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People are moving into cities at an astounding rate — so fast, not even the cities themselves will be able to keep up. A new show at the Museum of Modern Art opens this week to examine how that explosive growth will affect six cities globally: Hong Kong, Istanbul, Lagos, Mumbai, Rio de Janeiro and New York City.
If there's one downside to a summer spent relaxing at garden parties and backyard barbecues, it's having to dine with disposable plastic cutlery. It's flimsy and it's awkward — and thanks to designer Wei Young, you'd be far better off just bringing this reusable set that folds away so it can hang off a carabiner.
To me, whimsical umbrellas — you know, the kind printed with Starry Night or cats — have always seemed like a mockery of the rain-drenched commuter's misery. But this reflective version actually makes practical sense, since it turns its owner into a glowing beacon of safety.
Even though the Clocktower Gallery has been around since 1972, you might never have known it was even there. It resides in the top two floors of a government-owned building in Tribeca, which is just part of the odd story of how this alternative art space has operated through the years. Now it is hosting its final show, Dale Henry: The Artist Who Left New York, before the space is cleared for a luxury apartment.
A new $US1 billion financing package from a group of Asian banks is breathing life into a stalled plan to build the 320m tall MoMA Expansion Tower in New York City. The building was designed more than seven years ago by French architect Jean Nouvel — who imagined a shard-like steel framework of cross-bracing that terminates in three sharp glass wedges up top.
A retrospective closes this weekend at MoMA on French architect Le Corbusier, best known for his residential projects like Villa Savoye (as well as that chair). But I'd argue that his most genius work was Église Saint-Pierre, a remarkable cathedral in Firminy, France. Here, Le Corbusier manages a kind of architectural alchemy: creating the effect of stained glass windows with only paint and concrete.
The first thing you notice about Rain Room, the sure blockbuster installation that opened at MoMA on Friday, is the tropical humidity. The second thing is the sound from hundreds of litres of water pouring from an artificial ceiling. Finally, after your eyes adjust to the darkness, you actually see it: Rain Room, a 1,000-square-foot space that’s in a state of perpetual downpour.
In 1998, almost 50 years after Jackson Pollock painted "One: Number 31", the curators at MoMA realised the painting was looking a little... grimy. As chief conservator James Coddington explains in a new video, the team at MoMA started wondering if something had gone terribly wrong in the painting's past.