Anthony Paletta

2 weeks ago | metropolismag.com | Anthony Paletta

Storm King Art Center’s Capital Project has completely transformed its parking, visitor pavilions, and grounds for a more accessible—and less car-centric—outdoor art experience. By: Anthony PalettaPhotography: Richard BarnesSpanning 500 acres, Storm King Art Center is the monarch of American sculpture parks. Its works by single artists alone—14 by David Smith, ten by Mark Di Suvero, six by Louise Nevelson, five by Alexander Calder—would burst the lawns of most competitors.

1 month ago | curbed.com | Anthony Paletta

USM cord chairs, a rare Gaudí design, and more finds from this year’s festival. For many designers, the urge to make a chair often seems primal, even essential. But as Mies van der Rohe once commented, “A chair is a very difficult object. A skyscraper is almost easier.” You can’t hide your work with cladding and curtain walls, but you still have to produce a structurally sound object (most of the time).

1 month ago | washingtonexaminer.com | Anthony Paletta

America has fewer grand homes-turned-museums than Europe, for the perfectly simple reason that there have been Americans living grandly for so much less time. New York City has an unusually small number, and most of these bear no resemblance to their original uses. The Frick Collection is different. The museum, overlooking Central Park on Manhattan’s Upper East Side, was steel and coal baron Henry Clay Frick’s home and has remained home to his art — and then some.

2 months ago | washingtonexaminer.com | Anthony Paletta

Fitting a novel‘s plot into two hours is an undertaking like jamming Cinderella‘s stepsister’s foot into the glass slipper: You have to hack off toes or full limbs. But this is the age of binge-watching, and directors need to make fewer procrustean compromises to runtime now. Instead, they just make a miniseries, a format that offers the salvation of adequate time.

Feb 7, 2025 | dezeen.com | Anthony Paletta

Late film director David Lynch adored design and architecture and mastered the art of wielding it to evocative effect, writes Anthony Paletta. Any director of consequence will pay close attention to set design in their films, but few design interiors in the real world. Many directors are attentive to the furniture that appears in their work; few are sawing it in their own carpentry workshops. David Lynch was different.