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The Metropolitan Museum of Art recently opened the second in a series of commissions for its rooftop garden overlooking Central Park. The new installation, “Hedge Two-Way Mirror Walkabout,” is a collaboration between artist Dan Graham and landscape architect Gunther Vögt. It consists of a large S-curve metal and reflective glass wall flanked by two vine-covered trellises. The kempt lawn surrounding the structure slopes gradually upwards to meet its marble foundation.
Graham refers to this structure as a pavilion, the historical precedent of small, decorative architectural structures frequently used in traditional European garden design. It is perhaps more accurate to place this piece in the vein of the architectural folly, as this captures its spontaneous and playful character.
The use of such banal elements as residential hedges and semi-reflective glass — which could have been plucked out of any number of modern high-rises — lends a familiarity and invites exploration. The interplays of reflection and opacity, organic matter and modernist grid, human scale and the ever-present New York skyline create a multifaceted and personal experience for the viewer.
The Roof Garden Commission: Dan Graham with Gunther Vögt continues at the Metropolitan Museum of Art through November 2.
One hundred years after Mary Hiester Reid’s death, Flower Diary recovers the elusive, overlooked artist’s life and work
An exhibition of cabinet cards at LACMA showcases marketing and personal panache.
Over 50 years of the artist’s video and media work on how images, sound, and cultural iconography inform representation is on view through December 30.
Most eye miniatures were exchanged between lovers, though they were also given to close friends and family members.
In honor of National Hispanic Heritage Month, exhibitions on irises in art history, LGBTQ Pride, and more have been translated.
Over the course of three months, the resident artists in Going to the Meadow will collaborate and create with a curated set of continually changing materials.
“The impossibility of reforming Tony [Soprano] bears some resemblance to the crisis plaguing museums and toxic philanthropy today, where a culture of bullying and exploitation belies programming of socially- and politically-engaged art.”