Chicago-based illustrator Edie Fake’s colorful architectural drawings explore the concept of queer spaces. In his work, identity, gender, and sexuality are metaphorically depicted through architectural elements, both real and imagined. This series is currently on display at the Museum of Arts and Design as part of the Surface/Depth: The Decorative After Miriam Schapiro exhibition, on view through September 9.
Posts tagged with "Museum of Arts and Design":
Pratt Institute has selected Allied Works to complete a new building to house its Master of Fine Arts and Photography programs on their 25-acre Brooklyn campus, providing the School of Art “a distinct...identity on campus for the first time.” The project will feature flexible classroom, studio, and tech lab space, as well as room for public galleries. The new School of Art is designed to be a “cultural anchor” for Brooklyn and for the broader New York art world. The project intends to “catalyze both the campus and community, [and become] a wellspring of art and creative energy,” according to Allied Works founding partner Brad Cloepfil. Allied Works, which was founded in 1994 and has offices in Portland, Oregon and New York City, has completed a number of other cultural and educational commissions, including the National Music Centre of Canada in Calgary and a creative arts center for Portland’s Catlin Gabel School. While they have completed an array of projects in New York, including the 2008 transformation of the Museum of Arts and Design, this will be the firm’s first foray into Brooklyn.
Multimedia artist Derrick Adams will premiere his first major museum exhibition in New York with Derrick Adams: Sanctuary. Hosted at the Museum of Arts and Design (MAD), Derrick Adams: Sanctuary draws on The Negro Motorist Green Book, an annual guidebook for black travelers during the Jim Crow era, to reinterpret themes of mobility, freedom and leisure. “Sanctuary captures the spirit of road travel at a time when black Americans were not able to move safely around the country,” said Guest Curator Dexter Wimberly in a statement. “When I think about freedom in the truest sense of the word, I’m struck by how relevant The Green Book still is today.” Derrick Adams: Sanctuary will present eight mixed-media collages on wood panels, as well as large-scale sculptures. Through the inclusion of politically and historically relevant found fabrics in his collages, Adams comments on a period when infrastructure connected the country physically but deeply entrenched systems of exclusion prevented black travelers from crossing racial boundaries. His work highlights the importance of leisure for black Americans, as they could be legally denied safe spaces when traveling until the passage of the Civil Rights Act of 1964. Shannon R. Stratton, MAD’s William and Mildred Lasdon Chief Curator, stressed the material’s modern day relevance. “It’s a nod to leisure as subject while acknowledging collage’s historic relationship to current events and pop culture. As part of MAD’s 2018 spring season, The Personal Is the Political, Adams demonstrates how vernacular materials and accessible techniques have been fertile ground for powerful, yet approachable, expressions of selfhood.” Accompanying Adams’ show will be the opening of Unpacking the Green Book: Travel and Segregation in Jim Crow America in March. The exhibition will dive into the history of The Green Book in an interactive project space, and present digitized copies of the original text. Ultimately the show’s organizers hope that this new exploration of author Victor Hugo Green’s work will allow museum guests to frame 21st century issues of mobility and race in a broader historical context. Derrick Adams: Sanctuary will open Wednesday, January 24th with a special preview event for members from 6:00 pm to 8:30 pm, and run from Friday, January 25th through August 12th. Unpacking the Green Book: Travel and Segregation in Jim Crow America will run from March 1st through April 8th. Derrick Adams: Sanctuary has been guest curated by Dexter Wimberly, Executive Director of Aljira, a Center for Contemporary Art, with support from the MAD Assistant Curator Samantha De Tillio. Samantha De Tillio also curated Unpacking the Green Book: Travel and Segregation in Jim Crow America.
The Museum of Arts and Design (MAD) has appointed a new director, Jorge Daniel Veneciano. Veneciano, who previously served as the executive director of El Museo del Barrio, will take the helm of the New York museum on October 3, in time for MAD's 60th anniversary year. He's replacing Glenn Adamson, who left the post in March of this year. "I have been enthralled with MAD ever since it opened on Columbus Circle," Veneciano said, in a statement. "The Museum has been nothing short of magical in its presentations, and I'd like to see it reach more visitors and new audiences, to share with them the Museum's attention to the power of art in the making of worldly things. MAD is brimming with potential, and I am excited to work with its passionate board and staff in directing the Museum to its destiny of leadership among New York institutions." Veneciano comes to MAD with PhD in English and comparative literature from Columbia, an MFA from California Institute of the Arts, and a resume long on curation and museum leadership. Prior to his directorship at El Museo, Veneciano worked out west as the director of the Sheldon Museum of Art in Lincoln, Nebraska. There he curated The Naked Museum, an exhibition on the Philip Johnson–designed Sheldon Museum and Its Surreal Thing: The Temptation of Objects, a show of surrealist sculpture. In the 1990s, he did curatorial work at the City of Los Angeles Department of Cultural Affairs (1991–1994), and the Studio Museum in Harlem (1994–1999).
A cross-section of postdigital design work illustrates the role of parametrics in the built environment.Spawned from his 2011 show on Patrick Jouin, Museum of Arts & Design (MAD) curator Ronald Labaco conceived Out of Hand as a more comprehensive show that clarified the role of digital design, from its capabilities to its significance in our daily lives. “People just didn’t get it,” said Labaco of Jouin’s 2011 MAD show. “Unless you’re immersed in it, it can be hard to understand so I thought if we showed something like this in the galleries again, we needed to provide information that can be digested more clearly.” Staged across three floors of the museum, with two exterior sculptures, Labaco said the show is an important program for MAD among other New York art institutions like MoMA, Cooper Hewitt, and the New Museum. The goal to raise awareness of 3D printing is timely, by chance. “Paolo Antonelli’s Design and the Elastic Mind, and two shows from Material Connection were complements to my show for the uninitiated,” Labaco explained. Out of Hand’s broad scope includes digital designing and fabrication processes like CNC milling, digital weaving and knitting, laser cutting, and 3D printing to display how these technologies influence the built environment. “It’s a historical look at the last 8 years and works from as early as 2005 are incorporated because, in my mind, that was when the major shift between rapid prototyping and 3D printing really occurred,” said Labaco. Organized in six themes, a cross-section of traditional methods and new design capabilities are illustrated by architects crafting art, artists doing design, and photographers making sculpture. Approximately half a dozen pieces were commissioned for the show while others were an extension of existing works: For example, a chair by Jan Habraken evolved into the more comprehensive Charigenics. Placards for each piece call out production methods, from 3D printing (10 materials are featured) to digital knitting, underscoring the multi-step creation process to make the point that digital design isn’t only press-and-print. And many of the show’s pieces are a combination of old-world handcrafting and newer digital geometries and computations. Pieces like Rapid Racer, Bosch’s 3D-printed vehicle fabricated over 10 days and weighing just 29 pounds, and Zaha Hadid’s Liquid Glacial "Smoke", a coffee table CNC-milled from polished plexiglass, illustrate the functional role of digital design. Data input is actively incorporated through two interactive pieces from Francios Brument, for which he developed his own scripting, as well as a Shapeways workshop that is open to the public. Traditional forms are realized by new methods in Nendo’s 3D-printed paper boxes that are lacquered with traditional urushi for a ringed faux bois. Other featured artists, architects, and designers include Richard DuPont, Greg Lynn, Anish Kapoor, Marc Newson, Frank Stella, Daniel Libeskind, and Maya Lin. Just as dynamic as the digital disciplines themselves, new pieces are being added throughout the show’s run. Look for a new piece from Iris Van Herpen by mid-November. Out of Hand will remain on view through July 6, 2014.
On View> Museum of Arts and Design Presents “Against the Grain: Wood in Contemporary Art, Craft, and Design” Through September 15
You may think you know wood, but this exhibition stretches the material beyond convention into the 21st century, and has a distinct sense of humor. Artists and designers play with the form, starting with artist Martin Puryear, who inspired curator Lowery Sims to explore trends that destabilize conventional methods. His specially commissioned piece for this show is a puffy, tufted wing-back chair that looks so soft you could sink into it, but it is actually solid pine. Its title, A Skeuomorphic Wing Chair, 2012, refers to the ersatz, an object made to resemble another material to make the new look comfortably old and familiar, like a digital notebook app that mimics yellow lined paper. Weight is conveyed differently in Yuya Ushida’s Sofa_XXXX, 2010, a delicate lattice comprised of 8,000 recycled bamboo chopsticks, that can be expanded or contracted; or Mark Moskovitz’s Facecord, 2012, which looks like a stockpiled cord of logs, but is actually a chest of drawers. Seating figures prominently in this exhibition in a variety of guises. A skyscraper sits on a chair. While this is impossible physically, Alexandre Arrechea, a Los Carpinteros alumnus (the Cuban arts collective), has created this intentional instability and called it Conspiracy, 2007, to comment on issues of power, surveillance, and control. With its strong dark and light striped patterns, the work feels playful at the same time, reminiscent of Arrechea’s spring 2013 installation, No Limits in the Park Avenue median strips of iconic New York buildings including the Chrysler and Empire State Building as the wriggling tips of a coiled hose and snake, the Flatiron as a flag on a pole, and the Helmsley Building in a circle eating its own tail. Tea Ceremony Chair, 2010, by Hiroki Takada sports impossibly tall shoots. Gary Carsley’s D.100Wave Hill (Tree Struck by Lightning), 2012, sets tree-photographed contact-papered Ikea chairs against a background of the same images, virtually camouflaging the furniture; similarly, Piet Hein Eek shows chairs and wallpaper in the same scavenged wood to create trompe l’oeil Scrapwood Wallpaper and Oak Chair in Scrapwood. New interpretations of Thonet, the maestro of bentwood, delight. From Matthias Pliessnig’s Thonet No. 18, 2007, a dynamic warren of tangled oak overlaying Thonet’s classic No. 18 chair buried beneath; to Christopher Kurtz’s A(typical) Windsor Form, 2004, which comingle the backs of two chairs much like Marina Abromovic’s hair conjoined with Ulay’s in Relation in Time, 1977; to the delightful Thoneteando video by Pablo Reinoso, where a woman does battle with a suite of No 18s, which are accompanied in a display nearby by footwear called Prêt-à-Thonet, 2007, and Two for Tango, Fontainebleau Suite, 2012, a pair of picture frames locked together with bentwood tentacles. In a nod to the architectural, Hope Sandrow constructed Coop LeWitt North, 2012. Inspired by an actual chicken coop, she used a Sol Lewitt drawing like a blueprint, giving it dimensionality and functionality. Sarah Oppenheimer’s site-specific aperture is an architectural anomaly that navigates constructed space, in this case, an interior wall of the gallery. The wooden corner oblong frames views of the adjacent galleries. Alison Elizabeth Taylor’s marquetry is installed on the ceiling, folding onto the adjacent walls, as well as on the floor, using semi-demolished, decaying architectural elements that exploit the illusionistic potential of this technique. Traffic, 2009, by Hunt Clark, is a video projection of street traffic projected onto a smooth, undulating free-style blob that makes you want to get stuck in a traffic snarl. The building is enlivened by an installation suspended from the ground floor lobby ceiling. A torqued ring of interlocked ready-made chairs is entitled Year and a Day, which has a double meaning: in medieval Europe, an escaped serf who remained a fugitive for this time period became free by law; and it is the time required for one revolution of the Earth around the sun on its own axis. Artist Marc Andre Robinson says chairs “stand for a choice: a choice to rest, to reflect, to stand, to author, and even rebel,” and a year and a day “is a record of a type of movement that begins as a benign measurement of time, but somehow ends in liberation.”
After a 16-year tenure as director of The Museum of Arts and Design (MAD), Holly Hotchner stepped down from her position. Under her guidance, MAD has been transformed into a significant cultural institution, attracting more than 400,000 visitors annually. Hotchner’s leadership ends on the occasion of the 5th anniversary of the museum’s new location. Hotchner wrote, in a statement, “that it would be best for the institution I have nurtured and love to build upon all that has been achieved and move forward into the future with new leadership.” Hotchner fashioned a new vision for the American Craft Museum by focusing on the interdisciplinary spirit of craft today. This foresight led to the establishment of the museum’s home in 2008 at 2 Columbus Circle, designed by Brad Cloepfil of Allied Works Architecture. Throughout her term, she expanded the permanent collection to include established methods of craftsmanship as well as works of art and design produced with inventive new materials and practices such as digital media and technology. MAD’s board of trustees will begin a search for a new director in the coming month. Meanwhile, the museum has selected David Gordon, former director of the Milwaukee Art Museum and Secretary of the Royal Academy of Arts in London, to serve as acting director. Gordon will take over the everyday management of the museum.
Crafting Modernism: Midcentury American Art and Design Museum of Arts and Design 2 Columbus Circle Through January 15, 2012 Crafting Modernism: Midcentury American Art and Design presents the evolution of the design industry spanning 25 years, from the late 1940s to 1969. The show explores the contributions of artists and designers using craft media—defined here as clay, fiber, wood, metal, glass, and alternative materials—within a culture focused on mass-production in the years following World War II. Through their work, designers and craftsmen reacted to the plethora of machine- and mass-produced consumer appliances, furniture and textiles; at the same time a there was a growing consumer interest in the individualistic aesthetic of handmade works. Craft, which spanned the fields of product design to architecture, became a medium for social commentary, philosophy and wit, as seen in the My Mu terracotta vase by Isamu Noguchi (above), an idiosyncratic, three-legged ceramic containing a central cavity that provocatively references the Zen concept of mu, meaning “nothingness.” In addition to Noguchi, the exhibition features the work of Harry Bertoia, George Nakashima, Ray and Charles Eames, and Alexander Calder, among others.
"Drafted: the evolving role of architects in furniture design." It was a MAD idea: To talk about why American manufacturers don’t do the job they once did in supporting American architects and designers at making furniture. Held March 10 at the Museum of Arts & Design’s own restored and midcentury soigné auditorium, the assembled panel really knew what they were talking about: Michael Graves recalled his early days working for George Nelson in riveting detail and why Target has dropped independent designers; Jeffrey Bernett, one of the few American designers routinely designing for B&B, summed up Italy versus Herman Miller; Gisue Hariri of Hariri & Hariri eloquently addressed why architects feel compelled to make furniture, and what happened when her architecture firm tried to go there on a larger scale; and Granger Moorhead of Moorhead & Moorhead gave great reason for everyone to hope there is another golden age, especially for New York furniture designers, just ahead. https://vimeo.com/21070456
Dan Rubinstein, editor-in-chief of Surface magazine, is curating a series of lectures at the Museum of Arts and Design evaluating the future of American furniture design. Dubbed "The Home Front: American Furniture Now," the five-lecture series begins this Thursday, January 13 as leading furniture retailers present their views on the difficulty selling American design. In March, AN's own executive editor Julie Iovine will lead a roundtable panel called "Drafted" on the importance of American design for architects and designers. Iovine will be discussing American design with Michael Graves, Calvin Tsao, Gisue Hariri, and Jeffrey Burnett to discern their experiences and strategies on design. As MAD says, "Like experienced chefs preferring their ingredients to come from local sources, architects would have the most to gain from a stronger American design scene." Rubinstein recently sat down with Dwell for conversation on the event and the problem of American furniture design. At its heart, the event will be tackling the problem of American design: "The different events cater to picking apart the question of what's wrong with American design. There's something wrong but we don't know what it is. We know there's great design out there and that it exists and those thoughts stem a lot of interesting conversations." Find more info on The Home Front lectures at AN's event Diary: