Tag Archives: Richard Woods

Facade: Richard Wood at the Lever House

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I noticed Richard Wood’s new work being put up at the Lever House the other night. The artist is covering parts of the exterior with patterned fiberglass panels. The British artist designed William Morris-inspired natural patterns and mock Tudor styles in saturated colors to liven up the facade of the once-sleek, Modernist structure.

Prior to this installation, the Lever House had commissioned Barbara Kruger to cover the walls with her typically graphic slogans. Here we have another design-oriented, saturated, flat approach to taking over the building by covering it in the respective artist’s trademark style. It is as if different artists each have their chance to tag the building. Except of course, this is hardly illicit behavior. It is instead commissioned, no doubt for a pretty sum, authorized, and displayed like the status mark it is.

Installation by day- mostly complete

While Kruger’s installation got some flack on this blog, at least it said something. A trite, literal something–but it attempted a statement. Wood’s installation has no such purpose. It is a design–patterns I would buy an H+M skirt or IKEA tiles in quite happily. I think it is attractive. I cannot think of something more devoid of content.
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The interest is supposed to lie in playing historical styles against one another. The title of this project, Port Sunlight, is a reference to the history of the building just as his designs refer to the history of architecture. I don’t know–do you think that there is anything more to be said about it? If so, you can check out this press release with more details on it.
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Ravels in Review Memorial Day Weekend

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Ubi Roi, Hernan Bas at Lehmann Maupin

Yes, it has been a week already, and luckily things have calmed down since the fire on my block last week. In fact, they have slowed to a crawl, which is about the pace my sinuses can handle right now.

  • Despite the fog in my brain, or perhaps because of, I tried to explain the greatness of Erasmus based on the fact he named himself ‘Desire Desire.’ He did some other things too.
  • I questioned whether Francis Bacon could qualify as the greatest painter of the 20th twentieth, and got at least a few votes for greatness, if not greatest painter ever. I’m hanging out on a limb until I see the retrospective up at the Met now.
  • The oldest sculpture ever was discovered, and there is some very scientific discussion about how sex-obsessed early humans were.

All in all, a good week. Some things to look forward to in the art world, like Francis Bacon at the Met and promising-sounding Hernan Bas exhibitions at the Brooklyn Museum of Art and Lehmann Maupin, and a long Memorial Day weekend ahead.

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A Tudor-style Skyscraper: Richard Woods at the Lever House

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When I wrote about Public Art in Manhattan, I ended writing that it’s often not successful as it becomes more and more part of the landscape. Well, what better way to shake things up than to do a renovation?

The Lever House, above, at 53rd St and Park is doing just that. The Lever House is an important and seminal building that paved the way for the glass box skyscrapers we have today, and today it features an impressive contemporary art collection. The glass street-level room is used to show pieces of contemporary art, such as Damien Hirst or, currently, Tara Donovan. The public courtyard flows into the sidewalks and streets, and offers benches, a fountain, and enormous, white Hello Kitty statues by artist Tom Sachs. Perhaps it shows how jaded I am that I could become blase about this public art, which, on reviewing my sentence, sounds pretty awesome.

The Lever House rotates the art it shows in the ground level room, but in this upcoming year it plans a more serious make-over. This modernist landmark is going to renovated by artist Richard Woods, who is planning to wrap the walls and outdoor columns in…Tudor-style prints. Yes, Tudor, like England in the 1500s. Reportedly they will be “flora and fauna images a la William Morris.” William Morris opposed Victorian opulence and yearned for a return to the days of Merry ol’ England in his work, and Woods will be echoing the move back in time in his approach to the Lever House.

For an example of Wood’s work, the Perry Rubinstein Gallery in Chelsea is showing the image below. On the walls of the Lever House, this will be a dynamic and interesting change to the boxy, clean-lined glass temple.


I hope he doesn’t touch the Hello Kitties!