LEVER wins bid for PMA RURBANITY Transmuting Black Loss

In “When the Battle Is Over,” the introductory essay in the catalogue accompanying Young Lords and Their Traces, Theaster Gates explains that the genesis for the exhibition was the loss of two dear friends: curator, writer, and critic Okwui Enwezor and feminist theorist bell hooks. Gates states that with this exhibition, the New Museum temporarily becomes a site of mourning and communing but also mischief and conjuring. The show recognizes the recent loss of a roster of Black Young Lords, including polymath designer Virgil Abloh, theorist Greg Tate, painter Sam Gilliam, and ceramicist Marva Lee Pitchford-Jolly, in addition to Gates’s father, Theaster Gates Sr. It also marks the absence of other influences on Gates’s practice, such as film theorist Robert Bird, painter Agnes Martin, and artist Joseph Beuys.

The power of Young Lords is Gates’s transmutation of both loss and the museum itself. continued on page 49

The new Lincoln Center David Ge en Hall, designed by Diamond Schmitt and Tod Williams/Billie Tsien Architects, was decades in the works but completed ahead of schedule and under budget since the pandemic forced the closure of the Avery Fisher Hall.

The first priority was to improve and revitalize the acoustics inside the main theater, to make sure it was the best-in-class acoustic experience for the New York Philharmonic. What resulted is a completely new theater inside the building, not just a renovation, creating an intimate and inclusive experience for the audience.

Project Showcase

Lincoln Center’s

David Geffen Hall

New York, NY

Everything in the building, from door handles to floorboards to railings, feels reassuringly solid. Pulp Studio fabricated over 8,700 square feet of flat and curved, laminated glass railings, using an acid etch glass to meet the design aesthetic and provide an enhanced level of privacy. The bent glass was chemically strengthened for increased surface protection and Pulp Studio’s proprietary Precision Edge® technology was used on all the flat glass for a refined and professional look.

Social/Public Spaces: Tod Williams Billie Tsien Architects / Concert Hall: Diamond Schmitt

Photos: Michael Moran Glass: Lafayette Metal & Glass Company – Hauppauge, NY

Owner Rep: CMDC Consulting, LLC / Acoustics: a-‘ku-stiks/ Theatre: Fisher Dachs Associates

Mechanical/Electrical: Kohler Ronan, LLC