new york NEW YORK
john URBANEK: this is my most recent photo series, shot with a macro lens. i was inspired by the challenge of taking a free flowing form and capturing its organic transformations underwater. While the subject matter was only 4 inches tall, the substances take on shapes and life of their own. every person finds their own object in these peculiar formations.
los angeles CALIFORNIA
laird BORRELLI-PERSSON: “it’s like they’re on psychedelics, the way they describe things.” that was sonic youth frontwoman and rodarte fan kim gordon speaking about kate and laura mulleavy before their show today. the seemingly demure sisters from pasadena, california—who studied art history with the eminent scholar t.j. clark, the well-informed gordon noted—have indeed crafted their own baroque dream world (cue the dry ice that created a poison mist over a runway strewn with black grit). it’s an imaginary world that’s ferocious rather than precious, not to mention ferociously influential. and with its relentless gothic overtones, it’s particularly in tune with the moment.
leipzig GERMANY
suckerPUNCH: describe your project.
patrick BEDARF : the starting point of this project evolved during researching the ongoing conflict between differing social groups regarding their interests in the one of the most attractive pieces of fallow land in the heart of berlin: the spree riversides located between friedrichshain and kreuzberg.
zurich SWITZERLAND
michael HANSMEYER: architecture has traditionally been an additive process. idealized components are combined, arranged, and re-configured to generate a building. the components that constitute the building are mostly conceived a priori. as a result, buildings can be described by breaking them down into smaller and smaller modules, until one arrives at geometric primitives – volumes such as cylinders, cubes, prisms, and platonic solids. not only can buildings be described in this reductionist manner, but large parts of the generative processes involved in their production can be understood.
new york NEW YORK
meenal mistry: there will be lace. and sculpted organza, floaty feathers, beading, and draped tulle. for a few seasons now, queen of the red carpet georgina chapman has refined marchesa’s signatures to a flawlessly executed fine point. that’s not to say that the label remains at a standstill, however. fall was inspired by the performer and courtesan lola montez and her travels and quest for love, chapman said. compared with last season’s occasionally stiff references to madame butterfly, there was a welcome sense of whimsy, with a feeling of girlish romance in shooting-star embroideries as well as in a dress in cotton-candy tulle, its puff shaped only by a length of black grosgrain ribbon.
novi sad SERBIA
student group a7: project presents both space installation and utilitarian object (part of furniture), designed and carried out with anthropological measures with 5 seating places. concept of sustainable development is consistently implemented throughout all phases of project, from selection of materials for processing, to final construction. cardboard plates are used, thickness 0.5cm, hand made and assembled in layers.these layers form structure which is geometrically shaped looked from outside (part of cube), and amorf inside. cardboard as material is suitable for processing, friendly for touch and renewable (recycling process can be repeated many times).
new haven CONNECTICUT
suckerPUNCH: describe your project.
kyle STOVER: this project is from the first comprehensive building studio at yale university. the project is for an extension to the beinecke rare book and manuscript archives, which has run out of adequate storage space, particularly for large format materials. my project seeks to explore a paradigm emerging out of a conceptual study of poche, and exploring the figural possibilities of a mass/void relationship.
yale university m.arch i – 3rd semester core studio
critic: mark GAGE
ta: cody DAVIS
new york NEW YORK
on display at laurence miller gallery until march 27
press release: laurence miller gallery is pleased to present hyper, an exhibition of 15 color photographs by the forty-eight year old french photographer denis DARZACQ. hyper refers to the new garish supermarkets in paris and rouen where consumer goods, brightly packaged and presented, make for a vivid and contemporary backdrop for his pictures. darzacq brings street dancers, mostly young men and women in their late teens and early twenties into these stores and asks them to perform their leaps, jumps, twirls, and other gravity-defying movements. the photographs explore the tension between being and having, between the human body and the built environment. they offer a fresh, witty and intensely colorful commentary on global consumerism and freedom of spirit.
sendai JAPAN
suckerPUNCH: describe your project.
kazuk TAKAMATSU: to describe the depth and distance in 2d painting
sP: what or who influenced this project?
kT: the work of salvador dalí and georges seurat
new york NEW YORK
spencer FINCH: this work is based on the year 1862, emily dickinson’s annus mirabilis, when she wrote an amazing 366 poems in 365 days. it is a real-time memorial to that year, which burns for exactly one year. the sculpture is comprised of 366 individual candles arranged in linear sequence, each of which burns for 24 hours. the color of each candle matches a color mentioned in the corresponding poem; poems in which no color is mentioned are made out of natural paraffin.
