sunshine’s art facts by Penning a spread about the executive director of any museum is always going to be a tall order. However, trying to write about no fewer than four of the species from three major New York landmarks is a formidable challenge and unique privilege indeed. Here, then, is my attempt to do verbal justice to the dexterity of Glenn D. Lowry from the Museum of Modern Art; Yoshio Taniguchi, the architect of the redesigned MoMA; Thomas P. Campbell of the Metropolitan Museum; and Lisa Philipps of the New Museum. PHOTO: LINA BERTUCCI 52 | views magazine y Gigi O. Kracht LISA PHILLIPS – the guts behind the New Museum Just before the summer solstice of 2010, Lisa Phillips, Director of the New Museum at 235 Bowery Street in Manhattan’s Lower East Side, treated me to a private showing of her precious bijou: the USD 64 million construction project for which she was visionary and nursemaid, master of finances and doorknob inspector, all rolled into one! In office since 1999, Phillips is only the second person to occupy the post of director in the museum’s 30-year history. Over those three decades, the New Museum has grown from humble beginnings as a startup in a one-room office on Hudson Street, to a gallery space in the New School, to expansion and relocation to SoHo in 1983 and, finally, to the inauguration of its very own seven-story building in 2007, the latter fittingly designed by acclaimed architects Kazuyo Sejima and Ryue Nishizawa of the Japanese SANAA practice. «The museum was conceived as a sculptural stack of rectilinear boxes shifted off-axis around a central steel core,» Lisa explained. This approach has produced a variety of fluid, light-filled spaces, each with a completely unique character. In the core of the building are three floors of column-free galleries, each distinguishable by a different ceiling height and whose skylights create separate setbacks at the intersection of stories. The ground floor of the facility, the Marcia Tucker Hall, includes a glass-walled gallery, a youthful, almost student-like café and the New Museum Store. The building also boasts a 182-seat theater for performances and events, a well-equipped fifth-floor Education Center and a top-floor Sky Room for public and private functions. The use of industrial materials is in keeping with the commercial character of the Bowery, and SANAA has crafted them in a way that is at once beautiful and harsh, gritty and elegant. There is a deliberate openness to the glass storefronted building, a desire for structural transparency that leaves the building’s materials – from the steel to the ductwork to the freight coming in and out of the loading bay – plain for all to see. The exterior is clad in a seamless, anodized aluminum mesh which, as Phillips stresses, emphasizes the volume of the boxes while giving the entire building a delicate, soft form, a form both fluid and dynamic, one that is animated by the changing light of the Manhattan skies. What better metaphor could there be for the ever-changing nature of contemporary art? Founded by former Whitney Museum curator Marcia Tucker in 1977, who neither had financial backing nor a massive
PHOTO: DEAN KAUFMANN views magazine | 53
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