![]() ![]() “It’s about the amount of detail you have to pay attention to, as far as art history. It’s not about sixteenth-century German furniture,” Wong says. His studies, along with a transformative internship at U-M’s University Musical Society, became an engine that has powered his career since school. So much trouble that he switched majors ten times in his first three semesters.Įventually, though, he landed on a double major, studying history of art and Chinese language. Wong had trouble deciding on a major at U-M - a lot of trouble. I’ve never been a part of anything like it.” Fuel for Life Now it’s a real building, and it’s entirely new. “Back then it was just a skeleton with no escalator. “I started working here in July 2018,” Wong says. Wong was able to witness the construction of the place from the outside - and inside. On other days, it’s retracted to create a walking and sitting space for pedestrians. An architectural and engineering attraction in its own right, the shell moves thanks to six steel “bogies” - basically giant six-foot-tall wheels - powered by six 15-horsepower engines.įor large events, the shell moves out to create an enclosed space for concerts and performances. The most visibly striking part of the Shed is its husk - an eight-million-pound shell that can move back and forth based on what’s happening in the space. The dexterity of the Shed’s programming is mirrored in its architecture. It comes with the same gravitas, but it’s entirely new.” You know what they do and you know that they arrived a long, long time ago. You walk into them with this sense of history. “I grew up with the Metropolitan Opera and Lincoln Center and the Whitney Museum of American Art. “I grew up coming to these storied art institutions,” says Wong, who was raised on Long Island. ![]() ’16), who has worked at the Shed since before it opened, says the space’s meteoric opening and ambitious and intensely collaborative programming differentiate it from other cultural landmarks in the city. Dragon Spring Phoenix Rise, a kung fu musical about twins who discover the power to extend life, opened over the summer.Īlumnus Justin Wong (A.B. A Björk concert features the Icelandic artist’s signature extravagant visual effects. One of the Shed’s spring exhibitions is a collaboration between visual artist Gerhard Richter and composers Steve Reich and Arvo Pärt that includes still images, choral singers, animation, and live instrumental music. The Shed defines itself as a multidisciplinary art and performance space, with a heavy stress on the “multi.” The work there is multimedia, multigenre, multifaceted. Later still was “Art and Disobedience with Boots Riley,” who directed last summer’s indie film Sorry to Bother You. After that came “Norma Jeane Baker of Troy,” a new dramatic work by former U-M professor Anne Carson. The space opened in April with “Soundtrack of America,” a performance directed by film director Steve McQueen celebrating African American music. The list of events is impressive, and it’s long. It’s hard to imagine what kind of profound and transformative thoughts you would have access to if you attended all of the first-year performances and programming at the Shed, a new art space in New York’s tony Hudson Yards neighborhood. This is an article from the fall 2019 issue of LSA Magazine. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |