The revised design replaces the memorial’s east and west steel tapestries — depicting the Kansas plains where Eisenhower spent his boyhood — with single columns that mark the north corners of the site, preparing visitors for the entrance. The south columns and tapestry aim to define the memorial’s space and frame the views of the Capitol.
Archive for the ‘Art’ Category
I’m a big fan of both Jimmy Stewart and Carol Burnett, so this makes me very happy. (I have family in the area around Indiana, Pennsylvania, but I’ve never had the chance to visit the Jimmy Stewart Museum. Perhaps I will remedy this on a future visit.)
Five rules for viewing art, damn it, art! There’s much here that I agree with; seek silence, take your time, do some research. On the other hand, I don’t see anything wrong with purchasing postcards or posters at the gift shop. I do think the rubber van Gogh ear is a bit over the top.
This bothers me as well, but I’m not sure I can articulate why. I need to think on it some more.
And so is TMQ. And so is TMQ Watch. The first column of the NFL season is always kind of strange; there’s a lot of short items, basketball coverage, and other things that throw us for a loop. We’re probably not going to hit every one of TMQ’s throwaway quips. And yes, we’re aware that TMQ did a couple of draft columns; we looked at those and frankly didn’t find anything noteworthy in them. One was his usual silly mock draft, the other was his draft analysis, and both contained the recommended US daily allowance of TMQ tropes.
Anyway, back to this week’s TMQ, after the jump…
This one’s for Lawrence.
The House Committee on Natural Resources has called the proposed Eisenhower Memorial “a five-star folly”. That’s actually the title of their report, which is subtitled (just in case you didn’t get the point), “An Investigation into the Cost Increases, Construction Delays, and Design Problems That Have Been a Disservice to the Effort to Memorialize Dwight D. Eisenhower”.
This has been going on since 1999. So far, according to the report, “Approximately $41 million has been spent or obligated so far, including almost $16.4 million for the designer and more than $13.3 million to the multiple parties responsible for managing the design process and providing administrative support.” And there’s basically nothing to show for it.
Except for the design itself, which lots of people don’t like. Including the Eisenhower family.
Congress subsequently withheld construction funds for the memorial two years in a row, and this month, the House released a draft budget that also zeros out operating funds and calls for a new design competition. In April, the National Capital Planning Commission voted 7 to 3 to oppose the design. The House committees on oversight and appropriations are also investigating the memorial.
The designer? Lawrence’s favorite living architect, Frank Gehry. To be fair to Mr. Gehry (who I actually kind of like), this wouldn’t be the first time a controversial memorial design in DC has turned out okay. And I’m not clear on what exactly the objections are:
Mr. Gehry’s original concept to honor the World War II military leader and 34th president called for a four-acre site partly enclosed by transparent woven metal tapestries displaying images of the Kansas plains, where Eisenhower grew up. The most contentious element initially was a statue of the young Eisenhower sitting on a low stone wall, a characterization inspired by a photograph of him at that age and by a homecoming speech he made after the war in which he recalled his days as a “barefoot boy.”
That doesn’t sound too awful or disrespectful to me.
In response to objections that this was insufficiently respectful, Mr. Gehry replaced the child with Eisenhower as a 20-year-old West Point cadet and changed his depictions of two famous photographs into statues instead of bas-reliefs. But family members still expressed concerns that the design was costly, undignified and would require too much maintenance.
Yeah, I don’t get the “undignified” thing, either. But I haven’t seen anything other than the photo in the NYT. I do find it interesting that, according to the congressional report, the initial jury thought all of the submitted designs were “mediocre” and wanted a second round of submissions. Whoever was in charge overruled the jury and picked Gehry’s design.
And there’s other boondoggles, too. Sole source contracts, paying $1.4 million to fundraising firms (which have managed to raise about $500,000), questions about ongoing maintenance costs, etc. etc. etc.
I like Ike. But I have serious questions about our need for an Eisenhower Memorial outside of the Eisenhower Presidential Center and about the design process for this one.
By way of the A/V Club, I’ve learned of something called “Holler if Ya Hear Me”, a Broadway musical “inspired by the music and lyrics of the popular rapper Tupac Shakur”.
While some Broadway shows rely on budget reserves to muddle through slow weeks, “Holler” struggled from the outset. The production never brought in more than $175,000 a week in gross revenues, becoming one of the worst-selling musicals of recent years. Last week the show grossed $154,948, or 17 percent of the maximum possible amount, and only 45 percent of its seats were occupied.
Here’s the NYT review:
Drawing on themes that Shakur rapped about in his scabrous, four-letter-word-filled lyrics (no one has taken a kid-friendly Magic Marker to them, I’m glad to report), the musical attempts to draw a vision of black life in urban America that acknowledges the danger, the violence and the self-destruction but also the hope, the courage and the potential for transcendence. To this end, it employs more than a dozen of Shakur’s songs and a couple of his poems. But the lyrical density of rap — in words per minute, many of the songs are off the charts — makes an uneasy fit for theatrical presentation, since the sizzling phrases fly by almost before you can grasp their meaning.
At this point, you’re probably not wondering what brought this to mind:
And, of course, there’s the usual invocations of “it’s going to be difficult to do another rap or hip hop show on Broadway” and “Tupac’s urgent socially important insights and the audiences’ nightly rousing standing ovations deserve to be experienced by the world.”
As for the latter, no comment. As for the former:
Yet one new musical featuring rap and hip hop, “Hamilton,” is widely expected to come to Broadway during the 2015-16 season after an initial run at the Public Theater this coming winter. The show is by Lin-Manuel Miranda, whose show “In the Heights,” which also featured rap and hip hop, ran for three years on Broadway and won the 2008 Tony Award for best musical.
Edited to add: more from the PoR:
Box Sized DIE is a public installation in a London banking district by Portuguese artist João Onofre. It’s a soundproofed, airtight black box. Inside, UK band Unfathomable Ruination will be playing death metal until they run out of oxygen, every day for most of July, starting on Sunday. The installation is part of the Sculpture In The City public art program by City of London.
My first thought: what do they mean by “run out of oxygen”? Does the band play until they pass out? If so, how will anyone know, given that the box is soundproofed and opaque? Do they just play until a certain CO2 level is reached? Do they have sensors and an alarm in the box?
My second thought: how long will the band actually play? Or, to phrase the question in another way, how long does it take to use up all the oxygen in the box? Apparently, this isn’t the first time a death metal band has played in the box (though it is the first time this has been done in London). Surely there must be some stats on this, like average length of time spent in the box.
My third thought:
My fourth thought:
Art F City argues that this is one of London’s “worst public art projects,” because “Passersby can’t hear them play, so what’s the point of choosing death metal over anyone else?” But there are many things we can’t see or hear directly from a sculpture. Onofre is charging the invisible core of the object with the specific force and drive of death metal. It’s black. It’s claustrophobic. It’s all angst. Of course it had to be black metal! Unlike most conceptual public sculptures, we know exactly what’s “inside.” Maybe it’s not the most subtle form of compacting tension and placing it into a public space, but I’m biased, so… \m/
Sounds like pretentious bullshit to me.
Stanley Marsh 3, “legendary West Texas eccentric“.
This is Marsh’s most famous creation:
And Marsh spent the last years of his life entangled in civil suits and criminal accusations involving his alleged abuse of young men.
Texas Monthly has the best coverage I’ve been able to find so far. Nothing in the papers of record yet, and the DFW papers are just running the AP obit.
Daniel Keyes has also passed away at the age of 86. Keyes was most famous for the novella “Flowers for Algernon”, later expanded into a novel, turned into the movie “Charly”, and the subject of countless popular culture parodies.
I haven’t seen “Searching” yet, but Bendjelloul’s death is depressing; it was his first film, and he was only 36.
(Edited to add this. The number for the National Suicide Prevention Lifeline is 1-800-273-8255.)
In San Francisco, where one presumes people know better, the American Cupcake bar and bakery offers chicken that has been soaked in red velvet cake batter, rolled in toasted red velvet cupcake crumbs and fried. The dish comes with garlic- and cream-cheese mashed potatoes and cocoa-infused slaw.
You know, I’d try that. It might be something I’d only want to eat once, but I’d give it a try if I could travel to San Francisco. (I don’t currently have a passport, so I can’t go to places outside of the United States.)
About damn time. But let’s wait and see what the Philadelphia Fraternal Order of Police does.
Good news out of Palm Springs this week: Work has begun on dismantling “Forever Marilyn,” the grotesque colossus fabricated with typical ham-handedness by sculptor J. Seward Johnson, which has been marring an already vacant lot at a prominent downtown corner for the last two years.
Gee, Christopher Knight, why don’t you tell us how you really feel?
Neal Barrett, Jr., one of the great Texas SF writers.
Madeline Arakawa Gins, of Arakawa and Gins fame.
Their work was underpinned by a philosophy they called Reversible Destiny. Its chief tenet, as the catalog of a 1997 joint exhibition at the Guggenheim Museum SoHo put it, was, “Reversible Destiny: We Have Decided Not to Die.”
Gins was 72. Arakawa passed away in 2010 at the age of 73.
Edited to add: the Statesman published an obituary for Mr. Barrett. Bad news: it is behind the paywall and thus unlinkable.
The lawsuit by Alexander Calder’s heirs against his former dealer has been dismissed.
In a decision dated Dec. 23, Judge Shirley Werner Kornreich wrote that “all of these allegations are so patently inadequate that the court can only conclude that they were brought solely for the purposes of harassment or embarrassment, without any consideration of their legal sufficiency.”
The judge also invoked the statute of limitations, writing that the plaintiffs were trying to litigate issues that stretched back “decades without any personal knowledge or contemporaneous records, where nearly all of the people who had personal knowledge of the facts are dead.”
(I expect to have a second legal update later today; I’m just waiting on events.)
The number for the National Suicide Prevention Lifeline is 1-800-273-8255 (TALK).
The WP reviews “Chris Burden: Extreme Measures”, a retrospective of his work. I believe Mr. Burden and his work have come up here before, but for those who don’t remember…
In 1971, in a bare gallery space in Santa Ana, Calif., artist Chris Burden filmed himself being shot with a rifle. The bullet went through his left arm, causing more damage than expected. The moment after he was shot, the boyish young man with short-cropped hair staggered forward a few steps as if stunned by pain or shock, and was photographed later with blood dripping from the wound. In the previous few years, tens of thousands of men his age died in Vietnam, and the performance, titled simply “Shoot,” obviously had something to do with the political climate since 1968.
Unmentioned because it isn’t really relevant, but: Burden’s performance inspired one of Laurie Anderson’s early works, “It’s Not the Bullet That Kills You (It’s the Hole)”.