An Art Critic And An Architecture Critic Discuss What MoMA Got Right In – And What It Left Out Of – The Latin American Architecture Show

“I was weirdly moved to see the original model for Brasilia by Oscar Niemeyer and Lúcio Costa. In our day and age of fancy digital fly-throughs and massive 3-D printed models, there is something touchingly small and hand-made about this model: the Cathedral looks as if it could have been rendered out of toothpicks and the grass appears to be made from some sort of felt.”

That Time An Artist Who Wanted To Photograph And Challenge Queer Identities Got A Little Overwhelmed

“I honestly thought that the project would be a small collection of 50 or so photographs, but the response to the project was so profound that I decided to expand it and travel to several US cities like New York City, Portland, Chicago and soon Austin to photograph more people. I imagine that this will be an ongoing project for me throughout my lifetime.”

Whatever Happened To Chicago’s Big Keith Haring Mural?

“When the project ended, the media attention dissipated, the students returned to their regularly scheduled high school programming, and after a couple additional days during which he painted two more murals at Rush University Medical Center, Haring went home to New York. The Grant Park mural stood for about a week before it was dismantled—and that was the last time it was ever displayed in its entirety.”

When Big Architectural Firms Get Too Big

“Though small firms long for the workload stability that large firms can achieve, the management of the multiplicity of talent spread globally can be extraordinarily difficult. A large firm can form a 100-person team of engineers and architects for an infra-structure project in Hong Kong, but day-to-day it finds it has too many mechanical engineers in Singapore and not enough in Chicago.”

Henry Moore Foundation To Artist: Do Not Use Moore’s Work To Make A Political Statement – Not Even In Photoshop Mockups

“Three years ago, Kansas City-based artist A. Bitterman proposed moving a vacant, dilapidated house, located in one of the city’s poorest neighborhoods, to the lawn of the Nelson-Atkins Museum … In place of the house, Bitterman suggested, the museum should install its prized Henry Moore sculpture Sheep Piece (1971–72). The house and the Moore lie on opposite sides of Troost Avenue.” The proposal recently resurfaced in the press, and Moore’s people are having none of it.