I give a lot of tours of the Modern Wing, and there are details about the building that most visitors like but that aren’t necessarily apparent to anyone going through the building on their own. So, here are some “secrets” of the Modern Wing.
The building that now sits on Monroe Street is actually the third version of the expansion that the museum planned. We started thinking about expanding in 1999, before Millennium Park was built. So the original idea was to put the expansion on the south side of the building, over the railroad tracks. But once Millennium Park started to become more than parking lots, broken bottles, and train tracks, the architect Renzo Piano and museum leaders decided to completely reorient the building to face north. This move was made in 2001. To “talk” to the park, and to test some proportional ideas for the façade, Piano designed the two Exelon Pavilions across the street from the Modern Wing. You may know these pavilions as the entrances to the parking garages under the park. Same materials, same ideas as those for the Modern Wing. Modest structures, big architect.
A guiding principle for the Modern Wing is Piano’s idea of “zero gravity”—that buildings should appear to levitate and lift. I had always heard about this idea, and I sense it when I’m in the building, but it was never quite sure of how the details—beyond lots of verticals—worked. But the key to it in the Modern Wing is that everything is designed to not quite meet the floor. Every wall has a one-inch “reveal” at the bottom of it. Piano designed all the benches, and they all sit slightly up off the floor on little pegs. Every sculpture pedestal and platform also sit up off the floor. The main staircase also “floats,” with an inch between what appears to be its base and the floor. Tiny detail, huge impact.
2 hours 25 min ago The Art Institute of Chicago NEW ACQUISITION—In the early decades of the sixteenth century, Antwerp was a great center of commerce, finance, and luxury trade. The Flemish city attracted innovative painters like Quentin Massys, Jan Gossart, and Joos van Cleve working in a style that combined northern traditions with Italianate forms. Numerous other painters, whose work is only known under names of convenience, like the Master of the Lille Adoration, swelled the ranks of the Antwerp guild.
Saint Jerome in Penitence (by the Master of the Lille Adoration) is an ideal addition to our collection and can be seen alongside other exemplary paintings from Renaissance Antwerp—on view in Gallery 207.
1 day 1 hour ago The Art Institute of Chicago This bronze by Daniel Chester French is a reduced version of the full-size statue in the Lincoln Memorial in Washington, D.C., which French worked on with the architect Henry Bacon. The Lincoln Memorial has remained a cherished destination at the National Mall since its dedication in 1922.
Find French's historic depiction of Lincoln in our galleries of American art.
3 days 3 hours ago The Art Institute of Chicago NOW OPEN—Abstract Experiments: Latin American Art on Paper after 1950
During the mid-20th century, Latin American artists were active in the evolving international discourse on modernity, at a time of industrial expansion and political transformation in South America.
Abstract Experiments provides an illuminating complement to Hélio Oiticica: To Organize Delirium and reflects the Art Institute’s recent efforts to expand its holdings of Latin American painting, sculpture, and works on paper.