Food at Yoshii Gallery, New York: installation view;photo: Chiu Ng (all images courtesy Yoshii Gallery)

Many contemporary still lifes depict food. The 22 works on display at Yoshii Gallery under the inclusive title, Food, provide a good selection.

They include sculpted fruit Tadao Andos Green Apple (2018), Ugo Rondinones Still Life (one pear) (2012) and Gen Saratanis Strawberry (2019) along with Chocolate Bar (2012) by Adam McEven and a cooked breakfast, Claes Oldenburgs sculpture Pancakes and Sausages (1962).

These works represent actual food, while others depict cooked or packaged foodstuffs: Big Mac Box (2007) by Tom Sachs and, on the wall, his Krusty Os (2019), a painting of a boxed cereal; Paul McCarthys large photograph Propo (Ketchup) (2002); and Campbells Tomato Juice Box (1962) by Andy Warhol.

Some artworks tell jokes Gavin Turks Core (2005) is an apple core sculpture made of oil paint on bronze and others make historical allusions. Elaine Sturtevents Oldenburg Store Object, Bacon and Egg (1967), a chickenwire, cloth, plaster, and enamel reconstruction of an early example of the Pop masters work, is set alongside two genuine Oldenburg sculptures.

Some years ago, when Darren Jones and I were gathering examples for our study, The Contemporary Art Gallery: Display, Power and Privilege (2016), we were interested in how much that institution had changed since the heyday of the white cube, as memorialized in Brian ODohertys famous book Inside the White Cube (1986, adapted from articles that appeared in Artforum 10 years earlier).

Nowadays galleries might have natural overhead lighting or even windows on the outside world; some complement the art with brightly colored walls. Many prefer austere installations, with lots of space between the individual works. But occasionally there are dense, Salon-style hangings.

And gallery entrances, too, have now become very varied; sometimes, for example, the front desk is not in the front, and at least one Manhattan gallery was in a basement. We were particularly interested in contrasting these commercial spaces to those in public art museums. By the time we finished, however, we thought that we had exhaustively catalogued all of the present options.

Now, however, I realize that this belief was mistaken. Food offers something new. What makes this an extraordinary exhibition, a truly virtuosic curatorial performance, is the presentation. The Yoshii Gallery is on the third floor of a Madison Avenue building, just downstairs from Larry Gagosians massive two-floor space. To get to this small gallery, you must walk through a narrow corridor, and then turn to enter the main room. And there you find that almost all of the art in Food is gathered together in one relatively small space.

Some works are wall-mounted: Tom Wesselmanns collage Little Still Life #7 (1963) is one, and Warhols Large Campbells Soup Can (1964), a silkscreen, is another. But you are mostly surrounded by sculptures on high and low pedestals Warhols silkscreened sculpture, Campbells Tomato Juice Box, and Rirkrit Tiravanijas We Said (frackfort no frackfort) (2012), to name two so you need to be very careful when you move.

You will find Tom Friedmans 3/8-inch Untitled (Pea) (2013), the smallest contemporary artwork I have ever seen, high on the right wall. And in a corner on the floor sits Rondinones trompe-loeil, Still Life (one pear), a cast bronze with yellow paint. Look straight ahead, turn to either side, and then look behind you to find still more artworks. The gallery isnt cluttered for there arent a great many objects, and many of them are small, but because they are positioned throughout this art-filled room, as I said, you have to be careful. I found it best to look by twisting and turning while standing in the center, keeping my feet motionless.

Normally, except at openings, most art galleries are not crowded. Just as some dogs walk in circles before sitting down, gallery visitors often slow down upon entering, to get the feel of the space before settling down to look.

And of course some installations make this task more complicated. Fred Sandbacks dangling rope sculptures are hard to see, which makes it easy to get entangled in them. But once you have located your position with some care, so that you dont bump into a sculpture when moving back to view a painting, you are safe.

At Food, however, you needed to remain mentally alert. Normally almost anything in a gallery could also be shown in a museum. But no public museum could handle this exhibition.

What, then, does the form of this presentation reveal about its content, food? I puzzled over that question for a long time. You couldnt do a convincing show like this of landscape paintings, portraits, or abstract artworks. What then, I wondered, made this display of contemporary still life so obviously successful?

Here a historical perspective is essential. When critics praised Jean-Baptiste-Simon Chardins fruit, Edouard Manets asparagus, or Paul Czannes apples, they contrasted the banality of these subjects with the artists skill at presenting them. In his great essay Chardin, for example, Marcel Proust writes:

You will be a Chardin, less great, to be sure, but great to the extent to which you will love him, to which you will re-constitute yourself to be, like him, one for whom metal and pottery will come to life and fruits have language.

Most of the food-art in Food really comes from a different world. Theres hardly anything that would draw your eye unless you were really hungry. Now, however, what can still attract your attention is a magnetic display, a collective work of art created by a curator. Who would have thought that still lifes would create such a strong reaction? Compelling you to look closely at things you would ordinarily scarcely notice is a real achievement.

I couldnt stop thinking about this novel experience of space long after I left the gallery. Few exhibitions inspire such a lasting response. What might have happened as the crowds entered at the opening? I wish I could have been a fly on the wall, or, better still, on the ceiling.

Note: The Proust quote is found on page 326 of Marcel Proust on Art and Literature (Carroll & Graf, 1984).

Food continues at Yoshii Gallery (980 Madison Avenue, Upper East Side, Manhattan) through January 25.

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When the Exhibition Becomes a Work of Art - Hyperallergic

Years ago, Ron and Nancy Galloway never envisioned owning their own business. That all changed in the summer of 2017 when their former employer retired, and they were faced with a decision about what the next step was for them. After much consideration, they took a leap of faith and opened Galloways Floor Dcor.

We jumped into it and started swimming, said Ron.

The pair celebrated the second anniversary of their store in September, and they have won the Union-Recorder Readers Choice Award for Best Flooring Store both years they have been in business. Their swift success can likely be attributed to their many years of combined experience in the industry. Both Ron and Nancy started working at Carpet Surplus (which later became Flooring America) in 1985. Ron learned the ins and outs of flooring installation, and Nancy started watching the store part-time. As the years continued on, Nancys job managing the store became full-time, and after 28 years in installation, Ron became the warehouse manager.

When Flooring America owner Darrell Black decided to retire and sell his building to Elite Gym owner Coni Moore in 2017, the Galloways made the decision to open their own store on North Columbia Street.

We had a lot of really, really great support, said Nancy of the transition period.

Two employees from Flooring America made the move with the Galloways at that time, and Black provided invaluable mentorship as the pair set up their business. The Galloways were even able to retain the Flooring America phone number so the loyal customer base could find them after the move.

That month [August 2017] was really packed full of new things to experience and learn, said Ron. And thank God we did, he added with a chuckle.

Both admit that they learned a lot about the aspects of business ownership that they had not known before, but that their decades of experience in the flooring business helped them to thrive quickly. They have also surrounded themselves with a strong staff, including sales consultants Maddie McDowell and Dustin Jennette and office aid Amanda Mercer.

Weve got a great crew that does a good job, said Nancy. If customers come in and they need help pulling things together, we can help them pull that together.

In addition to their in-store team, Galloways Floor Dcor relies on several experienced installation crews, many of whom they have worked with for years.

Galloways Floor Dcor stocks traditional floor coverings such as carpet and sheet vinyl, but their newest and hottest product is their selection of vinyl planks.

We started out with like four different displays two years ago, said Nancy of the functional, waterproof flooring option. Now about one third of the showroom is vinyl planks.

Galloways Floor Dcor also sells hard wood floors and ceramic tiles.

We actually sell a lot of ceramic tile. I feel like we have some of the best selection in town, Nancy said.

Galloways will install everything for the homeowner, with the exception of ceramic tile. Due to the nuances of ceramic tile, Galloways refers customers to tile specialists who can work directly with the customers to meet their installation needs.

People interested in Vista window treatments can also schedule an appointment with a consultant through Galloways.

We cater to a broad spectrum of people and products, said Nancy.

In all interactions with clients, the Galloways go the extra mile to make sure the customers get what they truly want. This often involves encouraging them to take home product samples to see how they look in the lighting of their home.

Were here to help you walk through the process, said Nancy.

The Galloways take pride in stocking good materials at fair and reasonable prices. But when asked what truly sets them apart from their competition, Nancys answer is simple Hands down, service and experience.

In fact, one of Nancys favorite things about all of her years helping clients is running into them when she is out and about and hearing them say how much they like the way their flooring choices look in their home.

The truth is, I like helping people find what they both want and need, said Nancy, who says it is rewarding when you match up the right product to the right person.

For her, she takes joy in just knowing that, Hey, we did our best.

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Years of experience pay off at Galloway's Floor Dcor - The Union-Recorder

A 55th-story condo with panoramic views of downtown Chicago, the Chicago River and Lake Michigan will hit the market in January.

The three-bedroom, three-and-a-half-bathroom apartment fills out one of the rounded corners of Trump International Hotel and Tower Chicago, with floor-to-ceiling windows running roughly 90 feet from one end of the unit to the other. Primary views are to the north and east but the apartment also gets a bit of southern and western exposure, listing broker Phil Skowron, of @Properties, told Mansion Global.

Mr. Skowron plans to officially list the unit in mid-January for $2.99 million.

More:Trump Lawyer Rudy Giuliani Lists Palm Beach Condo for $3.3M

Homeowners Glenda and Ed Spangler are former suburbanites who bought the property for $2.3 million in April 2010 and became its first and only residents. They renovated it extensively, redoing almost every stone surface of the 3,100-square-foot space, they said in an interview Wednesday.

More:President Donald Trumps Childhood Home Up For Auction Again

Countertops, bathrooms and three fireplaces were made over with elegant materials such as granite; the kitchen features Snaidero cabinets; some of the pillars throughout feature mosaic detailing, Mr. Skowron and the Spanglers said. The couple also found a clever way to maximize the units gorgeous viewsthey installed foot-long mirror panels indented about an inch into the walls in common areas, so the reflection of the city is visible even when occupants are sitting away from the windows.

The Spanglers decision to sell their home was difficult because they love the city and enjoy living in the Trump building, where residents have access to the same amenities as hotel guests. The building, which is about 10 years old, has 339 hotel rooms and more than 400 condos, according to Mr. Skowron. It features a 30,000-square-foot fitness center with a gym, spa, yoga and spinning studios with lake views from the 14th floor. The downtown location provides easy access to theaters, restaurants and shopping.

But there are other things calling us at the moment, Mr. Spangler said, like travel plans and their other homes in warmer climes. We might be back.

Mrs. Spangler, 61, and Mr. Spangler, 64, are both retired from careers in sales and consulting, respectively, and will kick off their new chapter with a holiday trip to Hong Kong, Cambodia and Vietnam.

From PentaSothebys Wine Sales Top $100 Million for Second Consecutive Year

Theyll split their time between a provincial-style home in Sonoma County, Californiawhere they make their own olive oil from the olive trees that grow on the propertyand Naples, Florida, where they keep a condo.

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A 55th-Floor Condo With Panoramic Views in Chicagos Trump Tower Will List for $2.99M - Mansion Global

Incredibly spacious 1,824 sq ft home boasts 5 bedrms 2 full baths, 592 sq ft garage w/skylight, loft, 10' ceilings. Distinctively unique in so many ways, property offers 234' deep private quarter acre fenced yard w/mature trees, low-maintenance exterior w/handsome brick & vinyl siding, enclosed soffits, energy efficient thermal windows, newer roof, cozy covered front porch, relaxing sunroom. Owned by 1 family for 66 years, this amazing well-maintained home showcases impressive detail, warm classic decor, fresh paint, striking wood flrs, beautiful original wood drs/baseboards, updated bath, lovely built-in hutch/French drs in dining rm. Wonderful kitchen w/abundant white IKEA cabinets/glass fronts, faux stone counters, stainless appliances, graphite sink. High-efficiency furnace '19, water heater '16, utility sinks, expansive storage in walkout LL. Versatile main floor OR upper master & plenty of space for everyone. Tremendous Move-In Ready Total Package... Big Bang For The Bucks!

View Listing

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Affordable Starter Homes in the St. Louis Area - STLtoday.com

(FINDLAY, OH, DECEMBER 17, 2019) The American Red Cross North Central Ohio Chapter responded to a fire on Chestnut St. in Forest on Tuesday.

The Red Cross provided assistance for the immediate needs of two adults and one child affected, such as temporary lodging, food and clothing as well as comfort kits of personal hygiene items. Were deeply saddened for those who were impacted by this fire, said Todd James, Executive Director, North Central Ohio Chapter. As we continue to help them, we urge everyone to take steps to minimize the risk of a fire occurring in their home.

HOME FIRE SAFETY There are several things people can do to protect themselves and their loved ones from fires. They include:

.Installing smoke alarms on every level of the home, inside bedrooms and outside sleeping areas. Test them every month and replace the batteries at least once a year.

.Developing a fire evacuation plan with all members of the household and practicing it several times a year, at different times of the day.Include two ways to get out of every room and consider escape ladders for sleeping areas or homes on the second floor or above. Pick a place outside for everyone to meet and make sure everyone knows where it is.

.Removing any fire hazards from the home.

RED CROSS APPS People can download the all-inclusive Red Cross Emergency app which combines more than 35 emergency alerts to help keep the user safe. And there is a special mobile app -Monster Guard designed for kids, teaching them to prepare for emergencies at home by playing an engaging game. Users can find the apps in smartphone app stores by searching for the American Red Cross or going to redcross.org/apps.

HOME FIRE CAMPAIGN Seven times a day someone in this country dies in a fire. The Red Cross has been working to reduce that number through its Home Fire Campaign, credited in its first year with saving several lives and protecting thousands of others by installing new smoke alarms in their homes.

WHAT PEOPLE CAN DO People can visit redcross.org/homefires to find out more about how to protect themselves and their loved homes from fire. To find the location of smoke alarm installation events or to become a volunteer, contact Volunteer Specialist Mike Vance at michael.vance @redcross.org. People can help by donating to Red Cross Disaster Relief by visiting redcross.org, calling 1-800-RED CROSS or texting the word REDCROSS to 90999 to make a $10 donation. Donations to Disaster Relief will be used to prepare for, respond to and help people recover from disasters big and small. We respond to nearly 70,000 other disasters every year, from home fires to wildfires and more. Learn more about how Disaster Relief donations have helped people affected by previous disasters including home fires.

The American Red Cross North Central Ohio Chapter is a United Way partner.

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Red Cross Provides Aid to Family Following Fire in Forest WKTN- A division of Home Town Media - WKTN Radio

The Cleveland Museum of Art, constructed of white Georgian marble in 1913, is a remarkable demonstration of Neoclassicism in America and serves as the lynchpin of surrounding Wade Park. Servicing the museum and the surrounding grounds requires extensive upkeep, and over the years a haphazard assembly of buildings was erected to service those needs. These have been supplanted a new maintenance facility designed by Boston-based interdisciplinary design firm Sasaki. It is a fine utilitarian solution of digitally-designed concrete formwork and semi-opaque garage doors burrowed into the surrounding landscape.

The facility is 5,400-square-feet and is only fully visible on the north elevation and the northeast corner. Sasakis decision to bury the structure significantly influenced the material choice for the project: It became apparent to the design team that concrete was best suited to handle dead-load stemming from a green roof while being fire-resistant and capable of handling the wear and tear associated with its function.

In addition to being the clear structural choice, poured concrete also afforded the design team a moment of aesthetic flourish along the north elevation. Engineering practice Simpson Gumpertz & Heger and formwork fabricator CW Keller collaborated to maximize the structural performance of the concrete canopy, using computational design to redistribute slab thickness according to stress values and stiffness requirements. The results were then inputted into a five-axis CNC milling machine for the fabrication of dozens of wooden formwork panels.

The complexity of the projects concrete undulating canopy extended to its on-site installation, which depended on a step-by-step review by the entire project team. We had only one shot to get this pour right, and it was a success. Once the formwork was installed, the concrete team used a combination of pre-bent and field-bent rebar that met the structural engineers requirements, said Sasaki principals Katia Lucic and Bradford J. Prestbo. It was a challenge to follow the topography of the formwork with complex double-curvature bends in rebar, and before the concrete pour we mapped out each step of the placement sequence.

Floor-to-ceiling garage-style curtain walls are located just below the concrete soffit and are large enough to accommodate parking bays for bulky landscaping machinery, such as Bobcats. The walls are semiopaque, allowing for natural daylighting while obscuring maintenance equipment within.

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The Cleveland Museum of Art's maintenance facility rises from the earth with sculpted concrete - The Architect's Newspaper

On ViewHill Art Foundation Three Christs, Sleeping Mime, and the Last Supper; Pagan Paradise: Charles Ray and the Hill CollectionSeptember 28 February 15, 2020New York

Charles Ray is a slippery artist for me. In the time that I have been engaging with his work, I have often been surprised by what gives me pause, and by what I find myself returning to days, sometimes even years, after I have seen it. So often, it is something slight: witnessing the slow ripples created by the edges of a womans fur sleeve as it dragged through Ink Box (1986), installed in Rays 1998 Whitney retrospective; observing the sheen of flowing ink in 1987s Ink Line and becoming aware, before even reading the title or anything about it, that the line moved. I wondered what, if anything, would strike me when I visited the Hill Art Foundations current exhibition, Three Christs, Sleeping Mime, and the Last Supper; Pagan Paradise, which is curated by Ray from the Foundations collection and features, in addition to four of his own pieces, intimately-scaled bronzes made by Italian, French, and Netherlandish sculptors of the 16th and 17th centuries.

While viewing the show I was confident that Golden Jewelry (undated), a tiny shriveled apple, complete with gold stem, gifted by the artist to his wife, would make the greatest impact. But no: what I have been turning over, again and again, is Rays recumbent Mime (2014), and more precisely, the sleeping Mimes soft-soled shoes. They are aluminum, as is the rest of the sculpture, and presumably metallurgically stiff, but visually they are also undeniably ductile and respond believably to the figures bony feet. Similarly, the aluminum cot on which Mime rests strains and bows under his weight: we can notice these effects if we get down on our hands and knees because the sculpture does not sit flat on a podium. Instead, it rests lightly on the floor on the four legs of the cot, rendered fully in the round, even underneath. And then there is the fact that these qualities were not made by the artist at all. Rather, Mime was carved by a robot, as Ray writes in an essay that accompanies the exhibition. Any visible hand is purely metallic, the materials or the non-human makers.

The effects created by the surface finish of Mime are further explored in a sterling silver sculpture nearby, Mountain Lion Attacking Dog (2018), which Ray describes as an essay in mark making. This work portrays, through different methods of chasing, the respective pelts of its animal protagonists. Rays attention to such technical challenges also creates a dialogue with the Renaissance and Baroque sculptures he has selected to appear in the exhibition. The installation is a lesson in withholding: there are only nine pieces included over the two floors, with every wall-mounted object given its own wall and each sculpture in the round provided its own generous floor space. As a result, we can draw quite close to objects that would more often be seen sharing cases with others.

This decision provides opportunities to note, for example, the ripping flesh of Barthelemy Prieurs Lion Devouring a Doe (probably cast before 1583), the fact that the grotesque figure in Adriaen de Vriess Bacchic Man: Lomazzo Personifying the Accademia della Val di Blenio(cast circa 1578-1580) wears a mask (seen from a distance, this is very difficult to understand), or the varying patina of Alessandro Algardis Christ at the Column (circa 1630s), molten chocolate across Christs back, but lighter and more mottled at the knees and the back of his legs. This suggests the touch and caress of an earlier owner (or owners), and, while we cant embrace the sculpture ourselves, Christ at the Column, in the company of Mime, encourages us to imagine the materials properties and the strangely animated suppleness that is at play here. Algardis Corpus Christi (circa 1646), suspended high and alone on the gallerys stark white wall, emphasizes its figures enunciated fingers and toesas Ray comments, the Algardi Christs are depicted as if alive, and this articulation is mimicked in the splayed toes of Rays attacked Dog. Antonio Susinis gilded bronze Cristo Morto (circa 1590-1615) is hung at head height so that we can easily make out his bulging eyes. This Christ is truly dead, or so the artist makes the sculpture and its bronze mediumone I just described as livingseem.

Materiality, finish, the artists hand or lack thereof, and the imitative potential of sculpture: Ray is, in this installation of his work and its important bronze precedents, presenting a philosophical discussion of sculptural possibility. In his essay, Ray asks, Does my mime sleep, or does he mime sleep? and his question is justified: sculpture can only ever mime the real. Mime does not sleep or dream; the apple will never fully rot; statues of Christ are neither living nor dead; and the dog and doe let out no heaven-rending scream.

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Three Christs, Sleeping Mime, and the Last Supper; Pagan Paradise - Brooklyn Rail

Seasoned art dealer and collector Jens Faurschou did not make the decision to open a branch of his foundation in New York lightly, even though he has already been through the process twice before in other cities.

Weve done it for manyyears in Copenhagen, for many years in Beijing, and thought, Now, we dare to try New York,' the soft-spoken Faurschou told Artnet News ahead of this weekends opening of his sprawling ground-floor space in Greenpoint, Brooklyn, a former shoe factory converted into a sleek art venue by architect Markus Dochantschi.

In recent years, New York has become home to a number of private museums dedicated to the collections of wealthy tycoons, from J. Tomilson Hills space in Chelsea to the Brant Foundation in the East Village.Faurschou, however, has a far lower profile in the United States than the others, and prefers to let his art collectionfull of blue-chip names but also impractical installations with political themesspeak for itself. And in contrast to private museums that quickly become Instagram magnets, theFaurschou Foundations inaugural display avoids relying too heavily on eye candy, offering a more balanced visual diet.

Faurschou New York in Greenpoint Brooklyn. Photo by Ed Gumuchian Faurschou Foundation

Faurschou, who made his money selling international contemporary art in his native Denmark and established his eponymous foundation in 2011, did not even know where Greenpoint was when he set out to open in the city. But after opting out of other New York City spaces, such as one in Harlem that did not offer a ground-floor option, he found the industrial space in the fast-changing, gentrifying neighborhood to be just what he was looking for.

We went out and found this building and I was amazed, he said. If you take an Uber, its quicker than going from Chelsea to Upper East Side or Midtown. Then we started to look around the area and its lovely. It has its own life with a lot of great small restaurants and shops.

Installation view of the exhibition The Red Bean Grows in the South, Faurschou New York, 2019. Clockwise: Cecily Brown, Louise Bourgeois, Tracey Emin, Ai Weiwei. Photo by Tom Powel Imaging, Faurschou Foundation

In a city with seemingly endless art options, the next hurdle for Faurschou was to figure out how to stand out. New York representsa big challenge because we have to do something where we show who we are and what we can do, he said. He and his teama small operations staff in New York, plus his wife Masha and his three children at homedecided to debut with a group exhibition that would offer a sampling of the artists in the collection.

The result is a thought-provoking and often startling show of international all-stars titled The Red Bean Grows In The South, which touches on topics ranging from the notion of longing to political passions and the desire to break free from repression.

Installation view at Faurschou Foundation with work by Cai Guo-Qiang (ceiling), Alison Saar and photos by Danh Vo. Photo by Eileen Kinsella.

With work by roughly 17 artists including Ai Weiwei, Georg Baselitz, Louise Bourgeois, Cai Guo-Qiang, Tracey Emin, Edward and Nancy Kienholz, Yoko Ono, and Danh Vo, the show also reflects what Faurschou says is a core part of the foundations identity: a longstanding relationship with China and a desire to engage Western audiences with important ideas from the region.

According to the catalogue essay, the inaugural presentation revolves around themes of violence, war, politics, idealism, escapism, desire, hope, dreams and memory, which would sound like a lofty goal were it not so seamlessly executed here.

Faurschou says the display came together somewhat organically. The first pairing seemed somewhat random at first: Georg Baselitzs painting Mit Roter Fahne (With a Red Flag) (1965), which depicts a humiliated soldier returning home from war with a diminutive head and tattered uniform, and Paul McCarthys monumental CSSC Frederic Remington Charles Bronson (201416), which shows the eponymous film star with an outsize cowboy hat riding what appears to be a disintegrating mashup of a melting saddle and a tangled mess of horse legs and hooves.

Edward and Nancy Reddin Kienholz. The Ozymandias Parade (1985). Image courtesy the Faurschou Foundation

You would never really think of putting them together but it just workedyou have this hero coming back from the war and you have Charles Bronson on a horse where the whole structure is falling apart,Faurschou said. Maybe even more surprising for me is that [together] they have such strong visual impact. Thats very important.

This is classic Faurschouhe brings years in the art business to bear on his choices, but he is also willing to let serendipity and instinct take its course. When installing one prominent gallery, for example, where Cai Guo-Qiangs A Boat with Dreams (2008) hovers from the ceiling above Alison Saars haunting life-size sculpture Dying Slave (1989), Faurschou said, We are missing something.

It so happened that his son Christian had just returned from a visit to the National Gallery ofDenmark to see an exhibition of the work of Danh Vo, who often explores cultural history and the meaning of artistic collaboration in his work. You need these prints, he told his father. The body of work presented photos taken by Joseph Carrier, a counterinsurgency specialist in Vietnam from 1962 to 1973 who later became a close friend of the artist. By the time he was forced to leave Vietnam by American authorities because he was gay, Carrier had produced a substantial photographic archive, which he later bequeathed to Vo.

On a whim, Faurschou called up Vo, and the artist happened to be in Denmark. The rest, as they say, is history. Vos work,Photographs of Dr. Joseph M. Carrier 19621973 (2010), now lines the perimeter of Saar and Cais gallery.

Installation view of The Red Bean Grows In the South at the Faurschou Foundation with work by Georg Baselitz and Paul McCarthy. Photo by Tom Powel Imaging, Faurschou Foundation.

Then I got excited, Faurschou recalled. Theres a connectionbetween the rooms all kind of getting together.Look no further than rooms like one featuring Yoko Onos devastating video Happy Xmas (War is Over) (1971/2003), a compilation of disturbing images that run counter to the iconic John Lennon song. It hangs above a large sculpture of menacing bent saws by Robert Rauschenberg, another artist who was horrified by the Vietnam War, titled Lurid Attack of the Monsters from the Postal News (August 1875).

Also immediately visible from the entrance isEdward and Nancy Kienholzs massive installationThe Ozymandias Parade (1985), which brings together objects the couple collected from flea markets across Europe. (The work is perhaps the only major installation by the couple on view in the city, as they have not been well collected by New York museums.)

Installation view of The Red Bean Grows In the South at the Faurschou Foundation with work by Yoko Ono and Robert Rauschenberg. Photo by Tom Powel Imaging, Faurschou Foundation.

Going forward, Faurschou is planning roughly two exhibitions a year. Just dont expect the kind of hit-parade Instagram bait you might find at other institutions. Ihope with this exhibition that it makes you think. Its not just to go in and say, This was beautiful. This was fun,' Faurschou said. I think it digs deeper. And I think we live in a time where its really important that people dont live on the surface.

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Danish Collector Jens Faurschou Is Opening a Private Museum in Brooklynand He Doesnt Care If You Have Fun There - artnet News

A two-bedroom/two bath apartment on the 14th floor of The Plaza at Five Points is on the market for $1,195,000

Lakeland residents Carol and Don Stephens have been coming to the Sarasota area for short getaways for 35 years, most of that time specifically to Longboat Key where they enjoyed beach condominium living, views of the Gulf of Mexico and days of subline relaxation. But, several years ago they decided they wanted a different kind of experience an escape to the city.

"We had been hearing a lot about Sarasotas downtown with its lively cultural scene and we thought that would be just the thing," said Don Stephens. "We wanted to be close to walking distance if possible theaters, galleries, restaurants, shopping, the opera, you name it. We wanted a place where we could park the car, unpack and then enjoy the action. And hopefully not see the car for the next week or so."

When a 14th floor, two-bedroom apartment became available at The Plaza at Five Points, the couple knew they had found their launch pad for fun, as well as two deeded garage parking spaces.

The 1,671-square-foot luxury dwelling has an extra-large covered terrace accessed by both bedrooms and the living room which frames views of Sarasota Bay and metropolitan life. The couple bought the condominium in 2012 primarily because of its location, right in the middle of everything, and were then charmed by their apartment and The Plaza at Five Points building, which has 49 units (four penthouses) and was built in 2005. Its a mixed-use complex. The condominiums begin on the 11th floor. Below that offices, financial services, retail, a bank.

Carol Stephens, an interior designer, furnished her sky-box with urban polish and custom amenities, the way she would a permanent full-time residence so that she and Don would have every convenience and comfort if they were in town for two days days or two weeks. The double door front entrance opens into a lavish foyer and has views across the living room out to the terrace and beyond.

The large rooms express a relaxed elegance with special features such as grasscloth walls in the kitchen, dark granite counters, double vanities in the master and guest baths, artistic lighting, and custom built-ins. She installed wide-plank hardwood floors in the living room, hall and master bedroom. When the couple moved in, the apartment had two generous walk-in closets, which was more storage than they needed. So, Carol converted one of them into a home-office for Don.

The Plaza building itself, apart from its prime location, has been a source of pride for the homeowners. "We love that The Plaza is pet friendly because we have an eight-pound Yorkie whom we take to the park across the street everyday," said Don. "The Plaza has valet parking, guest parking, full-time maintenance management and it is impeccably cared for. We could not ask for more."

These homeowners have also appreciated the 10th floor open-air residents private oasis which includes a heated swimming pool and spa, summer kitchen, outdoor shower, rooftop gazebo, and inside a fitness center and conference room. Theres also a large community room with lounge and catering kitchen.

Carol and Don Stephens have loved everything about their downtown condo with the urban vibe. But, recently the couple put their vacation getaway on the market. It is listed at $1,195,000 through Thomas Netzel of Sothebys International Realty and it is being sold turnkey.

"The reason were giving it up is that we just dont use this wonderful place like we used to" said Don. "Our children and grandchildren are in Lakeland and we are involved in their lives and we want that to be the case. Friday nights for us lately are spent at a high school watching the grandkids in some sporting event.

"The last time Carol and I came to Sarasota for a weekend of city fun, we realized we handt been there for six months. It was a reality check and we both realized its time for somebody else to have The Plaza apartment experience and enjoy the kind of urban getaway we enjoyed for the past seven years."

Five Points, the intersection of Main, Central and Pineapple streets in downtown Sarasota, has been the center of commercial activities since settlers began to arrive in 1885, the date the Scots first came. Where The Plaza condominium is now, there was originally a wooden boarding house constructed in 1886 to accommodate new arrivals and construction workers. That building was demolished in 1924 to make room for First Bank and Trust Building, the areas first skyscraper. It had seven stories and an elevator, which alarmed as many neighbors as it impressed.

Other banks have continued to occupy that corner right up to today. Retail, restaurants and offices are on the lower floors of the Plaza at Five Points. A large clock that faced two ways was a signature feature of the bank (s) that have stood tall at Five Points. Theres still a clock today but its across the street at the entrance to Selby Park at Five Points.

The area that is today a lighted round-about with flags has traditionally been called the triangle at Five Points. In Sarasotas earliest days there was an artesian well, drinking fountain, hitching post and a trough for cows, horses and other thirsty livestock that wandered by. In 1911 community authorities outlawed meandering cows at Five Points. Later the triangle was the site of a World War I memorial.

Five Points has always been considered the hub of the city of Sarasota and today people who live at The Plaza at Five Points or work in one of the offices in the building are keeping history alive as well as enjoying modern urban amenities. Five Points was in the middle of the action when Sarasota was a struggling community of settlers intent on prospering and it still is today.

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An escape to the city - Sarasota Herald-Tribune

Part one of this series focused on slab preparation and sub-base installation. In the article, we learned the importance of a well compacted and smooth subgrade, as well the proper installation of formwork, jointing, vapor barriers and other reinforcement. This article will discuss the next steps to placing, finishing, sawing and curing medium to large concrete slab on grade.

Rate of placement and screeding method are baseline decisions that must be made prior to start of placement. Placing/finishing concrete is time sensitive and susceptible to environmental conditions. Ideally you want to work within an 8- to 16-hour window for place, finish and cure/saw cutting operations.Uniform mix batch to batch and slab edge boarded.Chad White

Major considerations when scheduling concrete and planning day of placement activities include:

Planning Tips

For the purpose of this article we will be discussing concrete placement rates of 60-200 cubic yards per hour and strike-off rates of 4,0008,000 square feet per hour. Formwork and strike-off will dictate the FL numbers. Uniformity of slump and rate of placement will greatly influence FF numbers and panning/finishing processes.Roller tamp attachment to laser screed.Chad White

FF60/FL40 is the new norm for warehouse and open slab placements. Automated raking and screeding of slabs will result in higher production rates and flatter floors.

Major considerations when placing concrete include:

Installation Tips

Finishing floors is all about flatness, burnish and attention to detail. Timing of finishing steps is a critical factor and must be judged in real time.Blending edge burnish.Chad White

Major considerations for finishing concrete slabs include:

Tips for Finishing

Curing is either spray-on membrane or wet cure with blankets. There are pros and cons to both systems, and individual project requirements may dictate choice. The important thing with curing is timeliness and adherence to manufacturers and project specifications.Installing wet cure blankets.Bob Simonelli

Timing is probably the key coordination factor with saw cutting operations. A skilled crew and good equipment are required. There is nothing worse than having a great looking finish marred by crooked or spalled cuts.

Major considerations for installing control joints and curing include:

Tips for Sawing/Curing

Control and conditions of access during the placing/curing period is probably the biggest component to a slab protection plan and the hardest to police. Ensure slab protection plan is communicated to all trades. Advocate for daily cleaning by floor scrubber during construction. Ensuring that a spill kit is available while the slab is being used by other trades is a must and a major component of daily housekeeping. Scratches, gouges, spills and edge destruction are major concerns when slab is being used as a work platform by general trades.

Major considerations for slab protection include:

Execution Tips

Chad White has been involved in all aspects of concrete construction from craftsman to concrete subcontractor and is a founder of WL Concrete. Whitehas personally been involved with design and construction of many industrial slabs, including shake-on hardeners, defined traffic super flats and high tolerance random traffic floors. He is the author of numerous articles regarding concrete slab on grade installationand a speaker at World of Concrete.

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Placing, Finishing, Sawing and Curing Total Concrete Slab Packages - ForConstructionPros.com