LOS ANGELES — Rudolph Schindler was ahead of his time. A protégé of Frank Lloyd Wright and an early adapter of modernism, he introduced a revolutionary form of architecture to Los Angeles in the early 1900s.
Unfortunately, at the time, no one cared.
His residential designs — in particular the Lovell Beach House and eponymous Schindler House — have since gone on to be canonized by the architectural community for their innovative redefinition of living space, but Stephen Prina still doesn’t care:
“Sometime in the early-to-mid 1980s, Chris Williams and I found ourselves on La Brea Avenue in Los Angeles late one night. From across the street, we could see a spotlighted pink object showcased in a storefront window, but, from our vantage point, we could not identify it. We crossed the street to gain a closer look. Conveniently, a label describing the object as a piece of furniture by R. M. Schindler was on display.”
As Prina’s memory proves, forms don’t require a context to be compelling. In fact, the lenses of function and recognition often obscure a form’s inherent beauty, reducing it to little more than a catalog item.
In As He Remembered It, an installation at the Los Angeles County Museum of Art, Prina reproduced the built-in furniture from two of Schindler’s houses that no longer stand. He arranged the twenty-eight objects in a grid pattern and washed them with Pantone 18-2120 — also known as “Honeysuckle,” Pantone’s “2011 Color of the Year.” The bismuthy pink strips the unmoored furniture pieces of their intended purposes and forces the viewer to consider only the elegant simplicity of their rectilinear constructions.
In the modernist school Schindler helped establish, form may indeed follow function. However, in this exhibit, it is attraction that follows form.
* * *
Stephen Prina: As He Remembered It continues at the Los Angeles County Museum of Art (5905 Wilshire Boulevard, Los Angeles) through Aug 4.
A total of 24 board members stepped down from their posts after the art center’s parent company allegedly attempted to terminate 12 of their colleagues.
A group of artists and writers denounced the center for hosting Philippines President Ferdinand Marcos Jr., son of the country’s former dictator.
This new kunsthaus in Potsdam shows modern and contemporary works of art from East Germany in what was once a terrace restaurant.
Xenobia Bailey, Jeffrey Gan, Elizabeth G. Greenlee and N.E. Brown, Siera Hyte, Maru López, and Olivia Quintanilla will contribute to a Hyperallergic Special Issue on underrepresented craft histories in 2023.
An investigation by Forensic Architecture and Al-Haq into the killing of Shireen Abu Akleh looked at previously unseen footage and unpublished autopsy reports, among other evidence.
The Philadelphia organization offers artists on-site access to recovered materials, studio space, construction equipment, a $1,000 stipend, and more.
This week, a Keith Haring drawing from his bedroom, reflecting on Theresa Hak Kyung Cha, you’re not descended from Vikings, the death of cursive, and more
Eros Rising at New York’s Institute for Studies on Latin American Art demonstrates that eroticism might be closer to the cosmic than to the terrestrial in its infinite manifestations.
Drawn to Life at the Ackland in Chapel Hill, North Carolina, showcases 17th-century Dutch drawings of landscapes, portraits, preparatory studies, and biblical and historical scenes.
I was curious to see Casteel’s first exhibition since her New Museum show. I was not disappointed.
Stephanie Syjuco’s exhibition Double Vision points to the role that museums play in perpetuating narratives about the people, places, and events of the American West.
This is what happens when boozed-up patrons party next to priceless mosaics, statues, and vases.