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
7 hours 52 min ago The Art Institute of Chicago Just like the museum's collection comes from artists around the world, so does the Museum Shop’s assortment of products. We source exclusive products from artisans that are inspired by the cultures, mediums, and techniques represented in our museum collection. View our assortment of unique items from India.
17 hours 52 sec ago The Art Institute of Chicago NOW ON VIEW—Provoke: Photography in Japan between Protest and Performance, 1960–1975
Provoke was the English-language title for a Japanese photo magazine of the late 1960s; the name also designates the group of photographers and writers who put that formative publication together. Their influence has grown so great that the “Provoke era” is now international shorthand for sixties counterculture in Japan. This generational uprising swelled from the massive unrest, and sheer cultural disorientation, that accompanied the country’s transformation from ruined empire to superpower after World War II.
This exhibition places the achievements of Provoke alongside those of protesters and protest collectives, who made riveting photobooks, films, and photographs throughout the same era, as well as artists and art collectives keenly interested in live performance and its relation to the mechanical image.
20 hours 33 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.