Marianela D’Aprile

Dec 12, 2024 | nyra.nyc | Marianela D’Aprile

Architectural drawings, by their very nature, call attention away from themselves. They make their viewers think of—and, in the best of cases, understand—something else, something realer. That is their responsibility; it is the role they fulfill in the production of buildings. An architectural drawing with no built correspondent tends to hang limply.

Dec 9, 2024 | untappedjournal.com | Mark Byrnes |Marianela D’Aprile |Philip Poon |Anne Quito

At the peak of his fame, in the mid-1980s, artist Scott Burton often spoke of functional design and its value through the perspective of future archaeologists and anthropologists. “What matters is how intensely it reflects the history of its moment, how much it reveals of what history is about at that time,” he explained. A performance artist, furniture designer, and art critic in the 1970s, Burton’s visibility increased greatly in the following decade.

Nov 25, 2024 | untappedjournal.com | Marianela D’Aprile |Philip Poon |Anne Quito |Diana Budds

On the last page of Hélène Binet (Lund Humphries), a book of the photographer’s work released this past spring, an image, shot in Binet’s signature black-and-white format, depicts an installation by the late architect Zaha Hadid. The caption tells us that the photograph was made in 2000 at the Académie de France, located at Rome’s Villa Medici, and that the taut lines stretching across the frame are red twine.

Oct 25, 2024 | pitchfork.com | Marianela D’Aprile

The drama of domestic life is, for the most part, predictable. There are people playing roles for which they are more or less suited; there is a delimited setting; there are predefined relationships; there are well-worn actions. We could call this a script. Laura Marling calls it “patterns in repeat.”Marling—who started her career so young that she once was barred from entering her own gig—for years closely guarded her privacy and personal life, making herself something of an intentional mystery.

Sep 24, 2024 | jacobin.com | Marianela D’Aprile

It would have been easy, a book or two ago, to blame it on age or circumstance: young writer, whiz kid, former debate champion, writes the same characters over and over, likely loosely based on her or her friends. I wouldn’t have cared for that, but it would have made sense, an excuse for why the novels kept more or less moving around the same sets of interpersonal dynamics without ever saying anything quite real about them. If that were true, it would have also followed that she’d grow out of it.