Immense fame, especially when left behind by a deceased artist, may lead to a hierarchal understanding of their legacy—leading one aspect to overshadow other crucial dimensions of their life and oeuvre. Brooklyn-born Jean-Michel Basquiat’s meteoric recognition as an artist and a cultural influence throughout the 1980s led to his energetic mind-map-like paintings being acquired widely by museums and private collections alike, in addition to being mass-marketed in a variety of products, such as fast-fashion clothing and New York-related souvenir items. Basquiat: King Pleasure, a new exhibition organized by Jean-Michel’s sisters, Lisane Basquiat and Jeanine Heriveaux, breaks down the myth surrounding the late artist’s legendary rise from the gritty streets of 1980s New York to a rarely-achieved artistic success.

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Recreating the artist studio in an exhibition has always been a challenge for curators and exhibition designers––bringing in the right amount of “mess,” intricately revealing the workings of artistry, and maintaining the visual coherence are all boxes to be checked while letting the audience behind the curtain. Kazuko Miyamoto: To perform a line, Japan Society’s survey of the artist’s five-decade career in sculpture, drawing, and performance solves this challenge in ways that are both practical and poetic.

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Metropolitans take pride in their storied cultural venues, the chroniclers of intellectual acumen and architectural achievement. While these icons revel in their ornate design, immersive grandiosity, and dramatic acoustics, the pandemic has introduced numerous challenges to the rules of assembly.

Recognizing changes in the rituals of attending a show—from procession and gathering to engagement—architects and cultural leaders are designing the next generation of performance venues while asking the question: How does architecture solve issues raised by a building’s inherent purpose? Is it possible to maintain the essence of a venue through gentle yet effective changes in people’s habits? The answers seem to rely on updating the auditorium culture (which dates as far back as the Colosseum) with contemporary design solutions rooted in new technologies.

This week's reprint from Metropolis explores the ongoing renovation and transformation of an iconic site in Buffalo, Silo City, in order to create ambitious residential and public projects.

Public art is an innate cultural privilege for New Yorkers. Top-notch art can be found across the city’s boroughs everywhere from parks, squares, alleys, and rooftops—sometimes to the jaded disdain of passerby. While permanent staples, such as Robert Indiana’s Love on 6th Avenue or George Segal’s Gay Liberation at the Stonewall National Monument are ingrained in the urban texture, others are more ephemeral. Public art has the power to swiftly take over Instagram feeds but also has a history of sparking polarizing interpretations at town hall hearings.

Six months after the release of the namesake book during the latest installment of the biennial, PERFORMA has launched Bodybuilding, which features thirty-five architecture studios who engage with performativity.

Is architecture a period or a comma? Are built forms hermetic bodies or catalysts for action? PERFORMA curator Charles Aubin and architect Carlos Mínguez Carrascor, published Bodybuilding: Architecture and Performance, during the most recent installment of the PERFORMA 19 biennial in New York City last November. Noticing a lack of a comprehensive, multigenerational survey on the subject, the duo’s interest in investigating the ways architects engage with performance goes as far back as a symposium they co-organized at the Performa 17 Hub in 2017. The book, which features essays by Mabel O. Wilson and Bryony Roberts, Lluís Alexandre Casanovas Blanco, and Victoria Bugge Øye, seeded the fundamental approaches now deeply rooted in the online exhibition: the impact of movement on systematic urbanization, the body’s relationship to buildings and monuments, and architecture’s role in action, be it physical or sociopolitical.

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