World’s Largest Stone Buddha
An ominous colored statue, this gigantic Buddha is the largest in the world. Called the Leshan Giant Buddha, the construction of this enormous carved deity began during the Tang Dynasty between 618AD and 907AD. What’s truly fascinating about this statue, aside from its size, is that it was sculpted directly out of the face of a cliff.
At the deity’s feet is the confluence of three rivers, the Minjiang, Dadu and Qingyi, located in the southern part of the Sichuan province near the city of Leshan in China. This incredible Buddha is also the tallest pre-modern statue in the world. The statue’s home is the Mount Emei Scenic Area which has been listed as UNESCO World Heritage Site since 1996.
There are two ways to get a close-up view of this impressive sight. One is to take the perilous path down the cliff face, walk in front of the Buddha and climb up the other side, as the people in the picture are doing. A more relaxing method is to take a tour boat and sail down the river. He’ll be waiting for you.
If Jørn Utzon did not exist, we would have to invent him. His story, mostly the legend of that single and singular building, the Sydney Opera House, provides the enduring foundational myth for all contemporary architectural practice. Utzon is our sage Kenobi, our renegade Solo, our heroic Skywalker, all in one. He looked the part, too: an architect out of central casting in the Gary-Cooper-as-Howard-Roark mould, as tall as Rem Koolhaas, as beautiful as Jacques Herzog, as Danish as Bjarke Ingels.
DAILY PIC: I caught this “Morandi” in the home of an artist in Berlin – and I put the Italian’s authorship in scare quotes because though the piece is certainly by old Giorgio, it’s not really his art. It’s a piece of craft paper the Italian used to cover the table where he set up his bottles and vases, before painting them. It seems he would record their exact locations (hence the circles on this template) so that he could put a still life back exactly as it was, and paint it over several different sittings when the daylight was just so. Weirdly, that practice, and this template, seem to connect Morandi to the instruction-set Conceptualists of the later 1960s. The conservative Morandi (as I’ve billed him before) and radical Sol LeWitt make an odd couple, by any lights. (Photo by Lucy Hogg)
On the occasion of the reinstallation of Scrim veil—Black rectangle—Natural light, Whitney Museum of American Art, New York, Robert Irwin considers the importance of his long-standing interest in creating site-conditioned projects. He speaks about this seminal example and its significance for his larger career in conversation with Donna De Salvo, the Whitney’s chief curator and deputy director for programs.
The first in a three part video series featuring James Turrell speaking with Doug Aitken has just been posted. In this installment, Turrell and Aitken discuss perception in relation to Turrell’s installation Aten Reign (2013) at the Solomon R. Guggenheim Museum in New York.
In case you missed this a few weeks ago. Stay tuned for information on the next two videos, coming soon.
The Infantile World of Paul McCarthy
Park Avenue’s Seventh Regiment Armory, constructed at the end of the 19th century, was and remains…
Seeking thrills in entertainment that makes us faint, swoon or vomit.
Warhol taking Duchamp’s picture (photo by Nat Finkelstien)