What next? Continuing the automotive theme, The Blue Ridge Parkway: Grace in Motion (Landscape design and art.)
I’d always thought it was the beautiful scenery... until I learned about the engineering system, called ‘the line of grace’ - a road-design technique not used today.
Read more, here: http://isites.harvard.edu/fs/docs/icb.topi…
Finding evidence that Porsche by Design is more than simply the best produced car show ever.
Some wonder whether Porsche by Design is a art museum exhibition or a car show. Their confusion has not been addressed in the exhibit, its accompanying materials and events, or its catalogue. While an adequate job is done to show the connections of the exhibit with other works of art, the same cannot be said of the Porsche automobile as art itself.
Why the problem is important:
The NCMA, whether in the classical tradition or in exploring the edges of art, is, above all, serious about the experience of viewing art. Before arranging an exhibition or accessing an object, its director and curators must be convinced that the subject is significant as art.
Too little of this effort is apparent with Porsche by Design. Apologists point to an earlier MOMA exhibition and seek justification by slight reference to the Bauhaus movement, industrial design, and sculpture. Yet nothing in the exhibition itself and accompanying materials and lectures do anything specific about artistic elements. The contributions to the exhibition catalogue - from auto racers, collectors, photographers and film makers, historians, columnists, journalist and two industrial designers - re-inforce the idea that we are talking car show here.
The typical "forward" to an exhibit explains what you can expect to find in it. An "afterward", calls attention in retrospect to what you find in yourself during and after experiencing the exhibit. It would include observations from each of the museum's curators about their professional and academic view of the artistic merit of the exhibit, the Director's understanding of how the exhibit fits into the purpose of the collection and the mission of the museum and presents a subject for the traditional, accepted ways of experiencing art and for expanding and developing new ones.
The educational program offers a starting place. Evolution of Form and Ahead of Its Time offer a connection with items in the Museum's own collection which could be a foundation for a critical reflection upon the Porsche to see how it achieves artistic legitimacy ... and how it falls short. The Porsche Story gives a comprehensive overview of the political, psychological, engineering, and business context of the automobile which could serve as a foundation for consideration of its more specific artistic and design context.
How about it, Mr. Wheeler?
The Porsche exhibit is, without question, an outstanding car show. In an art museum it must be more. An "afterward" can help us to understand why, answer critics, and see what the museum has accomplished with Porsche by Design, a brilliant departure from convention with a legitimate place, as art, in an art museum.
Deborah, I have go agree with your statement on those posted from last year. there were several other shows and designs that had some really good elements in them. But then again, these are nominated and not necessarily from critics.
In my opinion the show did a wonderful job at incorporating the over the top style that this show is inherent to while also adopting a more realistic approach to these characters, which was very refreshing from the usual performances of it where it can feel like you are being hit over the head with joke after joke with no reprise until intermission.
Also, from seeing past performances with the William-Peace students I would have to point out that they all continue to do an amazing job as budding actors and actresses.
It's a truly delightful show and I would love to see it again, hopefully my murderer will get picked next time.
I did finally see the exhibit, and I think the review is just plain wrong.
Oh my gosh people are ridiculous. I know all of the guys who work at Ultimate Comics and they are wonderful, loving people. All of this negative press only serves to hurt the comic community, and furthermore it's pointless. These guys run a fantastic convention and anyone who says otherwise is just wrong.
Whether or not the image was intended to be humorous or insulting is not the issue. Unfortunately, it is simply unprofessional. Shame on you, Ultimate Comics! You've got a good thing going. I would hate to see such a great con ruined by petty douchiness.
I took the time to visit the video room, around the corner from the cars. (Much of this is online at the NCMA website as well so you can check it out any time.) If you haven't had the opportunity to watch these clips of designing, racing, family participation, and other aspects of Porsche, I highly recommend it. The passion expressed by the designers and drivers enhances the experience when one then sees the cars.
This article really just makes UC come off like pricks...Had a great time at CBCC. Was looking forward to NC ComicCon as well (that's right people will go to both). Last year even did video coverage of the event. This year after the negativity I just don't feel like I can support their con. It's a shame, I was looking forward to it. This sort of behavior only hurts comic readers.
That cartoon is simply another childish tantrum from NCCC in the wake of Comic Book City Comic Con's success. Other incidences from NCCC in response to the Greensboro con have included not only deleting any praising comments of CBCC from NCCC's ill timed and pathetically worded Facebook posts after CBCC, but subsequently banning anyone who made positive comments about CBCC.
By way of further introduction, from his LinkedIn page:
Art Handler at North Carolina Museum of Art"
Chris, I love how you turn this into a class issue so quickly. The irony being that most pieces of art in museum collections are either higher in value or well on their way to being the price of a Porsche. This show is very easy to come down on from critics who hold art sacred yet are blind to their own myopic definition of term such as "art" and "design." Also I find your desire to put the cars literally on higher pedestals to be a fun irony. The reason they are low is so they are close to the same height someone would find them "in the wild." They are only raised 4" or 6", and that is just to provide a slight amount of protection to each piece much like any other piece of sculpture.
I haven't been yet, and the critique of the exhibition may be 100% on-target. But I believe the exhibition, even if flawed, will draw attendees that NCMA exhibitions usually do not. That's good.
But there's no reason for the reviewer, in a moment of sourness, to toss in the "sixth-highest unemployment rate in the country" red herring. Why not go all the way by closing the NC Dept. of Cultural Resources, liquidating the entire NCMA collection, and diverting all the proceeds to NC Medicaid? Likewise for the NC Symphony, which attracts a disproportionate number of people who drive Benz's, BMWs, and Cadillac Escalades?
It's not your typical art museum presentation, true -- it's your typical fifth-grade science fair presentation: the best foam core triptych you'll ever see.
Ferdinand Porsche was an automotive innovator on par with Henry Ford. He started making cars when they were little more than horseless tractors. In the 30s Porsche wanted to avoid the inefficient belt drive system that was de rigeur, so he put electric motors in each wheel and used friction to generate power that fed back into them. Once he knocked Hitler's Volkswagen commission out, he started thinking about how he could churn those efficiency lessons back into a car that could be both a competitive racer and a commercial vehicle, which to this day is a kind of folly that no other company bothered to try to pull off. These design accomplishments go either untold or barely hinted at -- and certainly they're not illustrated by the ways the cars are shown at all.
As far as sculptural forms, maybe we could have been shown some images of what Porsche's early models contemporaries looked like, for comparison? Ken Gross talked about "that Porsche curve" at the press preview of the show -- maybe give me some images of drawings of the curve from designers' papers? Or provide some of the models they used? Or even trace some of the curves on the walls? maybe use lighting or projections, or put the cars on some moving platforms, to bring out their sculptural qualities? The show is a total whiff in this department, maybe even a negative number. It's parked cars and technical specs.
I'm embarrassed for you that you cannot see the sculptural qualities of these forms. Far from an ordinary automobile company, Porsche's design services are in demand world wide. I suggest you take a second look without bias and eyes wide open. It is not your typical art museum presentation and that in itself is refreshing and perhaps challenging to some. It did succeed as art as it elicited an emotional response.
Highly recommended exhibition.
The Porsche show represents very different turf for the NCMA. I do find myself wondering if the exhibition slot was kind of bought and sold with this show, which really is just cars in white rooms. I don't bristle at that out of some facile sense like "cars aren't art." Nor do I think the show isn't thought-provoking. But for me, the thoughts went in two directions. First, what are the class implications of this show in this place and time? Truly it's stomach-turningly plutocratic. Second, has the museum delivered on its claims of the show as a triumph of design, and of the cars as "hollow rolling sculpture." No way. They don't even address the design of these cars at all. And they don't activate or situate them as sculpture either. So I wanted, in this review, to call them out on both counts. Nonetheless, go see the show, support the museum, and register your own thoughts. And, especially if you disagree with me, tell me what you think. I really want to hear a well thought-out defense of this show.
I have been really excited to experience this exhibit, since I first heard about it. Unfortunately, I haven't been able to get across town to see yet. It sounds like their execution is closer to the atmosphere of a car museum and less of your typical art museum. At first glance it sounds like you are very critical of the execution and the choices surrounding the whole exhibit. However, after reading your article it sounds more like the you have been profoundly moved by the exhibit. I hear anger, discomfort, and some jealousy in the narrative on your experience. In short, it sounds like the exhibit is fantastic, and maybe it is challenging the museum regulars with a new experience they haven't seen before. Thank you for sharing your feelings about the experience. I am now more excited to see the exhibit for my self. Maybe, I will sneak down there at lunch today!
Saw Moran when his U.S. tour brought him to Minneapolis. His performance was a master class in stand-up comedy, easily on par with popular U.S. favorite Louis CK.
It's good to see the Independent covering the Carolina Ballet, but this review seems mostly concerned with seeming clever, and doesn't at all do justice to the extraordinary performers bringing to life these great works. Proposing that what Balanchine needs is a good updating suggests a profound lack of understanding of the art.
"What Balanchine needs is someone to do for him what he did for his great forebear Petipa: clear out the dross and polish up the jewels. But the Balanchine Trust, which licenses his choreography, likely would not allow that, and at any rate, Weiss does not seem inclined to take the job."
Why should works of dance art be subject to change over time rather than being preserved as they were created by the artist? Would you suggest it's also time for musical compositions, paintings or novels of his contemporaries or earlier artists to be "polished?" When I listen to an orchestra play Beethoven's 7th Symphony, I don't want to hear their cool updated take on Beethoven, I want to hear Beethoven. And I would have been very upset if when I read The Great Gatsby for the 3rd time I found that someone had decided to "update" it. I like to know that the Balanchine Trust is there to lift ballet to a level of artistic respect and integrity that other art forms have always had.
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