From January 28 through February 19 of this year, Warm Engine (Greta Hansen and Cheryl Wing-Zi Wong) rode the entire Trans-Siberian Railway, studying the impact of Communism on the design of the Russian and Chinese cities that grew up along the railroad. TRANS SIBERIA, a show of their photos and drawings, will be on view through April 16 at the Columbia Graduate School of Architecture's Studio-X (180 Varick Street, Suite 1610).
Greta Hansen was born and raised in Louisville, Kentucky. She received her B.S. in architecture at the University of Cincinnati, studied classics at Boston University, urban planning in Alghero, Sardinia, and completed her Masters in Architecture from Columbia University in 2009. She has worked in exhibition design for projects for the Morgan Library, the Smithsonian, the Jewish Museum of New York, and the Children's Museum of Manhattan.
Cheryl Wing-Zi Wong
Wong worked to design spaces for the Venice Biennale of Art 2009.
Warm Engine is a transdisciplinary practice working at the boundaries of art and architecture. W.E. merges together film, costume, writing, installation, and the built world to narrate and imagine new frontiers in the conception of space. As a creative duo with art and architecture backgrounds, our work takes place on a variety of scales, whether our proposals are to modify a small room or a larger fragment of a cityscape.
By Christian Liclair
JUNE 2022 | ArtSeen
Today, Martin Wong (19461999) is undoubtedly best known as an unwavering chronicler of a bygone era in New Yorks Loisaida neighborhood, his meticulous renderings of the material worlds seemingly inconsequential details, like brick walls or chain-wire fencing, and, of course, his adaptation of the fingerspelling gestures used in American Sign Language.
By Louis Block
SEPT 2021 | ArtSeen
Wong Pings world is full of hyper-contrasting gradients within forms, and the neon sheen of his characters various body parts appears less like an effect of light than some sickly glaze on a dessert. In the New Museums darkened galleries, frames rush past almost too quickly, and scenes of longing and sexmostly not actual sex, but frustration, budding fetishes, fantasiesare gemlike and addicting.
By William Corwin
DEC 21-JAN 22 | ArtSeen
Billowing, flowing, and crumbling, the recent paintings of Noah Landfield, in Ephemeral Cities, chart vectors of movement, force, and energy as they play out in both natural and human-made manifestations. While the images depict what one would call the cycles of naturedecay and upheaval, the paintings consciously avoid notions of pattern and repetition, instead using chaos and difference as the means of creating form.
By Jason E. Smith
JUL-AUG 2021 | Field Notes
Now that the one-year anniversary of the events of late May and early Junecrowned, dramatically, by the immolation of the Third Precinct station in Minneapolishas come and gone, the need to draw up a balance sheet of what unfolded becomes urgent.