‘In the gardens and homes I have designed I have always tried to allow for the interior placid murmur of silence,’ said Luis Barragán in his 1980 Pritzker Prize acceptance speech. In a new body of work by the American artist James Casebere, that silence sings.
‘Emotional Architecture’, on view through 11 March at New York gallery Sean Kelly, explores the concepts that Barragán cherished — serenity, silence, intimacy, amazement — as essential for private life yet lacking in an International Style of shadowless glass boxes. Casebere’s large-scale photographs immerse the viewer in the Mexican architect’s stark facades, vibrant colours, natural materials, and extraordinary apertures while opening up enchanting new corridors between the vernacular and the spiritual.
Reception Room – Casa Galvez, 2017,
‘I intuitively gravitated to Barragán, having known and appreciated his work for a long time, and started with an image of his house and studio,’ says Casebere, who created a table-sized foamcore model of the concrete building and then photographed it — a method he has previously used to interrogate spaces ranging from prison cells to Thomas Jefferson’s Monticello. ‘I was interested in creating a space that was contemplative and solitary and beautiful, without the associations of confinement.’
The stunning images, which also depict models of Barragán’s Casa Prieto-López, Casa Gálvez, and Casa Gilardi (a career-spanning greatest hits sampler), delight the eye while gently vexing the rest of the brain. Amid the clear, bright planes of colour and Photoshop-straightened lines, touches of the handmade proudly remain for those who look close enough: would-be wooden floorboards gradually reveal their forced perspective, a grassy patch snaps into focus as the scrubby faux turf traversed by model trains, a speckled black floor shows itself as a square of carpet padding.
Vestibule, 2016,
‘I change the architecture in many cases to suit the photograph, and also philosophically I eliminate things or I emphasise things,’ explains Casebere, who decided to strip away all of Barragán’s staircases. ‘I just have this association with them, that it’s transcendental or somehow religious in association, so I took every staircase out of every space, and yet I left the crosses, because formally they’re so important.’ One such cross takes the form of wooden girders supporting the floor-to-ceiling window in Living Room (2017); it is one of a family of linear elements that rhyme with the photographs’ dark wood frames.
A counterpoint to the colourful, sun-dappled joy of the exhibition’s main room of ten photographs is the chilly and chilling Grandstand (2016), which gets a darkened front space all to itself. Framed by an ominous thicket of flags and grey clouds, a granite podium stands empty, with a trio of microphones assembled in anticipation of a barking ideologue. ‘It’s based on Albert Speer’s podium or grandstand at Nuremberg,’ says Casebere. ‘That’s in the show just because of this moment, politically. I felt that I had to bring it in.’ And so Barragán’s serene silence is juxtaposed with the garish cacophony of President Trump.
Empty Studio, 2017,
Yellow Overhang with Patio, 2016,
Courtyard with Orange Wall, 2017,
Library, 2017,
INFORMATION
‘Emotional Architecture’, until 11 March, Sean Kelly Gallery. skny.com
ADDRESS
Sean Kelly Gallery
475 10th Avenue
New York
-
The world’s most exclusive auto show? The Quail is now a hotspot of high-end car launchesThe Quail, A Motorsports Gathering brings a few thousand well-heeled car buyers to a Californian golf course to showcase the latest in luxury and sporting auto design
-
Why everyone in LA is talking about Café TondoHelmed by chef Valeria Velásquez and designed by Aunt Studio, this new spot delivers Latin American buzz all day long
-
Inside the Waldorf Astoria's dazzling restoration, from cigar smoke to snowy owlsHow a team of architects from SOM and a group of art conservationists brought New York's grand dame back to her original Art Deco splendor
-
Out of office: the Wallpaper* editors’ picks of the weekAnother week, another flurry of events, opening and excursions showcasing the best of culture and entertainment at home and abroad. Catch our editors at Scandi festivals, iconic jazz clubs, and running the length of Manhattan…
-
The best Ruth Asawa exhibition is actually on the streets of San FranciscoThe artist, now the subject of a major retrospective at SFMOMA, designed many public sculptures scattered across the Bay Area – you just have to know where to look
-
Orlando Museum of Art wants to showcase more Latin American and Hispanic artists. Do you fit the bill?The Florida gallery calls for for Hispanic and Latin American artists to submit their work for an ongoing exhibition
-
The spread of Butter: the Black-owned art fair where artists see all the profitsThe Indianapolis-based art fair is known for bringing Black art to the forefront. As it ventures out of state to make its Los Angeles debut, we speak with founders Mali and Alan Bacon to find out more
-
Steve Martin wants you to visit The Frick CollectionThe actor has appeared in a video promoting New York’s newly renovated art museum
-
'What does it mean that the language of photography is invented by men?' Justine Kurland explores the feminist potential of collage'The Rose,' at the Center for Photography at Woodstock (CPW) in Kingston, New York, examines the work of over 50 artists using collage as a feminist practice
-
Architect Erin Besler is reframing the American tradition of barn raisingAt Art Omi sculpture and architecture park, NY, Besler turns barn raising into an inclusive project that challenges conventional notions of architecture
-
The dynamic young gallerists reinvigorating America's art scene'Hugging has replaced air kissing' in this new wave of galleries with craft and community at their core
