A wall sign bearing Johnson’s name will be covered by an artwork during the run of the exhibition Reconstructions: Architecture and Blackness in America.
The Philip Johnson Thesis House will henceforth be known as simply “9 Ash Street,” the building’s physical address.
The Johnson Study Group, a group of artists and architects, says that Johnson’s “widely documented white supremacist views make him an inappropriate namesake.”
The postmodern icon has become the first of its kind to gain landmark preservation status in New York City, but there’s no word if the art housed inside will remain safe.
While debate swirls over a redesign of Philip Johnson’s postmodern skyscraper, it’s unclear what will happen to Rockburne’s two site-specific paintings in the building’s lobby.
The owners of the concrete residence known as the Booth House in Bedford, New York, are now trying to sell Johnson’s 1946 building within a month.
A Philip Johnson-designed chapel in Dallas was vandalized after the pastor spoke on a local conservative talk show.
The New York State Pavilion in Flushing Meadows-Corona Park is currently vacant, a lock on its gate allowing only a glimpse of the decayed interior of Philip Johnson’s futuristic “Tent of Tomorrow,” designed for the 1964 World’s Fair.
What will become of the derelict New York State Pavilion, a rusted Space Age relic of the 1964 World’s Fair?
NEW CANAAN, Conn. — A man and a woman are separated by a grassy hill. He makes one movement — a snap, a jump — and she repeats it. They playfully signal to one another, flirting, perhaps like birds would do.
Long before it became a cultural juggernaut, MoMA was helmed by a young intellectual named Alfred H. Barr Jr. who, from 1929 to 1934, worked in close collaboration with architect Philip Johnson to make the museum an influential platform for modernism.
The Picasso tapestry slated for removal from the Four Seasons restaurant in the Seagram Building has found a new home at the New-York Historical Society, the New York Times reported.