The Big Sprig: “What many critics of the greenway didn’t recognize is that even the best designed urban landscapes are organic and require time to mature. That has been the case with the greenway, which, after eight years in the ground, is now a busy and vibrant urban park. The trees and plantings have grown and filled in. On nice days, people stroll, lounge, and gather in the more than 15 acres of plazas, lawns, and gardens. Food trucks and markets line the sidewalks and streets. Kids play all over the fountains and the carousel. It may not be perfect, but it is certainly not empty.”
A New Life for Urban Alleys: “Alleys, too, are vital players in a city’s overall ecosystem. As the need for cities to rely on more sustainable approaches has become more pressing, the proliferation of trash and flooding in alleyways has come to be seen not only an aesthetic blight, but an environmental one.”
Highways Can Help Pollinators Return to Health: In the face of rapidly-declining honeybee populations, farms across the country are under threat. In California, officials are now pioneering new methods to boost the health of the honeybees and butterflies: boost the health of pollinators along California’s 250,000 acres of highway roadside.
A Friendly Party in the Garden of Schindler: Three Performances for Routine Pleasures: The Schindler House opens up its gardens to host Steve Roden, Lucky Dragons, and Simon Leung and their new performances as part of the exhibition Routine Pleasures, organized by Michael Ned Holte. Each performance is a response to the site and the context of the exhibition but also a continuation of each artist’s ongoing work.
The Hammer Biennial’s breakout star? A 78-year-old retired gardener from Compton who once worked for Marlon Brando: “Shiokava, who has quietly whittled tree trunks and old telephone poles into mystical shapes in an old Compton body shop for several decades, made his living as a gardener for much of his life — including, at one point, for Marlon Brando. And yet he’s one of the breakout artists of the Hammer’s buzzy biennial, which opened to a warm critical embrace late last month.”