News Art Blog

Architect Frank Gehry’s raised many controversial buildings over the years, but few as controversial as the middle finger he recently raised during a press conference in Spain. During a press conference for Gehry’s upcoming receipt of the Prince of Asturias Prize from the hands of Spain’s King Felipe VI, a journalist touched a nerve when he asked if Gehry’s buildings were just about public relations-grabbing spectacle. Gehry glowered and raised the one-finger salute in response, a clear, if vulgar (and not necessarily international) sign of his displeasure with the pejorative title of “starchitect” he’s been saddled with over the years. Gehry’s gesture captured the headlines, but it was his response to the next question at that press conference where he really expressed his concern not over his reputation, but rather over the purpose of contemporary architecture itself. Please come over to Picture This at Big Think to read more of "What’s Behind Frank Gehry’s Raised Middle Finger to Contemporary Architecture?"

Every new cultural institution hopes for “The Bilbao Effect”—the economic boom the faltering, former industrial city of Bilbao, Spain, enjoyed after the 1997 rise of architect Frank Gehry’s game-changing design for the Guggenheim Bilbao Museum. But even old cultural institutions want some of that same magic. So, when Gehry came to see Barnett Newman’s The Stations of the Cross with artist friend Ellsworth Kelly at the Philadelphia Museum of Art back in 2006, the museum’s then director and CEO, Anne d’Harnoncourt, approached Gehry about “doing something special” there, too. However, instead of a new signature “Gehry” look, d’Harnoncourt requested “a quiet intervention”—an underground “Philadelphia Effect.” In Making a Classic Modern: Frank Gehry’s Master Plan for the Philadelphia Museum of Art, the PMA finally unveils their “master plan” for revitalizing their classic main building first opened in 1928 for the 21^st century. The big question hanging over this whole decade-long, estimated half billion dollar project remains: can a classic museum really be made modern? Please come over to Picture This at Big Think to read more of "Can a Classic Museum Really Be Made Modern?"

“I am big,” Gloria Swanson’s fading film star Norma Desmond says in Sunset Boulevard. “It’s the pictures that got small.” Have we lost the “big” artist, the artist who tackled the big ideas of truth and life whose name stood on the tip of everyone’s tongue regardless of class or nationality? Franz von Stuck, known in the late 19^th century as Munich’s “painter prince,” belonged to the highest rank of artistic royalty at the time, yet today his name’s as faded as that of most silent film stars. If we’ve lost not just such “big” artists of the past, but also the capacity to allow such “big” artists in the future, what have we also lost in the exchange of big pictures for small? On the 150^th anniversary of von Stuck’s birth and the 120th anniversary of his American debut, the Frye Art Museum in Seattle, Washington, presents the exhibition Franz von Stuck (which runs through February 2, 2014), which recreates not just von Stuck’s art, but also the culturally charged atmosphere that powered the Gesamtkunstwerk—the total work of art that captures the total human condition.  Can Franz von Stuck bring the idea of the “big” artist back? Please come over to Picture This at Big Think to read more of "Can Franz von Stuck Bring the Idea of the 'Big' Artist Back?"

On October 15, 2013, the City Council of Cupertino, California, debated for 6 hours before finally approving Apple’s plans for a new $5 billion USD office headquarters to be built in their city. Apple’s then-CEO Steve Jobs approved architect Norman Foster’s design (shown above) just weeks before his death in 2011. Work on the mammoth “mother ship” begins next year and is scheduled to be finished sometime in 2016. For a company that likes to “think different,” this architectural thinking looks more like old
school thinking to me, specifically the kind of “bigger is better” mentality that spawned the building of massive cathedrals throughout Europe for centuries. Whereas the old churches rose in worship of the old gods, these new churches rise up in worship of the new tech corporate gods. Are the tech giants’ offices the cathedrals of the future? Please come over to Picture This at Big Think to read more of "Are Tech Giants' Offices the Cathedrals of the Future?"

[Many thanks to Rizzoli USAfor the image above from and a review copy of Zaha Hadid: Pierres Vives, written by Zaha Hadid Architects, edited by Stephane Hof, and photographed by Helene Binet.]

“[T]he Gothic era,” Bruno Kleinwrites in the introduction to Gothic: Visual Art of the Middle Ages, 1140-1500, “was a time of seeing, in which much was discussed in words, but even more conveyed with the help of images.” In this massive new study of the period published by h.f. Ullmannas part of the Collection of Art Epochs, we reunite with a generation powerfully like our own—a group of visual learnersmore comfortable with meaning filtered through images than through words. What separates this new book from previous encyclopedic surveys of the Gothic past is the photographic processes of the present. By zooming in and digitally manipulating images for maximum clarity and detail, Gothic: Visual Art of the Middle Ages, 1140-1500 pulls the distant past into our immediate future. Thrust literally face to face with this strangely different yet strangely similar time, we can ask, “Are we living in a second Gothic age?” Please come over to Picture This at Big Think to read more of "Are We Living in a Second Gothic Age?"


[Many thanks to h.f. Ullmannfor providing me with the image above from and a review copy of Gothic: Visual Art of the Middle Ages, 1140-1500, edited by Rolf Toman, text by Bruno Klein, photographs by Achim Bednorz, and produced by Thomas Paffen.]