Recent visitors to the Modern Wing may have noticed that one of the highlights of the modern collection has been off view. Henri Matisse’s Bathers by a River has been deinstalled from the permanent collection galleries so that it can be incorporated into the Art Institute’s landmark exhibition Matisse: Radical Invention, 1913–1917, which opened to the public on March 20.
Installing a special exhibition takes a large team that includes a complex cast of characters, including, but not limited to: the exhibition curator, exhibition manager, research assistants, museum registrars, conservators, carpenters, painters, electricians, lighting specialists, art installers and packers, and exhibition, web, and graphic designers. As the manager for this exhibition, I have the great privilege of being in the center of the culmination of a project that has taken over five years to organize.
What the public doesn’t see is the carefully orchestrated chaos that brought together 115 works from private and public collections in 9 countries. 29 couriers with 64 crates in 24 shipments arrived in the first two weeks of March, spurring thework of packers and art handlers opening crates, conservators writing condition reports, and curators placing works of art. Other staff will adjust lighting, touch up paint, make final revisions to wall text and labels, place graphic materials, and install computers and monitors featuring our conservation research. While the focus of Matisse: Radical Invention is of course the art, all of these details are necessary to show the exhibition in its best light.
Installation is the most exciting and labor-intensive time for all of us who have been dedicated to this exhibition. The most satisfying part of the project is showing off the final product—and the hard work of many—to the public. I hope you’ll see the show before it closes on June 20, and please do tell us what you think. Your feedback is invaluable to us!
—Jennifer P., Departmental Exhibitions Manager, Medieval to Modern European Painting and Sculpture
23 hours 1 min ago The Art Institute of Chicago “One day, I had a dream… there were three black boots in the middle of the road, with very high houses."
These are the words of Tarsila do Amaral, one of the leaders behind Anthropophagy, a national art movement that arose in 1920s Brazil with the goal of “cannibalizing” aspects of European modern art in order to make a new, more distinctly indigenous style. #5WomenArtists
Explore Tarsila’s work in depth when Tarsila do Amaral: Reinventing Modern Art in Brazil opens at the Art Institute this October.
Image: Tarsila do Amaral. City (The Street), 1929. Collection of Bolsa de Arte.
1 day 1 hour ago The Art Institute of Chicago NOW ON VIEW—Who Builds Your Architecture?
Whether majestic skyscrapers, eye-catching museums, or sprawling residential complexes, buildings emerge from intricate, lengthy processes of design and construction that involve a host of different actors. The New York–based group Who Builds Your Architecture? (WBYA?), who gives the show its name, presents research related to migrant workers and the global construction industry.
1 day 20 hours ago The Art Institute of Chicago Saints & Heroes brings the spiritual, domestic, and chivalric worlds of the Middle Ages and Renaissance to life in the 21st century.