Mimi Zeiger

Critic, editor, curator and instigator.

On a weekday in early December, the United States surpassed 3,000 daily deaths from COVID-19 the same week that vaccines began distribution in the United Kingdom. In the afternoon, I masked up to go to the pharmacy, stood on a patch of gummy duct tape demarcating a nominal six feet between me and the next customer on the linoleum floor, and picked up my prescription through a hole in a scuffed acrylic barrier. The new normal, as they say. Banal aesthetics just one step up from ad hoc.

Nearly a year into the pandemic, most of us have become armchair epidemiologists who can weigh the risks of dentist visits and outdoor brunches. Months ago, in the late spring and summer when it was thought that the worst might be behind us, many architects and designers took it upon themselves to produce tool kits and manuals analyzing scientific research and medical guidelines, and visualizing that material in the design of safety protocols for workplaces, schools, streets, housing, and museums. London architecture firm IF_DO even went so far as to create PDF manuals for safer food banks, youth clubs, community centers, and libraries—typologies that have received far less attention than nursing homes and restaurants.

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Architecture photographer Wayne Thom lived at the Bonaventure hotel for a week in 1977 as preparation for taking one of his most iconic images. To shoot the sculptural elegance of John Portman’s building, Thom woke at 4 a.m., positioned himself on the offramp of the 110 Freeway and readied to catch the sunrise. In the resulting photograph, the hotel’s cylindrical forms rise Oz-like from downtown Los Angeles, the curved facades reflecting the colors of dawn.

“I light the building with sun behind it, which illuminates the clouds,” Thom said when asked how to capture the dazzle of mirror glass. Retired and living with his wife, Aesook Jee, in the San Gabriel Valley community of Rowland Heights, 87-year-old Thom still approaches his craft with well-honed technique and poetry in equal measure. “You are photographing the reflection, not the building. The building is just a frame for the reflection of the sky.”

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Emmet Byrne, Design Director and Associate Curator of Design, Walker Art Center and Maite Borjabad López-Pastor, Neville Bryan Assistant Curator of Architecture and Design, are two of the team curators behind the exhibition Designs for Different Futures. Organized by the Walker Art Center, Philadelphia Museum of Art, and the Art Institute of Chicago, Designs for Different Futures brings together some 80 dynamic works that address the challenges and opportunities that humans may encounter in the years, decades, and centuries ahead. Among the questions raised by the designers in the show: What role can technology play in augmenting or replacing a broad range of human activities? How can we negotiate privacy in a world in which the sharing and use of personal information has blurred traditional boundaries? How might we use design to help heal or transform ourselves, bodily and psychologically? Ultimately, the exhibition asks: Who shapes future?

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Ann Lui and Craig Reschke founded Chicago-based Future Firm in 2015. The practice combines their expertise—Lui co-curated the US Pavilion for the 2018 Venice Architecture Biennial and Reschke is trained as a landscape architect—in order to envision what is on the cultural horizon and to deal directly with critical issues facing neighborhoods and communities in Chicago. Their work spans diverse scales: from events to residential and commercial buildings to urban and territorial speculations, and helps develop unorthodox approaches towards community, belonging, and public engagement in contexts where multiple stakeholders come to the table. Future Firm also currently operates The Night Gallery, a nocturnal exhibition space on Chicago’s South side, which features video and film works by artists and architects from sunset to sunrise. Their work has been exhibited at Storefront for Art & Architecture, New Museum’s Ideas City, and the Chicago Architecture Foundation and published in The Architect’s Newspaper, Chicago Architect, Mas Context and Newcity. They are a 2020-2021 recipient of Exhibit Columbus’ J. Irwin and Xenia S. Miller Prize.

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The work of journalist and novelist Annalee Newitz is about what is real and what is fictional, what is past, present, and future. Questions of temporality, urbanism, and identity percolate through Newitz’s science fiction and nonfiction. They are the author of the forthcoming book about archaeology Four Lost Cities: A Secret History of the Urban Age, and the novels The Future of Another Timeline, and Autonomous, which won the Lambda Literary Award. As a science journalist, they are a contributing opinion writer for the New York Times, and have a monthly column in New Scientist. They have published in The Washington Post, Slate, Popular Science, Ars Technica, The New Yorker, and The Atlantic, among others. They are also the co-host of the Hugo Award-winning podcast Our Opinions Are Correct. Previously, they were the founder of io9, and served as the editor-in-chief of Gizmodo.

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On February 17, 2009, less than a month after his inauguration, President Barack Obama signed into law the American Recovery and Reinvestment Act (ARRA) of 2009. A stimulus bill meant to jump-start the nation’s flatlined economy, the Recovery Act, as it was popularly known, promised nearly $800 million to state and local governments for the funding of “shovel-ready” projects.

The following year, the Ojai, California–based photographer Chad Ress stood on a dry lake bed in the foothills of the Sierra Nevada and watched a tractor maneuver boulders into totemic piles in New Hogan Lake in Valley Springs, California. He was there to document a project funded by ARRA. The resulting photograph is almost boring. The frame captures signs of California’s epic drought; what was once covered in water is now dust. The sky is nearly white. Yet that line of rocks was evidence of money at work.

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Imagining a new society begins with visionary design. What can we learn from the bold architectural schemes of the twentieth century?

The frontispiece of the original edition of Sir Thomas More’s Utopia, published in Leuven, Belgium, in 1516, depicts a small island, nearly round with deckled edges. The engraver’s hand shaded the landmass with short, neat hatch marks to suggest topography and a river. More imagined utopia as a self-contained world where communities shared a common culture and way of life. This definition sets up two particular criteria: place and society. To convey these intertwined conditions, the illustrator dotted the woodblock print with buildings.

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Born in El Salvador, Los Angeles-based artist Beatriz Cortez crafts sculptures—often large, metal, and architectural—that evoke Latinx and Indigenous pasts and presents. Her practice explores simultaneity, life in different temporalities and different versions of modernity, particularly in relation to memory and loss in the aftermath of war and the experience of migration, and in relation to imagining possible futures. Widely exhibited, Cortez’s has had solo exhibitions at the Craft Contemporary Museum and Clockshop in Los Angeles, and has been included in group shows at the Hammer Museum, the Whitney, and Ballroom Marfa, among others. In 2019 she received the inaugural Frieze LIFEWTR Sculpture Prize and in September 2020, she installed her monumental piece Glacial Erratic in New York City’s Rockefeller Center as part of Frieze Sculpture 2020. In addition to her art practice, she is a cultural and literary critic and professor of Central American Studies at California State University, Northridge. Cortez is the author of Aesthetics of Cynicism: Central American Post War Fiction and the author of numerous essays on postwar Central American literature and culture.

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Brooklyn-based visual artist Olalekan Jeyifous creates work that critiques the present by looking at the past and the future. Trained in architecture at Cornell University, he blends techniques and skills from the field with speculation drawn from a range of science fiction imaginaries from Afrofuturism to Solarpunk—a genre that envisions possible ecological futures under climate crisis. Best-known for his digital illustrations in the series Shantytown Megastructures, an imagined Lagos, Nigeria in which contemporary ad hoc construction practices are extrapolated into fantastical vertical settlements, his practice crosses between disciplines and mediums, taking shape as drawings, films, and installations. Jeyifous’ work has been shown at the Shenzhen Biennale of Architecture and Urbanism, the Studio Museum in Harlem, and the Guggenheim Bilbao. His large-scale public artworks were shown at Coachella in 2017 and recently along the waterfront in Alexandria, Virginia. He is one of the participants in the 2020-21 cycle of Exhibit Columbus and the MoMA exhibition, Reconstructions: Architecture and Blackness in America.

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Last spring, as stay-at-home orders set in and consumers cleared out store shelves, we learned something that we probably knew all along: You don’t think about toilet paper until you are desperate.

And if the lowly roll is overlooked, the design of the toilet paper holder is even less considered — until now. The Echo Park gallery Marta is presenting “Under/Over,” an exhibition of more than 50 toilet paper holders by an international lineup of artists and designers.

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