Articles
A visit to the Astor Place Wegman’s confirms we are, now and forever, among the Etruscans
(and also stuck in the ’90s).
As long as this great commuter-train parade ground remains open to the skies, the streets ringing it allow us to envision a different future.
Asset managers and AI are here for the design media’s copper wire.
In New York City, real estate plays double duty, and apartments turn into art galleries.
There’s plenty still unknown about the Lucas Museum, but one thing’s for sure: It’ll look good on the screen.
The organizers behind Los Angeles’s latest Olympics run seem content with standing still.
Is a plan to restore the Sepulveda Basin the equitable climate action LA needs?
Crafting Modernity: Design in Latin America, 1940–1980, organized by Ana Elena Mallet and Amanda Forment, is on view at the Museum of Modern Art through September 22.
A shockingly unfeeling and vague idea of home
On the Appearance of the World: A Future for Aesthetics in Architecture by Mark Foster Gage. University of Minnesota Press, 80 pp., $10.
For Mark Foster Gage, the main issue with suburbanization is its ugliness, for which the alleged failings of architectural education are held responsible.
The Architecture of Influence: The Myth of Originality in the Twentieth Century by Amanda Reeser Lawrence. University of Virginia Press, 280 pp., $50.
Is the myth of “pure originality” still a worthy target of criticism in 2024?
The Murder Factory: Life and Work of H. H. Holmes, First American Serial Killer by Alexandra Midal. Sternberg Press, 96 pp., $20.
In his fanaticism for capitalist optimization, H. H. Holmes was the equal or better of any industrial baron.
Walls, Windows and Blood was on view at Lehmann Maupin in New York City from February 8 through March 9.
harmony is fraught was on view at Regen Projects in Los Angeles from January 11 through March 3.
Once radical in their challenge to religious and monarchical power, the assumptions undergirding the liberal humanist tradition—and its artwork—now feel
entrenched and flawed.
Vincent Scully: Architecture, Urbanism, and a Life in Search of Community by A. Krista Sykes. Bloomsbury, 278 pp., $115.
His supreme, tweedy confidence was softened with a vulnerability and kind of underdog spirit.
“What would happen if we foregrounded human values in the creation of our systems?”
A crucial part of the Israeli state project is about leaving Palestinians with no physical place to call home.
Think about the climate crisis long enough, and the problem appears so vast as to be unthinkable. And yet, that’s what we must do.
New York is a city of exhibitionists. Documentary filmmaker John Wilson is happy to oblige.
Where ideas hit money and materials and space itself.
If nature takes its revenge but no one is around to witness it, will it be beautiful?
Van Nuys Government Center is a stand-in for downtown democracy flung out to the suburban hinterlands.
Big money and anodyne architecture are poised to take over South Ozone Park’s legendary Aqueduct Racetrack.
The Star Wars–esque modular bathrooms have been kissed by a gentle coat of rust, from their corrugated metal facades to their tinny hand dryers.
There comes a loud, thudding crash.
If there’s a correct path through American Museum of Natural History, it’s totally elusive.
There may be no other block in Manhattan that comes so close to Tim Burton’s Gotham.
With his lease as his leash, caged in this giant city-cum-dog park, our columnist roams the streets as a stray, guided by unseemly scents.
A self-described Renaissance man wrestles with the legacy of his former Bushwick abode.
We’re attached to a dream we’ve been sold but can’t afford.
New York University’s John A. Paulson Center announces the triumph of a new civilization: thrusting, dismissive, cruel.
Less a menacing monument to imminent doom than a superfluous, almost decadent by-product of capitalism gone awry
306 West 142nd Street—a condo building two blocks from St. Nicholas Park—is no longer a part of my personal stomping grounds. But that doesn’t mean we don’t have beef.
Why would you put someone who didn’t think art was very good in charge of designing an art museum?
A whole lot of people who are not me should have been paying attention a lot sooner.
