weather.
Photo: Dean Kaufman
Photo: Dean Kaufman
The four-story building rises 60 feet from a hexagonal base to a square top, where the primary exhibition space is located. The dynamic shape and structure of the building as it rises is visible on entering the building.
Photo: Dean Kaufman
Photo: Dean Kaufman
The Kohl Monumental Staircase, a dominant architectural feature of the building, is open to the atrium and views of the other floors.
Photo: Dean Kaufman
Photo: Dean Kaufman
The ground floor contains a café and shop, and a double-height multi-purpose room for public programs and events.
Photo: Dean Kaufman
Because MOCA is a non-collecting institution, one of the relatively few such contemporary art museums in the country, its new building does not need to accommodate collection galleries. Flexibility is key to enable the museum to display works in a great variety of media and genres.
Drawing courtesy Farshid Moussavi Architecture
Drawing courtesy Farshid Moussavi Architecture
First Floor Plan
Drawing courtesy Farshid Moussavi Architecture
Seond Floor Plan
Drawing courtesy Farshid Moussavi Architecture
Third Floor Plan
Drawing courtesy Farshid Moussavi Architecture
Fourth Floor Plan
Drawing courtesy Farshid Moussavi Architecture
Next Monday, the Cleveland’s Museum of Contemporary Art will officially move into its new $27.3 million home on Euclid Avenue. Designed by Iranian-born and London-based architect Farshid Moussavi, the sophisticated, gem-shaped museum reminds visitors that Cleveland can still build the kinds of flashy cultural toys associated with bigger, wealthier cities.
MOCA Cleveland may make the loudest design statement, but it’s far from the only symbol of bold, 21st century urbanism in the University Circle neighborhood.
The neighborhood has seen a diverse set of investments, including high density residential projects, new medical facilities and academic buildings, even multiple public transit initiatives. University Circle now stands out as a diverse hub of activity in a city clamoring for such things.
From left to right: Uptown Development, Case Western’s Gehry-designed business school, the recently opened Siedman Cancer Center. Photos by Mark Byrnes
Anchored by a stop along the RTA’s HealthLine, a bus rapid transit route that connects East Cleveland to downtown, the Uptown Development Project is a new mixed-use development with apartments and retail. Most importantly, the development gives the former food desert a full-scale supermarket. Constantino’s Market opened earlier this year on the ground floor of Uptown Development, thanks in part to a “Healthy Food Financing” grant from the Department of Health and Human Services.
Blessed by a significant cluster of university, medical, cultural, and transit facilities, it is in a fortunate position to generate private sector development (the neighborhood has grown to support around 3 million visitors, 50,000 jobs and 10,000 residents) that many surrounding communities still cannot since losing their industrial base in the last century.
From left to right: An artfully designed parking garage at the new Siedman Cancer Center, a Case Western dorm, Euclid Tavern. Photos by Mark Byrnes
In fact, it’s understood by most locals that once you’ve reached the railroad underpass and the “Gas USA” station just before E 123rd, you’ve gone too far for your own good. When I visited earlier this year, my friend, a University Circle resident, insisted we turn around once we reached the underpass. On the walk back, he regaled me with a series of crime stories passed around among his Case Western peers.
It’s a jarring realization, particularly when you pass the colorful collection of new luxury town homes near the ominous “border” called Circle 118. They are separated by only a light rail station from 27 Coltman, a similar new housing complex. Past the Gas USA however, a cemetery, empty lots, and deteriorating homes begin to tell the more familiar story of urban life in Cleveland.
Circle 118, a recent luxury housing development in University Circle. Photo by Mark Byrnes.
Besides downtown’s recently reported housing shortage, University Circle’s success feels more of an anomaly than a sign of things to come. Population loss is the norm to the immediate north, east, and west of University Circle. Few cities in America have lost more people since the 1960s than Cleveland, with an overall drop of 17 percent in the last ten years.
But that is not to say that University Circle’s evolution is in vain. In many ways it’s a Rust Belt planner’s dream of a modern-day economic hub centered around eds, meds, and an exhaustive collection of cultural facilities. Some examples:
Case Western maintains its high-ranking reputation around the country, emphasized a decade ago with the opening of a new business school designed by Frank Gehry. It has has also experienced one of the largest growths in endowment (393 percent) of any university in the last 20 years.
Medical-related businesses continue to see growth with the nearby Seidman Cancer Center as part of University Hospitals. Tech incubators like BioEnterprise, launched as a collaboration between the Cleveland Clinic, University Hospitals Health System, Case Western, and the Summa Health System, help generate economies of scale around its major employers.
Some of the city’s best public transit connections can be found in the immediate area. The HealthLine, hosting multiple stops in the neighborhood, serves as a model for cash-strapped cities looking for better public transit along its major corridors. Last month, reconstruction began at Cedar – University station and plans are in place for a new station at Mayfield and E 119th. It will replace the current station on Euclid and E 120th, bringing riders closer to places like MOCA and Little Italy and further from Gas USA.
A promotional video for MOCA’s now sold-out opening night ceremonies this weekend.
Before next Monday’s official opening, MOCA Cleveland patrons will celebrate inside the new museum Saturday night, acknowledging the new era that the museum and its eye-catching home are about to embark on. For University Circle, it’s merely one piece of a neighborhood that keeps impressing in a city that, for the most part, still struggles to fight off its decline.
Top image: A rendering of the new MOCA Cleveland building, courtesy the museum.
designed by london-based farshid moussavi architecture, the ‘MOCA cleveland‘ has just opened in a neighborhood of cleveland, ohio.
one of the few in the country, the non-collecting art museum intends to become a catalyst for creativity and growth with changing
exhibitions and displays throughout the 34,000 square foot building. eliminating the need for permanent galleries, the main priority
of the design was flexibility to accommodate a great variety of media and genres within the four storeys. resting on a triangular site,
the geometric form begins with a hexagonal footprint and rises 60 feet to the square facet for the roof. entrances at all sides of the perimeter
allows the interior to be used in many ways. upon entering, visitors are confronted with a full-building height atrium, revealing the
angled exterior walls as it spans to the ceiling. guiding towards the lobby, cafe and shop with double-storey multi-purpose room for public events.
a grand focal staircase takes visitors to the upper levels, experiencing the structural system of the building and culminating with
a 6,000 square foot gallery at the top floor. without fixed partition walls, the space may be configured as needed with views towards
the plaza below.
Designed by London-based architect Farshid Moussavi, the new home for the Museum of Contemporary Art (MOCA) Cleveland cuts a fine and enigmatic figure. Situated at an unassuming uptown intersection, the recently opened, nearly 34,000-square-foot, four-story structure (Moussavi’s first in the U.S. and first museum commission) rises in geometric planes from a hexagonal footprint, tapering and tilting to reach a square roof.
Panels of mirror-finished black stainless steel lend a smooth sheen to all of the elevations, catching reflections of the surrounding city skyline and passing traffic. One triangular side of the façade is made of clear glass, revealing a soaring three-story atrium where German artist Katharina Grosse has spray-painted vibrant graphics in purple, orange, and yellow acrylic onto the walls as part of the noncollecting museum’s inaugural offerings (one of a few such institutions in the States, the site has no need to accommodate collection galleries). Take that installation as a sign of bold exhibitions to come. mocacleveland.org
Having operated in rented quarters since it opened as the commercial New Gallery in 1968, the Museum of Contemporary Art (MOCA) Cleveland has constructed an impressive new building in the city’s University Circle neighborhood, home to the Cleveland Museum of Art, the Cleveland Orchestra and other cultural institutions. The museum opened to the public Monday; A.i.A. attended opening festivities over the weekend.
Designed by Iranian-born, London-based Farshid Moussavi, the striking new facility resembles a gigantic chunk of a shiny mineral, resting on an airy plaza. Six sides, some triangular, some trapezoidal, rise 65 feet from a hexagonal base to form a square roof. The building’s exterior is clad with 1,354 black steel panels that create shimmering reflections. MOCA Cleveland is the first U.S. building and the first completed museum for Moussavi, who is also currently at work on the Quran Museum in Tehran, slated for completion in 2013.
View Slideshow MOCA Cleveland Celebrates New Museum Building With Opening Weekend Party Photo: Duane Prokop, Getty Images Entertainment / Courtesy MOCA Cleveland ; MOCA Cleveland Celebrates New Museum Building With Opening Weekend Party Photo: Duane Prokop, Getty Images Entertainment / Courtesy MOCA Cleveland ;
The 34,000-square-foot new building gives the non-collecting institution about 8,000 square feet for temporary exhibitions, with three quarters of that area on the top floor and one quarter in a second-floor project space. MOCA’s inaugural exhibition, “Inside Out and from the Ground Up” (through Feb. 24, 2013) is currently on the top floor, while a large sculpture by David Altmejd, The Orbit (2012), is in the project gallery (through Dec. 30). A spacious ground-floor area is accessible to the public free of charge during open hours; MOCA director Jill Snyder hopes it will serve as an “urban living room.”
One unusual aspect of the design arose from the necessity for an enclosed fire stair, which Moussavi placed underneath the snaking, open-topped stair that provides access to all levels of the museum. The fire stair’s interior was painted yellow; a sound work by Haegue Yang is installed inside. The open main stairway extends beyond the top-floor galleries to a landing just under the roof, allowing visitors to look down into the main gallery even while shows are being installed.
Another exceptional feature of the building is that the inner surface of the steel walls (which are visible from the ground floor and flanking the main stairway), along with the ceiling of the main gallery, are painted a dark, matte blue. At the press conference, Moussavi explained that for her, “the idea of neutrality was problematic. I did not want a cold, sterile white box.” In her view, against white walls, art “floats,” while the darkened ceiling weights the space and anchors the artwork.
The new MOCA was constructed at a cost of $27.2 million, with the lion’s share coming from the MOCA board and from foundations including the Cleveland and Gund foundations. Board chairman Scott Mueller proudly pointed out at an opening gala dinner on Friday that the building is fully paid for. At a press conference, Snyder mentioned an October 2008 board meeting, in the midst of the tanking economy, to discuss the project, which had already been in the works six years and for which only about half the money had been raised.
But the board rallied, and though 4,000 square feet and $1.5 million were shaved off of the project, Snyder maintained that this forced the design team to focus on essentials. “It made the building better,” Snyder asserted.
“Different,” Moussavi demurred.
The architect of record for the project, Paul Westlake, compared the process of designing the building to “sex in the back of a car. It’s terribly exciting but it’s not very comfortable.”
“Inside Out and from the Ground Up,” organized by chief curator David Norr, considers the ways contemporary artists deal with space and architecture. It includes three commissions: a mural from German painter Katharina Grosse, a sculptural installation by Brazilian artist Henrique Oliveira and a group of photographs by Cleveland photographer Barry Underwood that document the new MOCA building during construction. Louise Bourgeois, Gordon Matta-Clark and Rachel Whiteread are also featured among the show’s 16 artists.
Oliveira’s installation is a highlight of the show. Carambóxidois a roughly eggplant-shaped form, about 50 feet long, that rests on the floor, clad in scraps of wood, with a stem that seems to burst through a neighboring wall. One side of the sculpture, turned toward another wall, is open, revealing a cave-like interior lit with bare bulbs and lined with scraps of rubber and wood, bits of rusty metal and other refuse. The exterior wood scraps come from Oliveira’s native Brazil; the interior materials were salvaged from the streets of Cleveland. The biographical note was fine, but for me the smell of rubber, the invitingly disarrayed interior and the sense of looking into an exploded Lee Bontecou sculpture was sufficient to create a compelling piece.
The new MOCA is one of several new contemporary art-related developments in Cleveland, along with ongoing collecting of contemporary art by the Cleveland Clinic and Progressive, the auto insurance company, and in tandem with economic development including a new sports stadium and medical convention center. The Cleveland Museum of Art has recently increased its contemporary programming on site. Also, sharing time with Cleveland collectors Fred and Laura Bidwell, it will program half of each year at the Transformer Station, a 3,500-square-foot contemporary art venue in a former Cleveland Railway Co. facility on Cleveland’s West Side, which is due to open in February 2013.
Stephanie Murg reviews Farshid Moussavi’s audacious American debut.
Courtesy Dean Kaufman
Shiny and faceted, the new Museum of Contemporary Art (MOCA) Cleveland has already been touted as “a cultural gem.” MOCA also has been likened to a massive jewel embedded—albeit at a wonky angle—in the eight-acre development known as Uptown, adjacent to Case Western Reserve University.
It would be tempting to shrug off these nicknames as snap judgments (see also: “the Gherkin” and “the Shard”) if they weren’t so apt. The bold new building not only resembles a dusky diamond on its surface but also shares with the gemstone a remarkable intensity that is the product of a lengthy incubation under high pressure.
The sleek, surprising, and incredibly versatile new home of MOCA Cleveland is the first museum commission and first U.S.-based building for Iranian-born Farshid Moussavi, who since landing the project in 2006 as co-principal of Foreign Office Architects, has started her own London-based firm. Along the way, there was a global economic crisis (the museum’s local bank was seized on the very day the new building was proposed to the board) that put the squeeze on fund-raising efforts, the project budget, and the original design.
The tense environment that resulted made for a fragmented design process. “We had three months of design and then nothing, and then another three months of design and then nothing…six years of it,” Moussavi said earlier this month, on the eve of the museum’s public debut. She described her surprise, at how the on-again, off-again design schedule actually turned out to be a boon to the project. “We had lots of time to mature, to develop our ideas, and even to run into accidents,” she said, pointing to a window’s mirror reveal that cleverly cuts the depth of the building’s shimmering skin. “If we had rushed, we wouldn’t have thought of that.
“The project had a whole series of discoveries along the way that had to do with having that extra time.”
Moussavi the architect turns out to be something of a savant when it comes to the temporal dimension. With a total project budget of $27.2 million, her MOCA is a slow-motion spectacular that unfolds over four stories and approximately 34,000 square feet, anchored by a vertiginous central staircase. Visitors who want to climb to the very top can hover over the main gallery and take in Escher-like vistas afforded by the dramatically canted walls and zigzagging walkways below.
The building envelope, a craggy carapace that is independent of the load-bearing floors, has six faceted sides, one of them a tall triangle of transparent glass that echoes the three-cornered building site. The others are clad in panels of black stainless steel for a unique finish that is part fun house mirror, part mood ring. Moussavi was sold on the dark Rimex paneling when she discovered how its dynamics changed, based on the orientation of the surface, the thickness of the steel, the light, even the weather. “It started playing with time,” she explained. “We eventually understood the significance of that for a contemporary art museum that should play with the idea of the now and the instant.”
Inside the eccentric exterior, which culminates in a square top, is a more conventional orthogonal plan atop a squat hexagonal base. The contrast between inside and outside could have been jarring, but Moussavi proposed the bold move of lining the building shell with color: a matte blue that suggests Yves Klein ultramarine at midnight. “Artists gave us feedback about the intensity of the blue paint,” she explained. “They said that if it was dark enough, it would recede and give this sensation of a boundless space”—an effect that is heightened by the diagonal zips of glass that are the building’s windows.
Allowing the dark shell to infiltrate what would have been a basic white- cube gallery on the top floor is just one of the invasions—and innovations—evidenced at MOCA. Floors deliberately alternate between public and nonpublic museum activities, affording visitors glimpses into the wood workshop or the loading dock.
The enclosed fire stairs, painted bright yellow and locked in a helical embrace with the main staircase, double as a sound gallery. With entrances on all sides, the double-height ground floor can be configured as a gallery, performance venue, or, in the words of MOCA executive director Jill Snyder, an “urban living room” (admission is charged only if visitors wish to ascend to the exhibitions). Even the museum store floats, thanks to collapsible fixtures that can make way for private events.
The sculptural force of the new MOCA, which had long operated out of a second-floor space in a former Sears, demands an equally challenging exhibition program, and chief curator David Noor appears up to the task, with a debut show that engages directly with architecture, including everything from the usual suspects like Rachel Whiteread and Gordon Matta-Clark to an atrium wall spray-painted by Katharina Grosse and Henrique Oliveira’s site-specific Caramboxido, a giant plywood gourd that bursts through a gallery wall.
Future exhibitions dedicated to artists such as Corin Hewitt and the collaborative duo of Janet Cardiff and George Bures Miller are sound choices to make Moussavi’s dark gem shine.
There’s a new kind of theater in Cleveland: If you stand outside the city’s just built Museum of Contemporary Art, you can watch its walls change color with the light. When the sun shines directly onto their black mirrored steel, the six walls will look blue—the brighter the sun, the more vivid the hue—but if the sky clouds over, they will darken to black, just as they will when the sun moves around the building. And as each of them stands at a different angle, each reflects a different image of what is happening around it. “It’s as if the building is performing for you,” says Farshid Moussavi, the museum’s architect. “There are some amazing moments, when the distorted reflections produce a kind of new reality.”
A petite, vivacious Iranian who lives and works in London, Moussavi, 47, is one of Europe’s most innovative and influential architects and theorists. Her books are practically required reading in the industry, and the exhibition she curated on the cultural impact of architecture is a highlight of this fall’s Venice Architecture Biennale. “Farshid is impossibly gorgeous and devastatingly smart,” says Paola Antonelli, senior curator of architecture and design at New York’s Museum of Modern Art. “She looks like an anime heroine and speaks with the intellectual power and authority of a pillar of contemporary architectural culture.”
MOCA Cleveland, which opens to the public on October 8 with surveys of the work of the German artist Katharina Grosse and the Canadian sculptor David Altmejd along with a group show featuring pieces by David Hammons and Gordon Matta Clark, is Moussavi’s first building in the United States. Though her constantly morphing museum has been eagerly anticipated by architecture buffs, it should prove equally compelling to the art world—after all, she’s done nothing less than create a radically new type of contemporary-art space that’s neither a stereotypical white cube nor a monumental museum in the traditional mold.
While the tone is set by the building’s constantly changing facade, there are playful touches inside, where visitors are invited to observe the daily life of the museum and its staff in a series of impromptu performances: They can peek through glass walls into the art-handling area, delivery bay, and other behind-the-scenes spaces usually hidden from the public. If they walk to the top of the spectacular steel staircase, they can look down into the main gallery to catch an aerial view of the artworks or watch the installation of new shows. But the grand finale is the ceiling of those galleries, which is painted in the same deep blue as those of ancient Egyptian tombs. It resembles the night sky, with the gallery lights shining like stars.
“We want the building to be an experience in itself and to reflect the role of the museum,” Moussavi says. “MOCA Cleveland isn’t a grand museum with a historical collection; it’s all about temporary exhibitions, which change constantly—so does contemporary art, and so should the architecture.” Luckily, Moussavi was blessed with an empathic client in Jill Snyder, the museum’s director. “I have learned so much about architecture from her,” Snyder says. “And I believe she has learned more about contemporary art and museums from us.”
Moussavi’s love of architecture goes back to her childhood in Sari, a city by the Caspian Sea in northern Iran, where her parents, both academics, commissioned a local architect to construct their family home. She remembers going to design meetings as a toddler and watching concrete being poured for the foundations. During her early teens, Iran was convulsed by revolution. In 1979, when she was 14, the family traveled to England to visit Moussavi’s brother, who was at boarding school there; her parents enrolled her, as well, in an English school rather than risk taking her back home. “At the time, I just got on with it,” Moussavi says. “But looking back, it was really tough. Having to start from scratch like that makes you strong, because you lose the fear of change.”
Her mother and younger sister moved to England a year later, followed by her father. Moussavi went on to study architecture at the University of Dundee in Scotland—where one of her professors suggested she pursue an internship in the then tiny London office of the Iraqi-born Zaha Hadid—and at the Bartlett School of Architecture in London. She spent two years at Harvard, where she was taught by Rem Koolhaas, who offered her a job at his practice, the Office for Metropolitan Architecture (OMA).
While at OMA, Moussavi began a relationship with the Spanish architect Alejandro Zaera-Polo. In 1993, they married and set up a firm in London, choosing Foreign Office Architects (FOA) as a suitable name for a partnership between an Iranian and a Spaniard working in England. Together they won a series of prestigious international commissions, including Japan’s Yokohama International Passenger Terminal, and emerged at the forefront of the post-Koolhaas-and-Hadid generation of architects, whose work is defined not by an identifiable style but by experimenting with design technology to produce structures that are specific to their location and purpose.
Moussavi has developed the theoretical side of her work at Harvard, having returned there to teach in 2005 and becoming a tenured professor a year later—and in a series of books based on research conducted with her students. Each publication explores an aspect of digital technology and environmental concerns relating to architecture: The Function of Ornament was published in 2006 and The Function of Form in 2009; The Function of Style is due out next year.
When Moussavi and Zaera-Polo divorced in 2011, they dissolved FOA and set up separate offices. Zaera-Polo has since been appointed dean of the architecture school at Princeton University, and Moussavi has stayed in London, where she lives in Belgravia with the couple’s 11-year-old daughter, Mina.
Farshid Moussavi Architecture got off to a spectacular start by winning a commission for a major housing project at La Défense in Paris, followed by the critical coup of the Venice show (which draws on the research for the three Function books), and now, MOCA Cleveland’s opening. “It has been exciting,” Moussavi says. “First time around, you set up an office instinctively. Second time around, you are more conscious of how it should be.”
Until recently, architecture was largely a man’s world. But together with Hadid and Kazuyo Sejima of SANAA—the Japanese firm behind the design of New York’s New Museum—Moussavi is one of a handful of women who have joined the trade’s elite band of world-class practitioners, with major commissions and prestigious academic posts. And she has done so on her own terms. In The Function of Form, she compares the impact of Gyrotonic exercises on the body with the fluid forms of contemporary architecture, and she draws similar parallels with the work of fashion designers Azzedine Alaïa, Miuccia Prada, and Hussein Chalayan, all of whom she admires for their innovations with shape and structure.
Antonelli remembers trekking around Venice with Moussavi in scorching heat four years ago when the two were members of the Architecture Biennale jury. “Farshid did so in platforms, balanced by a structured, deceptively sensuous Alaïa skirt and a Chalayan straw hat with aviator sunglasses built into the brim,” Antonelli says. “She was an eye-popping vision.” (Moussavi had persuaded Chalayan to make the hat for her trip after seeing it in his show.) “I often wear skirts, and I always wear heels,” Moussavi says. “The older I become, the more determined I am not to compromise the fact that I am a woman working in a male profession. I feel stronger and more confident by insisting on who I am.”
The Museum of Contemporary Art Cleveland (MOCA) will hold a public opening in celebration of its new building in the emerging Uptown district of University Circle on October 8, 2012. The inaugural exhibition, Inside Out and from the Ground Up, features an international roster of artists at all points in their careers and provides an in-depth look at how they engage with architecture and concepts of space.
Organized by David Norr, Chief Curator at MOCA Cleveland, Inside Out and from the Ground Up will feature sculpture, painting, installations, photography, and video.
The exhibition will bring together significant works by pioneering figures, such as Louise Bourgeois, David Hammons, and Gordon Matta-Clark, alongside works by established and emerging artists, including David Altmejd, Walead Beshty, Katharina Grosse, Jacqueline Humphries, Corey McCorkle, Henrique Oliveira, Barry Underwood, William Villalongo, Rachel Whiteread, and Haegue Yang. The works will create an expanded dialogue on contemporary art and space, approaching this central theme through a range of tactile, visual and conceptual means.
Many of the artists will exhibit new works. Featured in MOCA’s Toby Devan Lewis Gallery, David Altmejd will create his largest vitrine piece to date. In addition, Altmejd will create a new series of figurative plaster works, which will be embedded in the gallery’s walls, drawing viewers into the artist’s unique vision of entropy and regeneration.
MOCA has commissioned three of the artists to question the logic of the building itself through deliberate additions, subtractions or alterations to the architecture. Berlin-based Katharina Grosse will create a vibrant, massively scaled painting in the Donna and Stewart Kohl Atrium, covering three stories of MOCA’s elevator shaft and spilling out into the adjoining museum store and stairwell.
Henrique Oliveira will create a cave-like environment made from materials gathered from the streets of São Paulo, suggesting organic growth or parasitic invasion. Barry Underwood is photographing MOCA’s new building throughout its construction, staging temporary light installations to reveal the building in a dynamic process of becoming. These commissioned projects will reframe MOCA’s architecture, drawing the institution itself into a dialogue on the phenomenology of space.
About the New Building
The nearly 34,000-square-foot structure, which is 44 percent larger than MOCA’s current rented space, will demonstrate that a museum expansion need not be large in scale to be ambitious in all respects. Devised for both environmental and fiscal sustainability, the design is at once technically inventive, visually stunning and highly practical.
The dynamic structure was designed by Iranian-born Farshid Moussavi of London, formerly with Foreign Office Architects (FOA) and now principal of Farshid Moussavi Architecture (FMA). This is her first U.S. commission and her first museum.
The four-story building, which anchors the Uptown district, rises 60 feet from a hexagonal base to a square top, where the primary exhibition space is located. All four floors contain areas for either exhibitions or public programs.
Clad primarily in mirror-finish black Rimex stainless steel, the façade will reflect its urban surroundings, changing in appearance with differences in light and weather. Three of the building’s six facets, one of them clad in transparent glass, will flank a public plaza.
Upon entering the building, visitors will find themselves in an atrium where they can see the dynamic shape and structure of the building as it rises. This space leads to MOCA’s lobby, café and shop, and to a double-height multi-purpose room for public programs and events. From there, visitors may take MOCA’s monumental staircase, a dominant architectural feature of the building, to the upper floors. On the top floor the 6,000-square-foot gallery space has no fixed dividing walls, allowing for a variety of configurations. This floor also contains a gallery designed for new media work and a lounge with a view of the plaza and Uptown.
Nearly two years ago, we introducedFarshid Moussavi’s first major US building – a sleek geometrical design for Cleveland’s Museum of Contemporary Art. With its strong formal moves, the museum intends to aid the city’s urban-revitalization efforts by shaping an iconic cultural destination alongside its neighboring concentration of museums, such as the Cleveland Museum of Art and the Cleveland Museum of Natural History. MOCA Executive Director Jill Snyder says, “We believe MOCA is contributing a great building to Cleveland, one that will stimulate critical thinking and animate social exchange. MOCA is expanding its scope and activities on all fronts, supported by new architecture that allows for flexibility, unconventionality, and technological capacity in the presentation of contemporary art.” The 34,000 sqf building is nearing completion, and a public opening will be celebrated in early October with the inaugural exhibition, Inside Out and from the Ground Up, featuring an in-depth look at how international artists engage with architecture and spatial ideas.More about the project, including facade photos, after the break.
Moussavi, formerly with Foreign Office Architects and now principal of Farshid Moussavi Architecture, explained, “Our design for MOCA Cleveland aims to provide an ideal environment for artists and visitors and to foster creativity and variety in exhibitions and programs.”
The museum takes its shape from a hexagonal base which ends as a square top, and the faceted volume is clad in a mirror-finish black Rimex stainless steel. As construction progresses on the façade, Moussavi’s intentions of allowing the urban environment to be reflected in the building’s wrapper is coming to fruition. And, because MOCA is a non-collecting institution, Moussavi’s design can capitalize on the notion of flexibility, as the building does not need to support permanent collection galleries. Snyder added, “This building’s design is a perfect expression of the museum’s philosophy and programs. Flexibility is key to a program like ours that embraces aesthetic, conceptual and cultural diversity, and displays works in a great variety of media and genres.”
Organized by David Norr, Chief Curator at MOCA Cleveland, the inaugural exhibition will have particular resonance in MOCA’s new building, as the architecture creates striking effects through transparency, openness, and scale. “The artists in our inaugural exhibition prompt us to consider how we physically and psychologically relate to the built world – layered with all of its cues and miscues. A common thread in the exhibition is vision and the body: being immersed in or excluded from spaces; the tenuous boundary between inside and outside, self and other; and the disorientating effects of shifting perspectives.”
Within the exhibition, three artists (Katharina Grosse, Henrique Oliveira and Barry Underwood) have questioned the logic of Moussavi’s creation through deliberate additions, subtractions or alterations to the architecture, to strengthen the viewers’ connection and awareness to their spatial surroundings. For instance, Underwood’s addition will include a series of photographs documenting the building’s construction process with temporary light installations; Grosse will create a three-story tall massively scaled painting in to cover the MOCA’s elevator shaft; and Oliveira will create a cave-like environment made from materials gathered from the streets of São Paulo, suggesting organic growth or parasitic invasion.
We look forward to seeing the completed building later this summer, and hope that all in the Cleveland area will be able to enjoy the inaugural exhibition tied so harmoniously with the museum’s architecture.
CLEVELAND IS A SLEEPY gray city that curls around the edge of Lake Eerie and is home to the Rock and Roll Hall of Fame; three sports stadiums; one very popular casino; a sprawling world-class medical center; a car insurance company; an art museum with a glass atrium the size of a football field (“I feel like I’m in an airport—but in a good way,” said a friend as we glided down the escalator); one greeting card company; countless charming clapboard-and-brick homes that retail at less than $100,000; a large city park divided into ethnic zones (“Can you imagine if they did this in Central Park?” asked a New York dealer. “There would be an ethnic war,” said another); the nation’s most-frequented Starbucks; and, as of earlier this month, the Cleveland Museum of Contemporary Art, a 34,000-square-foot hexagonal building that reaches sixty-five feet into the air and is lined with over thirteen hundred black steel panels that send the city’s reflection shimmering over its surface.
“It’s a fat building. And I like its fatness,” said Agnes Gund, sitting amid an audience of collectors, dealers, philanthropists, journalists, and artists the morning after the museum hosted its VIP opening reception. (“Black Tie—have fun with it!” the invitation announced.) There was laughter. The building’s architect, Farshid Moussavi, a fiercely self-possessed woman, dazzled Clevelanders and New Yorkers alike with her fashion choices throughout the weekend—Friday night: a dress made of combs (“It’s Maison Margiela. I almost bought the same one,” said Carol Greene. “But Bergdorf ran out.”); Saturday: a pink foam tunic that vaguely resembled the top of a cupcake (“Comme des Garçons,” said Angela Robins of Honor Fraser). At Gund’s comment, Moussavi made a small smile that could be read alternately as amused or piqued.
Left: Collector Toby Devan Lewis. Right: Greene Naftali‘s Jeffrey Rowledge with artists Jacqueline Humphries and Teresita Fernandez.
Gund is one of the museum’s most significant backers, having gifted $1 million in 2006 following a 2005 donation of $2.1 million by the George Gund Foundation, which was established by her father. These funds gave director Jill Snyder the means and confidence to hire Moussavi and begin the process of building a new home for a museum that previously occupied the second floor of an abandoned Sears department store and, prior to that, a former fraternity house. As a Cleveland native, Gund possesses a certain parental sense of propriety over the city—on the flight from New York en route to the opening, rumor has it that she marched up and down the aisle of the plane handing out Obama/Biden buttons.
“I’ve seen a lot of these buildings and so often they’re narrow, people smashed up against the wall,” Gund continued. “The design makes for an experience that goes beyond art.”
“I like to think of it as engagement,” said Moussavi. “Every floor is designed so the public and the art spaces invade each other.” For the inaugural exhibition, “Inside Out and from the Ground Up,” chief curator David Norr selected sixteen artists whose work negotiates boundaries between spaces that often oppose the other—for example, artificial and natural environments, light and dark, physical and metaphysical worlds. Haegue Yang, Jacqueline Humphries, Henrique Oliveira, Walead Beshty, Oliver Husain, and David Altmejd were among those with works in the exhibition that attended the opening—each presenting pieces that explore the liminal space that opens when conflicting forces collide.
Over the weekend, Cleveland-based collectors opened their homes for the slew of out-of-town visitors that descended upon the city to celebrate the big launch. Collector Scott Mueller passed out flutes of champagne to buses unloading dealers including Laurel Gitlen, Gary Snyder, James Cohan, and Janine Cirincione. (“The champagne’s flowing, so drink up!” he said merrily.) There was a visit through the collection at the Progressive Insurance campus, which has been amassed over the past several decades with an eye toward social disruption. “If a work doesn’t hum on the wall, if it doesn’t arouse conversation, then it’s not a good fit for Progressive,” said cofounder and former curator Toby Devon Lewis. We followed with curator Joanne Cohen’s tour of the Cleveland Clinic, where we wandered past operating rooms and works by Sarah Morris, Jaume Plensa, and Catherine Opie. “We had to install benches near some of our most popular pieces because people kept moving chairs out of waiting rooms so they could sit in front of the art,” Cohen told us. “Art is very restorative after the end of a long day or an open heart surgery.”
Left: Artist William Villalongo. Right: Collectors Dick and Doreen Cahoon.
“Restorative” can be thematized more broadly, too: As several trustees share, fifteen years ago Cleveland was in a severe slump and could have easily followed the tracks of Detroit. “Just to give you a sense of the drama around our fund-raising for the museum,” said Snyder, “the day the board met to decide whether or not it would commit to the new building, the primary bank in Cleveland was taken over by the government. It was October of 2008. The board could have said, ‘Scrap the design and build a shed. Do something simple that we can afford.’ And they didn’t.”
The board did state that they refused to break ground until all the necessary funds were raised. The museum, which clocked in at $27.2 million, is entirely debt free. On Saturday night, MoCA Cleveland hosted a party for its public opening. The event sold out completely. In the bathroom, I was struck by a very short conversation. Two women stood in front of the mirror applying lipstick. “I don’t get half of the art here, but I’m excited for what this museum means for Cleveland and for our kids, and their kids’ kids,” said one.
“Anyone can build a sports stadium,” the other responded. “But it takes a real force to build an arts center.”
Vincent Johnson is an artist and writer in Los Angeles
Vincent Johnson lives and works in Los Angeles. His work has been exhibited at Soho House, Los Angeles, Palihouse, West Los Angeles, Las Cienegas Projects, LAXART, the P.S. 1. Museum, the SK Stiftung, Cologne, the Santa Monica Museum of Art, the Museum of Contemporary Art, Chicago, the Studio Museum in Harlem, the Adamski Gallery of Contemporary Art, Aachen, Locust Projects, Miami, the Sacramento Center for Contemporary Art, 18th Street Arts, Santa Monica and the Boston University Art Gallery. His photographic works engage both significant and neglected historical and contemporary cultural artifacts and is based on intensive research of his subjects. Upcoming are projects in Europe and Los Angeles. His most recent work, a series of nine grayscale paintings, was shown at the Beacon Arts Center in Los Angeles in the group show entitled The Optimist’s Parking Lot. He recently participated in The Bearden Project at the Studio Museum in Harlem. He also participated in the inaugural edition of Pulse Fair Los Angeles with Las Cienegas Projects. Johnson will show a selection of his photographs at Another Year in LA gallery, Los Angeles, in January, 2013. Johnson is a member of the Advisory Board of THE WINTER OFFICE, Copenhagen.
Two at Night (2012) from the Cosmos suite of paintings, 30×40 inches, Oil on canvas
Golden Dream (2012), part of the Cosmos Suite of paintings, 30×40 inches, oil on canvas
California Toilet, Filthy Light Switch (2010) by Vincent Johnson. Archival Epson print (Private Collection, Miami, Florida)
Vincent Johnson, Nine Grayscale Paintings (2011), Beacon Arts Center, Los Angeles
Vincent Johnson, born in Cleveland, Ohio. Lives and works in Los Angeles, California
Vincent Johnson – first stage of grayscale paintings – studio view, Los Angeles, 2011