Morris curatorial by Mark Morris

Mark Morris Curatorial Statement… A Day in the Life of Hartell Gallery ArtForum carried a critics’ picks review of “James Casebere: Scales + Dimensions” yesterday. This was a big deal. College galleries, particularly those in the wilds of upstate New York, generally don’t get much coverage in the press. I sought out Casebere knowing his work would link architects, artists, planners and landscape architects. I visited his Brooklyn studio over the summer to meet him, select photographs for the show and look at his scale model archive. As we opened box after box of the models used to create the landscapes, housing developments and interiors that typify his work – work I first encountered when writing my dissertation – I realized we had to have the models come to Cornell and be part of the exhibit. He wasn’t so sure. “But I don’t usually show the models.” “Ah, yes, but we’re a university. Different audience, enthusiastic model-makers, students and faculty as interested in how you work as in the work itself.” “But some of them are oddly constructed. We only carefully craft the portion of the model in view, the rest is left ragged and wild. Several are burnt.” “Give us your ragged, your wild, your burnt! Their sidedness, their Potemkin village quality, is precisely what makes them interesting.” “Alright. Let’s show them. Let’s show them all!” And so we did. Casebere came to Ithaca weeks later to hang the show and organize the models with me. Faculty and students stopped in the galleries and asked questions. The associate dean brought in a group of incoming freshmen. With some hired help, we carried impossibly large and heavy framed work around the gallery. We built a mountain of pedestals and indexed the models by scale and type. The exhibition title grew out of this exchange. He changed his travel schedule to stay on a bit longer; he just enjoyed being part of the college community. I took him on a tour of campus and then the Hotel School bar. He wanted to do a gallery visit and workshop with students; presto, it happens. I will formally introduce Casebere next week at his evening lecture for the college, which is also drawing some alumni and guests, but the process has been cheerily informal, full of spontaneity and seeing him make personal connections with students and faculty. My role is hardly that of a pure curator, far from it. I am equal parts curator, host, budgetary miser, staff supervisor, press agent, catering consultant and bellowing master of ceremonies. I teach a range of seminars, lectures and studios alongside this and enjoy my work in both directions immensely.

Spring 2014

Anthony Titus

Surface Mining DATE September 29 – October 22, 2014 LOCATION Bibliowicz Family Gallery, Milstein Hall, Mon – Fri 8 a.m. – 5 p.m. RECEPTION Monday, September 29, 4:30 p.m. Bibliowicz Family Gallery, Milstein Hall MORE aap.cornell.edu / events

Sept 29 – Oct 17, 2014

Tuesday, Oct 7 5:15 p.m. 157 E. Sibley Hall

BOOK SIGNING 6:15 p.m.

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The Wasteland, Lucy Skaer

t c e , j s o Pr oject oks Pr ok Bo Bo

LCD screens, College of AAP

BIBLIOWICZ FAMILY GALLERY, MILSTEIN HALL RECEPTION: Nov 19, 5 p.m. MORE: aap.cornell.edu/events

DIGITAL EXHIBITION DATE ARTIST’S TALK + RECEPTION

OCT 27 – NOV 28, 2014

ls ichae M Adam

Exhibition

Lecture Wednesday, Sept 10, 5:15 p.m. Abby and Howard Milstein Auditorium, Milstein Hall

Reception Wednesday, Sept 10, 6:45 p.m. Bibliowicz Family Gallery, Milstein Hall

More aap.cornell.edu/events

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Mor

Exhibition John Hartell Gallery, Sibley Hall, Mon – Fri 8 a.m. – 5 p.m. / Olive Tjaden Gallery, Tjaden Hall, Mon – Fri 9 a.m. – 4 p.m. Lecture Monday, Sept 15, 5:15 p.m. Abby and Howard Milstein Auditorium, Milstein Hall Reception Monday, Sept 15, 4:30 p.m. John Hartell Gallery, Sibley Hall more aap.cornell.edu/events

SEPTEMBER 8 – 26, 2014

Bibliowicz Family Gallery, Milstein Hall Mon – Fri 8 a.m. – 5 p.m.

.m. 5p e .– cts om a.m hite yD i8 le r Arc ib F – 14 ler me y, S on , 20 ens o ller e, M er 7 Ga l, G ley D b a m ll e m cip Do Sib art ove ley Prin llery, nH –N or, Sib Joh 13 ry, ect ell Ga .m. ber Dir t alle 0p cto ign n Har ll G :3 s O e 4 e t h , r 20 Jo Ha al D ition Exhib n John ay, Oct Region , 5 p.m. ; d io 0 Locat ion Mon JUN XIAy, Oct 2 a t s t p k d en Rece ct’s Tal Mon / ev ite du Arch ell.e or n ap.c a e

AUGUST 25 – SEPTEMBER 19, 2014 / COLLEGE OF ARCHITECTURE, ART, AND PLANNING / CORNELL UNIVERSITY

ShangHai Tower

Scales + Dimensions

We Take OUr FUn Very Seriously

Gensler

JAMES CASEBERE

Márcio Kogan

Fall 2014

JameS CaSebere

Scales + Dimensions loCation

The James Casebere: Scales and Dimensions exhibition

John Hartell Gallery

presents a broad interdisciplinary practice joining art and

Sibley Hall

architecture. Rarely does artist James Casebere reveal the

Mon – Fri 8 a.m. – 5 p.m. photograph. This exhibit is uniquely organized to engage Olive Tjaden Gallery Tjaden Hall

students and faculty in the creative process behind the work, revealing the artistry of how modeling is handled

Mon – Fri 9 a.m. – 4 p.m.

date Aug 25 – Sept 19, 2014

vantage points. John Hartell Gallery will feature James Casebere’s recent work, mostly from the “Landscape with Houses (Dutchess

lecture Monday, Sept. 15 5:15 p.m. Abby and Howard Milstein Auditorium Milstein Hall

reception Monday, Sept. 15 4:30 p.m. John Hartell Gallery Sibley Hall

more aap.cornell.edu/events

County)” series featuring several very large framed photographs and, unusually, a display of the corresponding scale models that were used to create the photographs. Olive Tjaden Gallery will exhibit highlights of other projects, including pieces from his “Vaulted Corridor,” “Tunnel,” “Hallway,” and “Spanish Bath” series. Casebere’s pioneering work has established him at the forefront of artists working with constructed photography. His work was associated with the Pictures Generation of Post-Modern artists who emerged in the 1980s, which included Cindy Sherman, Robert Longo, Laurie Simmons, Richard Prince, Matt Mullican, James Welling, Barbara Kruger, and others. For the last 30 years Casebere has devised increasingly complex models and photographed them in his studio. Based solidly on an understanding of architecture as well as art historical and cinematic sources, Casebere’s abandoned spaces are hauntingly evocative. His table-sized constructions are made of simple materials, pared down to essential forms. Curated by Mark Morris and James Casebere. Coordinated by Pam Vander Zwan and Lindsay Lavine.

Landscape with Houses (Dutchess County, NY) #11 (2009)

James Casebere - artforum.com / critics' picks

http://artforum.com/index.php?pn=picks&id=48104&...

James Casebere THE GALLERIES OF THE ARCHITECTURE ART PLANNING PROGRAM AT CORNELL UNIVERSITY 943 University Ave., Hartell Gallery, Sibley Dome August 25, 2014–September 19, 2014 The urge to see the artist’s tools is as old as art itself; it reflects a fundamental though perhaps antiquated yearning to catch a glimpse of the magic of creation, the process by which an artist turns everyday materials into a masterpiece. In James Casebere’s exhibition “Scales and Dimensions,” we are afforded that opportunity by the inclusion of Casebere’s rarely shown scale models that serve as the basis for his photography. But rather than excitement, there is an overwhelming feeling of disappointment. Gone is the disturbing patina of the photographs, whose magnificent and haunting glamour could give Wes Anderson a run for his money, and in its place is a set of handmade buildings and boxes containing toy trees. Similar to Laurie Simmons, Casebere exploits the way miniatures can oscillate between representing reality or dreams. Why, then, exhibit the props whose presence roots the photographs firmly in mundane reality?

View of “James Casebere: Scales and Dimensions,” 2014. Installation view, John Hartell Gallery, Sibley Hall, Olive Tjaden Gallery, Tjaden Hall, College of Architecture, Art, and Planning, Cornell University.

Exposing the construction of his tableaux provokes a fresh consideration of process, medium, and meaning in a much-needed revision of the ubiquitous psychological readings that cling to the Pictures generation. Besides highlighting Casebere’s deep knowledge of architecture, exhibiting the meticulously crafted models alongside his photographs frees us to consider the breadth of meanings —conceptual and formal—inherent in conceptual photography. One can see, for example, Dan Flavin’s “monument” 1 for V. Tatlin, 1964, embedded and repurposed in Casebere’s Two Bunk Cell, 1998, a visual reminder of the historical layers that produce meaning in Casebere’s unsettling interiors and landscapes. Disappointment, then, becomes grounds for new discoveries. — William J. Simmons

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Spring 2015

flux navigations: envisioning the southeast asian city

Exhibition February 16â&#x20AC;&#x201C;March 13 Bibliowicz Family Gallery Milstein Hall Reception Monday, March 9 4:30 p.m. Bibliowicz Family Gallery Milstein Hall See More aap.cornell.edu/events

ZARZUELA HIPPODROME IN MADRID (1935)

WILL COTTON Vistas of Candy Land

FROM THE LATE 1990s ONWARD New York-based artist Will Cotton has created paintings featuring gingerbread structures in completely edible environments. Known of cotton candy and portraits featuring models wearing candied landscape pictures unpopulated with the focus on composition and atmosphere. Cotton works from models set up in his studio. He has taken cooking classes to better fabricate these painstaking miniature is a lifespan to it as well as the candy and the icing that holds it all together. The decay of a single gingerbread house can be read across several paintings where vantage points shift and fogs descend. The use of models encourages this sort of

process is more technical than whimsical. The structural logic of gingerbread assembly is carefully abided to. Cotton keeps a vintage Candy Land set in his studio. His architectural creations are not conceived as autonomous

FEB 16-MARCH 20, 2015 / JOHN HARTELL GALLERY, SIBLEY DOME RECEPTION

board game has inspired much of the work featured in this

5 p.m.

SEE MORE aap.cornell.edu/events The Consummation of Empire (2008)

This exhibition is curated by Mark Morris, visiting associate professor and director of exhibitions and events.

Sept 28 – Oct 23, 2015

Sanctuary Ladislas Segoe (1894--1983)

In the Public Interest The Life and Work of Regional Planning Pioneer

Oct 26 – Nov 27, 2015

Alan Turner

Yakov Chernikov

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AUG 17 – SEPT 25, 2015

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Exhibition: Treasury, Legacy: A Museum for Architectural Dra...

http://www.archdaily.com/771840/treasury-legacy-a-museum-fo...

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Exhibition: Treasury, Legacy: A Museum for Architectural Drawing

12 AUG 2015

Events Tchoban Foundation Cornell University

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A series of concrete boxes, each carved with an array of large-scale drawings and dimpled with window apertures, function as a Trajan's Column of architectural history in a corner site located on the grounds of the historic Pfefferberg Brewery adjacent to the Aedes Architekturforum. A cantilevered glass box caps the complex and offers visitors sweeping city views and a sunny spot to make one's own sketches as the culmination of the museum sequence.

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Built to house the Tchoban Foundation's extensive collection of original drawings, the museum hosts a number of exhibitions each year. Recent shows have featured works by

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Oskar Niemeyer, David Chipperfield, Zaha Hadid, Aldo Rossi, Gottfried Böhm, and the Japanese office of Bow-Wow. Other exhibitions have had historic or thematic emphases

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such as Architecture in Cultural Strife: Russian and Soviet Architecture in Drawings,

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The Hartell Gallery portion of the exhibition, Legacy, features iconic drawings of Soviet and Russian architects including several Constructivist projects by Yakov Chernikov, the winning design for the Palace of the Soviets by Boris Iofan (famously trumping Le Corbusier's proposal), Andrey Burov's designs for an all-Russian agricultural exhibition, and Alexey Shusev's working drawings for Lenin's Mausoleum in Red Square. Stalin-era architect Boris

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represented with drawings by Alexander Brodsky and Arthur Skizhali‐Weiss.

Treasury, in the Bibliowicz Gallery, highlights the wider international collection of the museum with sketches and drawings by Hans Poelzig, Aldo Rossi, Alvaro Siza, Peter Wilson, and Madelon Vriesendorp, cofounder of OMA.

The exhibition is curated by Visiting Associate Professor Mark Morris, director of exhibitions

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Title: Treasury, Legacy: A Museum for Architectural Drawing Website: https://aap.cornell.edu/news-events/treasury-legacy-museum-architecturaldrawing

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Organizers: AAP Cornell Architecture Art and Planning From: August 17, 2015 12:00 AM

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Until: September 25, 2015 12:00 AM Venue: Cornell University College of Architecture, Art, and Planning Address: 129 Sibley Dome, Cornell University, Ithaca, NY 14853

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r o f m u e s u M a g n i k c a Unp

l a r u t c e t i h c r A rawings D

Folio

Unpacking a Museum for Architectural Drawings

Tchoban Foundation + AAP

AS EXQUISITELY CRAFTED art crates from Berlin came off the truck behind Sibley Hall in late August, I knew that we were in for a treat of an exhibition to kickoff seum for Architectural Drawing in the sum-

The museum hosts a number of exhibitions

Hadid, Aldo Rossi, Gottfried Böhm, and the

as Architecture in Cultural Strife: Russian and Soviet Architecture in Drawings, 1900–1953 and Piranesi’s Paestum: Master Drawings Uncovered. AAP’s exhibition showcased the col-

mer of 2014. The museum’s founder, Sergei Tchoban, offered me an in-depth tour of the

Curatorship has become a focal point as much in the dissemination of architectural culture as in the production of architecture itself. Increasingly conspicuous, curating architecture both as a practice, but also as a field of research, seems to have reached a state of disciplinary legitimacy. —Simon Pennec

building culminating in a lengthy stay in the

sign from inception to construction with sketch-

panel after panel, a dizzying array of original The Hartell Gallery portion of the exhibition, Legacy -

that they had to come to AAP. The timing of the exhibition was fortuitous as Professors Lily Chi and Andrea Simitch were both offering courses on freehand drawing and the history of architectural drawing, reto Art and Planning as well as Architecture;

by Boris Iofan (famously trumping Le Corbusall-Russian agricultural exhibition, and Alexey soleum in Red Square. Stalin-era architect

this was truly a college show. The broad scale of the drawings included tiny works in graphite and colossal tinted drawings seemingly big enough to walk inside. Students and faculty commented on the fragility and richness of the works; details of the hand or marginalia only

is represented with drawings by Alexander Treasury, in the Bibliowicz Family Gallery, highlighted the wider international collection of the museum

Unique in the world, Berlin’s new jewel-like

with sketches and drawings by Hans Poelzig,

21st century architectural drawings together

functioning as a Trajan’s Column of architectural history. The museum’s architects, Tchowith a corner site located on the grounds of the historic Pfefferberg Brewery, across from an urban garden square and adjacent to the Aedes Architekturforum. A series of concrete boxes dimpled with window apertures are stacked

of the museum itself. It traces the museum’s de-

to architectural collections across the globe, tion and storage of such works are exceptional challenges. That a fresh museum with this speis testament to a growing appreciation for archi-

e Mark Morris, Director of Exhibitions AAP

Unpacking a Museum for Architectural Drawings

QA &

It is no coincidence that this collection comes to mark of our architectural program for generations, day. If architects trained here can claim a common

Tchoban Foundation + AAP

we should read these drawings or whether as you’re looking at them you see these stories -

Sergie Tchoban: The question is to be antion coming to Russia when the capital was its Baroque and Neoclassical architecture. But there was friction between its old town struc-

Above: Yakov Chernikhov. Factory building, original drawing for the book “The Construction of

the Neoclassical; it was always there. But for

Because of this synergy, tonight’s lecture format will include a Q&A session with Professors Chusid

Architectural and Machine Forms” (ca. 1931); Right: Unpacking the artwork

leading and we got many interesting buildings.

of your take on this? Is that just because our -

open and close to see picture after picture by Jeffrey Chusid: I wanted to ask a question

about looking at drawings as text—about

ciples. For me it is amazing to see how widely

different architectural representations there were in this period, and that’s what your exhibition brings forward.

small room – maybe 3-by-3 meters, it’s nothing -- just by staying in this room I understood shouldn’t be big. A museum can be small,

amazed and thought, “Okay, such a museum,

um in London. They seem sister institutions or

tion really has to do with how you can imagine

think of the space of your museum -- both information in their façades that would be unorthodox in another context, and both interiors all about the mirrors and in your space it’s all for example. There seems to be more than just

ST: -

ings that combine information with a culture of composition and artistry. It’s part of our

to the gallery we were looking at some of the

culture, we can still read the drawings from

drawings, in particular the Lenin mausoleum

a century ago. These hand-drawn architec-

ally seen them before. It occurred to me that

base for architectural discourse. I say for my-

you don’t really need to speak Russian to

self the end of good architectural drawing is

understand what’s going on in these things,

architectural drawing and nothing else. The

especially in technical drawings. There are di-

end of good architecture per se is a good building. So there are two end points. If you

a certain literacy in the way that the language

nobody will be interested if there are many

of architectural drawings used to work. Now

good drawings before. And if you’re good at

we’re in the situation where a construction

architectural drawing, nobody may be interested how your building looks out after the

seum by Alexander Brodsky, also featured in

drawing. So there are two results, and if you

your exhibition. He told me, “Sergei, you don’t that you’re a practicing architect, what is kind

Aleksandr Mergold: I took my studio down

a passing relationship going on between these that always in your mind?

fore you rather than a work of art. In my own ing: technical and artistic. I try to make draw-

directly related. -

tectural drawing is really a culture of your -

the museum, because the culture of archiown possibility. It has become more techni-

Mark Morris: I wanted to speak to the special

the successful architect who is doing a kind of

ST: That is why I made this foundation and

Following his lecture Tchoban met students and faculty at a reception featuring musicians playing Russian folk music and a smorgasbord of traditional Russian borscht, pickled eggs, and black bread topped with smokedfish.

Unpacking a Museum for Architectural Drawings

Tchoban Foundation + AAP

their handling, the monolithic quality, the dynamic, the harmony of forms and colors, the not be demonstrated in any independent

other architectural properties. The second essential precondition for creating an architectural fantasy is the desire to communicate our imaginings in a manner independent of all existing approaches, modes and principles, to create structures

way, but be limited to immaterial imaginings within his own head? All the factors mentioned indicate that the architect’s desire in some way or another to depict and demonstrate the architectures which he imagines,

that will speak with full force about the problem under examination, but will not be tied eral question automatically arises: is there

complete sympathy amongst all those who

any reason why one should not attempt to John Hartell Gallery, Sibley Hall

A Fragment from

Architectural Fantasies by Yakov Chernikhov, 1933

chitectural fantasies rests is their undoubted usefulness both to the architect himself who

conditions? Should we not perhaps attempt

the need has arisen to depict certain of its

concepts in the form of architectural ‘fan-

chitectural concept, but has a continuous ex-

creates them, and to all those who use them thereafter.

architect’s brain, and to manifest the hidden desires of this architect? Let such work be -

Architectural fantasies show us new compositional processes, new modes of depict-

Catherine Cooke was the world expert on Soviet architecture. Titles to check out include: Architectural Drawings of the Russian AvantGarde (MoMA, 1990) Soviet Architectural Competitions (Phaidon, 1992) Russian Avant-Garde: Theories of Art, Architecture, and the City (Academy Editions, 1995).

ing; they nurture a feeling for form and color; they are a training ground for the imagination;

new experiences not just for the author of the composition, but for any other person con-

tasies.’ These are somewhat distinguished

The third foundation on which creation of ar-

limited only by the representational means

The role of an architectural ‘work’ is not

is there any reason why one should not attempt to depict those products of one’s imagination which would have intrinsic interest in themselves, and would not be tied to any rigid conditions?

depict those products of one’s imagination