Impressed: Modern Japanese Prints Indianapolis Museum of Art 4000 Michigan Road, Indianapolis, IN Through January 26, 2014 In traditional Japanese woodblock printing, a team of four artists worked to create a single piece. In this collaboration, the publisher directed the designer, the engraver, and the printer to apply their respective artisan skills for the creation of a final artwork. During the early 20th century, however, a new printmaking method arose in Japan, transforming the group project into an independent endeavor. The Sosaku hanga, “creative prints,” school of printmakers became the first solo artists in Japanese woodblock printing, designing and executing every aspect of their artworks by their own hand. Currently on exhibit at the Indianapolis Museum of Art is a collection of these masterpieces, including some the best known Sosaku hanga printmakers from the last century. Running through January 26, Impressed: Modern Japanese Prints explores the effects of blossoming individualism on woodblock prints. Distinguished by intricate detailing and the look of a highly texturized surface, the exhibition’s display of print works by Tajima Hiroyuki, Iwami Reika, Saito Kiyoshi, and Maki Haku shows that artists of this movement considered the woodblock print an art form, not a commercial venture.
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When Andres Lepik was a curator at the Museum of Modern Art in New York, he organized and curated Small Scale, Big Change: New Architectures of Social Engagement (2011). It was a landmark show for MoMA and identified a developing design trend of socially engaged projects aimed not at "grand manifestos" but to ones committed to "radical pragmatism." Now back in Germany, Lepik has curated an equally ground breaking exhibition on social design. The exhibit Afritecture: Building Social Change at the TU Munich Architecture Museum rightly focuses on the African content as the most exciting and creative place for todays architecture of social engagement. These projects are by both African- and non-African–based architects but all participate in a global network of social practices, groups, and organizations. They are all devoted to solving the continent's demanding social problems—often with advanced technologies but always using local materials and engaged with local and even traditional building practices. The exhibition comprises twenty eight projects from ten countries within Subsaharan Africa, including Kenya, Nigeria, Burkina Faso, and South Africa. There is a catalogue in both German and English by Hatje Cantz publishers and the exhibit runs through February 2, 2014.
Review> LOT-EK Designs the Exhibition, Erasmus Effect, On the Past and Future of Italian Architecture
The Erasmus Effect: Italian Architect's Abroad MAXXI Museum Rome, Italy Through April 6, 2014 The architecture and urbanism of Italy has long been an inspiration to architects from other parts of the world. From the grand tours of Lord Burlington and Thomas Jefferson to the establishment of the American, French, and British Academies, Robert Venturi's lessons learned from Rome, and the enormous influence of Manfredo Tafuri, Italy has been important to how we view architecture and livable cities. But now an exhibition, The Erasmus Effect: Italian Architect's Abroad, opening today at Rome's MAXXI Museum details how the world is enriched when Italian born and educated architects emigrate and find success abroad. The exhibit, curated by Pippo Ciorra, the Maxxi's thoughtful and prolific architecture curator (see his Energy: Oil and Post Oil Architecture Grids.) documents the " journeys, experiences, and stories of the many Italian architects to have found success abroad." This out-bound emigration by Italian architects is, of course, not new, and the exhibit documents the 20th century figures who left the country like Lina Bo Bardi, Paolo Soleri, Romaldo Giurgola, and Pietro Belluschi. The title, Erasmus Effect, is taken from the 1987 European communities exchange program that allowed students on the content to travel to other countries to study. But the exhibit's theme also documents the more troubling issue for the country: the inability of its young architects to have a career in the economically troubled nation. It also questions the problems of trying to actually create architecture in contemporary Italy, and what this means for the country's "brain drain" and future. Erasmus Effect includes projects by contemporary Italian expats: Architecture and Vision, Atelier Manferdini, Alessandra Cianchetta, Delugan Meissl, Djuric-Tardio Architectes, Durisch + Nolli Architetti, Barozzi / Veiga, ecoLogicStudio, Benedetta Tagliabue, gravalosdimontearquitectos, Vittorio Garatti, KUEHN MALVEZZI, LAN Architecture, Marpillero Pollak Architects, MORQ*, Paritzki Liani Architects, simone solinas, ssa | solinasserra architects, 3GATTI. The Maxxi installation is brilliantly conceived by New York City–based Italian architectural firm LOT-EK, who's signature shipping container architecture perfectly suits the "movement" theme underlying the show. Erasmus Effect opened December 6 and continues through April 6, 2014.
UNESCOitalia: Italy’s World Heritage Sites in the Works of 14 Photographers Mueso Italo Americano Fort Mason Center, Building C San Francisco December 6 to January 26, 2014 In celebration of 2013: The Year of Italian Culture in the United States, the Museo Italo Americano, in partnership with the Italian Cultural Institute and the Consulate General of Italy in San Francisco, will be showcasing a collection of images of Italy’s UNESCO World Heritage sites as seen through the lenses of 14 prominent Italian photographers. To be proclaimed a World Heritage site, a number of criteria must be met, and the site must hold outstanding universal value by means of exceptional design or cultural significance to a group or civilization. As of June 2013, Italy has 49 UNESCO World Heritage sites, which is more than any other single country in the world. The traveling show will be on display at the Fort Mason Center in San Francisco from December 6, 2013, to January 26, 2014. Ambassador of Italy to the United States, Claudio Bisogniero, describes the exhibition as, “A journey in pictures, bringing the Italian wonders to the United States. Fine art photography for a fascinating exhibition: a visual adventure across the length and breadth of our country.”
Auguste Perret: Eight Masterpieces !/? Through February 19, 2014 The exhibition, Auguste Perret: Eight Masterpieces !/?, is really about dualities: the subject of the exhibition, the architect Perret (1874-1954), an architectural innovator in reinforced concrete, and the exhibition’s designer Rem Koolhaas/OMA; and the historical perspective of Perret by the “scientific” curator, Joseph Abram, and the forward-looking interpretations by “artistic” curator, Koolhaas. This interplay is symbolized by the exclamation point/question mark at the end of the exhibition title. The exhibition is set in Perret’s crown jewel, the Palais d’Iéna (1937), originally a museum of public works for 1937 Paris Exposition and now home of the Economic, Social and Environmental Council (ESEC), a political assembly. The building showcases Perret’s new classical order, “the order of reinforced concrete.” An isosceles triangle with a rotunda housing an amphitheater at its peak, it extends to two long hypostyle halls linked by a curved gallery and flowing stairwell. The exhibition is in one of the long halls with historical materials on Perret's eight key buildings on the far side—main labels, original architectural drawings, and vintage photographs from the Chevojon studio. The central dividing aisle contains vitrines with architectural models and artifacts—letters, albums, objects, books, magazines from museum and libraries, and a rear-lit digital stereopticon. On the interior wall are artists’ and student interpretations inspired by Perret ranging from a film of the 1903 Franklin apartment building called 25Bis made by Ila Beka and Louise Lemoine (who also made Koolhaas Life about the housekeeper at Maison à Bordeaux) to projects focused on single buildings elements—column, room, floor, frame, arch, facade—by students at the national schools of architecture in Versailles and Nancy. Objects from the eight "masterpieces" including molds from screen walls, glass blocks, fabric swatches from the Mobilier National (1934), an 1849 concrete boat exhibited in the original museum, and a piano from Salle Cortot (1928) which will be played at concerts throughout the run of the show. (I visited the Salle Cortot at the École Normale de Musique for a lunchtime concert. Shoehorned into a narrow space, Perret makes clever use of a difficult site. Cortot recalled that Perret said, “'I will make you a hall that will sound like a violin.’ He was right. But, surpassing our expectations, that violin happens to be a Stradivarius.”) Perret’s buildings feel almost poured, they seem to be stretching, groaning to rise up. They required much less material to build than masonry structures, and what Perret learned from the industrial hangars he constructed early on, enables a thin shell of lightweight spans with slender, tapered columns, lofty ceilings, and the often patterned fenestration. Perret and his brothers had a combined architecture and construction firm, so were able to test and build concrete forms for their designs as well as for other practitioners. Perret is an interesting bridge. Corbusier, who was 13 years younger, worked for Perret for a year, and although he broke away from his mentor stylistically (there’s an account of their different versions of window design, Perret e Le Corbusier: Confronti by Giovanni Fanelli, 1990), he too, made notable buildings in reinforced concrete like Villa Savoye, Ronchamp, and Chandigarh. The Palais has been the setting for past Koolhaas/OMA projects for Prada: fashion shows, cultural events, and pop-up exhibitions, and now this show. The exhibition elements we see have been recycled from previous incarnations at the Palais. The cages on the wall supporting the historical section came from the 2012 24 Hour Museum by artist and filmmaker Francesco Vezzoli, and the staircases and platforms featuring student and artist works are from Prada catwalks. Koolhaas says that this space is easy to slot in the exhibition elements because the Palais was originally intended as a museum; it’s a ready-made grid that becomes a vessel for his ideas, and this exhibition should be seen as part of the entire series at this special venue. Since the building is not open to the public, August Perret: Eight Masterpieces !/? is a rare opportunity to see the space and these dualities come together.
Form/Unformed: Design from 1960 to the Present The Dallas Museum of Art 1717 North Harwood Street Dallas, TX Extended through December 2014 The Dallas Museum of Art is celebrating the work of prolific designers and architects from the 1960s to the present with its first comprehensive design exhibition. Some of the featured designers include Robert Venturi, Frank Gehry, Aldo Rossi, Zaha Hadid, and Donald Judd. Drawn entirely from the Museum’s own collection, the exhibition reveals the evolution of forms and ideologies that have shaped international design over the last half century. “Several of the works on view are recent acquisitions that reflect the continuing expansion of the Museum’s decorative arts and design program to include historic American and European work, as well as contemporary objects of international significance,” said Bonnie Pitman, The Eugene McDermott Director of the Dallas Museum of Art. From modern jewelry like The Golden Fleece, to iconic furniture, the exhibition spotlights the extraordinary work of some of the best designers of our time.
Dante Ferretti: Design and Construction for the Cinema Museum of Modern Art The Roy and Niuta Titus Galleries and the Film Lobby Dante Ferretti: Designing for the Big Screen The Roy and Niuta Titus Theaters Through February 9, 2014 When you enter the Film Entrance to the Museum of Modern Art at 11 West 53rd Street, you are greeted by two large lions. No, you are not 11 blocks south at the New York Public LIbrary, nor are you in Venice, Italy. You are entering the world of Dante Ferretti, the 70-year old multi–Academy Award–winning art director of films, opera, exhibitions, and even two New York City restaurants, Salumeria Rosi (design inspired by a scene in Federico Fellini’s Satyricon). Large, muscular, physically confident objects dot the floor—the clock-face from Hugo (Martin Scorsese, 2011), Art Deco chandeliers from Salò, or the 120 Days of Sodom (Pier Paolo Pasolini, 1975), and Arcimboldo figures comprised of vegetables, fruits and flowers (Milan World Expo, 2015). But these are actually lightweight, ephemeral objects made of fiberglass and not meant to last beyond the creation of the film or duration of the event. The clock and chandeliers were on the cusp of being tossed when curators Jytte Jensen and Ron Magliozzi salvaged them. We then descend from the lit ground floor to the darkened subterranean levels where the movie theaters nest and magic happens. Blueprints and models midway down indicate Ferretti’s working practice. Particularly noteworthy are his dividing lines for elements to be built in 3D butt up against a green screen for digitally rendered CGI. As film viewers, we see them seamlessly. The lowest level features a cinematic labyrinth, which echoes Ferreti’s own proclivities for intricate passageways and mazes, let alone the labyrinth of the mind. It is easy to get turned around in a labyrinth, but as Ferretti is our guide, we can rest assured that we will find our way to the end. This immersive 12-screen video maze is technically ingenious using Gerriet’s EVEN “front and rear” pure white screen fabric with identical distribution of image on both sides. Intentionally, the visitor can see projected images both from the correct orientation as you would seated in a cinema or in front of a monitor, and backwards. Upon seeing the screens for the first time just before the exhibition opening, Ferretti declared they would have to be changed since the material appeared too opaque. But once he saw the projection, he was amazed that the image penetrated to the verso without dimming or distortion. The BenQ MX822st projectors deliver short-throw, bright, sharp contrast images. No matter how many visitors are inside the labyrinth, no shadows are thrown. Scenes from many of Ferretti’s films are shown, and with the clips clocking in at different lengths you’ll never see the same combination twice. (This is the first time that MoMA insisted that clearances from all actors and guilds be obtained, rather than simply the studios, so it is doubtful that this sort of undertaking will take place again.) Mirrors at the end of the wall seem to extend the labyrinth to infinity. In fact, the original 1939 Titus lobby by Philip Goodwin and Edward Durrell Stone had full-length mirrors [see photo at top]. The walls are lined with paintings, which is how Ferretti starts the process. He paints wide-screen canvases depicting key moments in the film with central perspective, pronounced light sources, grids and catacombs, often in a palette of dark reds and browns. The directors then respond to Ferretti’s concept, whether Fellini, Scorsese, Pasolini, Franco Zeffirelli, Anthony Minghella, Kenneth Branagh, Neil Jordan, Terry Gilliam, Tim Burton, Julie Taymor, Claude Chabrol, David Cronenberg, Jonathan Miller, or the many others for whom he has created worlds of the imagination for their films. Ferretti divides his output into three categories, which are represented in the screenings of 22 features shown in MoMA’s theaters: the historic “period” films (Pier Paolo Pasolini’s Salò, 1975 and The Aviator, 2004) “fantasy” (Terry Gilliam’s The Adventures of Baron Munchausen, 1988 and Martin Scorsese’s Hugo, 2011) and “contemporary” (Elio Petri’s Todo Modo, 1976 and Scorsese’s Casino, 1995). What does Ferretti surround himself with in his studio to create these designs? Classic Italian modernism.
Nearly three decades after he was launched into design stardom by his biomorphic, aluminum Lockhead Lounge (above), famed Australian industrial designer Marc Newson will soon receive his first solo museum exhibition in the United States. Presented by the Philadelphia Museum of Art, "Marc Newson: At Home" will collect furniture, clothing, appliances, and Newsons’ 021C Ford concept car within a mock, six-room home in the museum’s Collab Gallery. Gathered from collections across Europe, Japan, and the United States, in addition to Newson’s personal cache, the objects on display will highlight the various facets of the designer’s distinctive style of flowing lines, bulbous forms, bright colors, and industrial references which helped to define an era of industrial design. The exhibition opens November 23rd and runs until April 20, 2014. Newson's signature riveted chaise lounge, both one of his most recognizable and rarest works, will be exhibited in the living room along side the matching, cello-shaped Pod of Drawers (1987), Super Guppy lamp (1987), and honeycombed, marble Voronoi Low Shelf (2008), among other works. The kitchen will contain a more attainable collection, including the curving, plastic Dish Doctor dish rack (1997), dinnerware by Noritake, glassware by Iitalla, cutlery from Alessi, and the Champagne Coffret Magnum (2006) for Don Pérignon. Newson's playful forms and vibrant colors take hold of the children's room, wherein the classic, three-legged Embryo Chair (1988), modular, plastic Bunky Bunk Beds (2010), and "Rocky" Rocking Horse create a vibrant, Jetsonian environment. To catch a glimpse of some Newson-designed clothing from G-Star, head over to the adult bedroom, which will also contain the retro Nimrod chair (2003) and transparent Atmos clock for Swiss watchmakers Jaeger LeCoultre (2008). The minimalist, streamlined Wall Hung "Invisi II" Toilet and Wash Basin (2012) take center stage in Newson's bathroom, while the 021C concept car, designed for Ford and exhibited at the Tokyo Auto Show in 1999, is housed within the garage.
DOC NYC New York City November 14-21 IFC Center and SVA Theater This year the 4th DOC NYC documentary film festival boasts 132 films and events: 73 feature-length, 39 shorts, and 20 panels. Tucked into the schedule are films about architecture, design, and the arts amongst a wide array of subjectmatter. Only one, If You Build It, was also seen at the recent Architecture & Design Film Festival, so here’s your chance to view a new crop and to see the ones you’ve missed. Rebuilding the WTC documents the process of rebuilding at Ground Zero for six years with time-lapse photography, paintings, drawings, and interviews with the working men and women on site. Tiny: A Story About Living Small chronicles one couple’s documentation of their efforts to build a micro-house from scratch in the Colorado mountains raising questions on sustainability, good design, living in houses smaller than the average parking space, and countering the trend of MacMansions. In Michel Gondry’s (Eternal Sunshine of the Spotless Mind) charming self-drawn animated film on linguist Noam Chomsky, Is the Man Who is Tall Happy?, he cites Frank Gehry’s work as 3D Mondrian. Toxic Hot Seat unpicks the history and consequences of regulations mandating fire-retardants for furniture, starting with the tobacco industry’s successful lobbying to blame house fires on upholstered furniture rather than lit cigarettes, and the resulting deadly chemicals inhabiting our interiors. PHOTOGRAPHY. Photographer Ishiuchi Miyako muses on the personal artifacts of Hiroshima victims: “To most people they’re only objects, but to me I see them as living creatures. I’m willing them into existence, saying, ‘please become visible’” which she does in her haunting photographs that infer the stories of their owners in Things Left Behind. Another photographer, Saul Leitner, deals with the triple burden of clearing an apartment full of memories, becoming famous in his 80's and fending off a pesky filmmaker in In No Great Hurry. A mysterious nanny, who secretly took over 100,000 photographs that were hidden in storage lockers and discovered decades later, is now the subject of an exhibition at Howard Greenberg Gallery (through December 14) and the film Finding Vivian Maier. ARTS. If you followed the trail of moving the 340-ton granite boulder across 105 miles, through 22 cities to the Los Angeles County Museum of Art last year for Michael Heizer’s installation of Levitated Mass suspended over a V-shaped walkway, here’s a chance to follow the process. 88-year old outsider artist Al Carbee makes art featuring Barbie dolls in Magical Universe, while Grey City depicts the struggle of a Brazilian graffiti art whose works are painted over by the city of Sao Paulo. The graphic mindscape and journals of Leonardo pop to life in the third dimension in Inside the Mind of Leonardo: 3D, and three Italian master tailors display their disappearing Old World Craft in Men of the Cloth. MUSIC. On the music front, there is Punk Singer Kathleen Hanna of Bikini Kill and Le Tigre (and wife of Beastie Boy Adam Horovitz); Revenge of the Mekons, the British punk-turned-country bank that’s been together since 1977 and is admired by Luc Sante, Jonathan Franzen, Mary Harron, and Fred Armison (who was married to the lead singer); We Always Lie to Strangers about the phenomenon of Branson, Missouri, the “live music capital of the world”; Harlem Street Singer, about the blind Reverend Gary Davis, whose blues and gospel mentored members of the Grateful Dead, Jefferson Airplane, Peter, Paul & Mary and played with Leadbelly, Woody Guthrie, and Brown McGhee; Pleasures of Being Out of Step, a portrait of 88 year-old jazz writer Nat Hentoff, who champions the idea of free expression as the defining characteristic of the individual; the exhilarating 20 Feet from Stardom about heard-but-not seen backup singers; We Don’t Wanna Make You Dance, a twist on the 7 Up series of revisiting the same cast of a white teen funk band over time; and Mercedes Sosa: Voice of Latin America on the Argentinean singer’s 60-year career. View the full schedule here. Films and directors: Finding Vivian Maier, JOHN MALOOF & CHARLIE SISKEL Grey City, MARCELO MESQUITA & GUILHERME VALIENGO Harlem Street Singer, TREVOR LAURENCE & SIMEON HUTNER If You Build It, PATRICK CREADON In No Great Hurry, TOMAS LEACH Inside the Mind of Leonardo: 3D, JULIAN JONES Is the Man Who is Tall Happy?, MICHEL GONDRY Levitated Mass, DOUG PRAY Magical Universe, JEREMY WORKMAN Men of the Cloth, VICKI VASILOPOULOS Mercedes Sosa: Voice of Latin America, RODRIGO H. VILA Pleasures of Being Out of Step, DAVID L. LEWIS Punk Singer, SINI ANDERSON Rebuilding the World Trade Center, MARCUS ROBINSON Revenge of the Mekons, JOE ANGIO Things Left Behind, LINDA HOAGLUND Tiny: A Story About Living Small, MERETE MUELLER & CHRISTOPHER SMITH Toxic Hot Seat, JAMES REDFORD & KIRBY WALKER 20 Feet from Stardom, MORGAN NEVILLE We Always Lie to Strangers, AJ SCHNACK & DAVID WILSON We Don’t Wanna Make You Dance, LUCY KOSTELANTZ
The West Coast architect Glen Small has now been largely forgotten, but from the 1960s through the 1980s he was at the center of architectural experimentation and ecological consciousness in California. His journey from an early founder of SCI-Arc and a pioneer of Califorinia environmentalism was documented in a biopic My Father, The Genius made by his talented film maker daughter Lucia Small. The architect, who in recent years has bounced back and forth between Oregon, Nicaragua, and southern California is back in Los Angeles at least in the form of an exhibition at the Assembly Gallery. The exhibit is called In Recovery and features his best know project, Green Machine (1970s), as well as Turf Town (1983), Biomorphic, Biosphere, Megastructure (begun 1969), Hong Kong Peak (1982) and a newspaper commissioned series, Detroit Trilogy, in the late 1960s. Small, who can be a polarizing figure—as his daughter's film makes clear—will be curated at Assembly by Orhan Ayyuce. Sadly, one of Small's most interesting recent projects, a water fountain sculpture in a roundabout (pictured at top) that was recently destroyed, Small claims, when "Rosario Murillo, the Nicaraguan president's wife 'waved her wand of death.'" It was replaced by a sign (below) featuring the late Venezuelan President Hugo Chavez's head surrounded, Small writes, "by a weird steel yellow cartoon [of] trees and small plastic trees sprayed different colors." Small is, of course, sad to see his fountain demolished but says it's "nothing personal…Venezuela, the oil provider, needed a sacrifice. It's just politics." The gallery will host several lectures with Small in attendance and curated by Ayyuce between November 9th and 30th. Opening Saturday, November 9th from 6:00-10:00p.m. at 2045 South La Cienega Blvd. Exhibition hours are Wednesday through Sunday, noon-6:00p.m.
The current Milan Triennale exhibition, running through December 2013, is on view in the city's Palace of Art building, part of Parco Sempione, the park grounds adjacent to Castello Sforzesco. Nancy Goldring visited the exhibit for AN and reports back on the highlights of the exhibit. When you enter the Milan Triennale, there is a line-up of fanciful chairs—rather a small version of Lucas Samaras' great show at the Whitney. But the exhibition itself promises a much more serious consideration of the world of design. The Association for Industrial Design (ADI) added a new category to its 2010 Trienniale Design: Service Design. This year in Design for Living, Luisa Bocchietto and the Triennale committee have added yet another new section—Social Design—those who have offered examples of responsible design, an attempt to get away from simply the design of beautiful objects and to focus on the activities of designers who are trying to make a contribution to the way we live and change the systems themselves. In the catalog Bocchietto says, "Creating new design products assumes that there has been an ethical reflection on their genuine usefulness. Certainly, there is a market to conquer and a job to do, but beyond this there is the urgent need to respond to certain questions that are no longer individual. We must address the problem of the use of resources, respect for the environment and future sustainability, social inequality, and ethical as well as economic sustainability." In the category of Social Design are a few projects that promise a new direction: Hispaniola-Design for Solidarity is a project for international relief and welfare design—an idea of Claudio Larger. The project was funded by the Italian ColorEsperanza in association and managed by the Domincan One' Respe NGO for inner city and disadvantaged areas of the Dominican Republic, where Haitian and Dominican children are unable to attend state schools. From ten prototypes the jury selected three designs to be produced by a local Dominican joinery—to generate workshops to create local products such as tables and chairs for the schools. Then Best Up is a non profit organization founded in 2006 to promote sustainable living through dialogue and sharing of knowledge and experiences. The idea is to spread good models that improve skills and share resources concerning personal wellbeing and the public good. It offers a way to promote collaboration between urban and rural sectors. It becomes a kind of center for the sharing information about smaller businesses and organizations that are attempting to change the way we live. This show—the presentation of their system—was selected in particular by ADI for its new format, Good Design Work Well to Live Better, that travels to spread information throughout the country. New Scenarios for Living has been examining water as a resource, in ways that respect the environment while also respecting cultural differences. It focuses on the recognition of the access to water as a universal right. It is exploring ways for protect and to save water supplies. Finally a powerful part of the exhibition is a show of objects and photos from Mathare in Nairobi documenting the ability of a community to adapt local materials and simple objects to produce new and useful forms. The show was beautifully curated by Fulvio Irace.
National Geographic’s “Greatest Photographs of the American West” Jordan Schnitzer Museum of Art 1430 Johnson Lane, Eugene, Oregon Through December 31 Throughout its 125-year history, National Geographic has been home to some of the highest quality photojournalism in the world, captivating its audiences with powerful and spectacular imagery. This fall, the Jordan Schnitzer Museum of the University of Oregon is displaying the magazine’s greatest photographs of the American West; a region that has long captivated photographers. The exhibition will run through to December 31. Included are photographs by Sam Abell, Ansel Adams, William Albert, and many other renowned photographers. The exhibition is organized into four sections, each focusing on various aspects of the American West and its significance to the country’s national identity. From spectacular rock formations to cowboys and Native Americans, this exhibition draws from the significant holdings of the National Geographic Archive. The American West was organized with the National Museum of Wildlife Art of the United States and Museums West.