The Department of Textiles has been very busy since 2004. They have acquired over 550 pieces as purchases and gifts since that year, and their new exhibition puts an intriguing selection on display. Divided between Western and non-Western pieces, the galleries include a surprising amount of glitz (with glass beads or gold and metal thread from 16th-century China to 1920s France), to caricature (a hilarious Saul Steinberg cartoon of horses screen-printed onto cotton), propaganda (various copper-plate engravings of 18th-and 19th-century current events in Britain on handkerchiefs and other fabric), to the ostentatiously simple (a luminous, though artificially dilapidated Mizugoromo robe made of hemp and worn by 18th-century Japanese Noh actors portraying the destitute, old women or ghosts), or simply sculptural (Reiko Sudo’s Origami Pleat is a multi-folded confection which becomes impressively three dimensional).
Visitors can learn much about the fabrication and function of these pieces, even across cultures, where dowries consistently included fine linens. The first room, which emphasizes the Art Nouveau, Art Deco, and higher-couture side of fabric production, includes a number of these versatile geometric and floral panels. An Alphonse Mucha designed panel c. 1898, Woman with a Daisy (top image), was intriguingly described as being meant to cover a screen when printed on cotton fabric (as in the Art Institute example), while it would cover a pillow instead when printed on more luxurious velveteen. The colors are already rich enough to make up for the difference in materials. This flexibility of printed designs on fabric is also seen in the 1925 Begonia print (image immediately above) by the couturier Paul Poiret, which was block printed on cloth (here it is on linen, but it has also appeared on paper and other materials) for use either as wall paper or wearable or upholstery fabric. He had been inspired by a recent visit to the Wiener Werkstätte in Vienna, setting up his own fabric workshop in Paris, and happily outfitted one of his barge showrooms in 1925 on the Seine in this material. Fabrics’ functions are hardly limited, even though modern ideas may suggest certain fabrics are more appropriate for certain uses. In one extreme example, the Canadian comedian Don Cherry has a penchant for suits made out of drapes fabric. He would have been right at home in Poiret’s amazing Begonia.
3 hours 57 min ago The Art Institute of Chicago Fullerton Hall
Free to Illinois residents or with museum admission
Brazilian artist and scholar Andreas Valentin recalls his time in New York City with artist Hélio Oiticica and screens a series of short films the two produced in collaboration.
*Museum admission is free for Illinois residents every Thursday, 5:00–8:00—including during this event.
4 hours 21 min ago The Art Institute of Chicago NOW ON VIEW—Rodney McMillian: a great society
a great society represents artist Rodney McMillian's work in video over the last decade. Grappling with the complexities of class, race, and place in America, McMillian employs elements of performance, public speaking, oral history—and his interest in the science fiction genre—to expose the social and psychological consequences of economic inequality, endemic racism, and the failed promise of freedom and prosperity for all of its citizens. While McMillian's work engages the often stark realities of history and contemporary culture, it is motivated by the potential for alternative realities and future transformation.
Closing March 26—http://bit.ly/2l5Ja6e
9 hours 4 min ago The Art Institute of Chicago CLOSING SOON—John Massey: Cartón de Venezuela
One of Chicago’s great design stories emerged from the Container Corporation of America (CCA) in the middle of the 20th century. Upon his appointment in 1964 as the CCA's head of design, Chicagoan John Massey formed a research arm, the Center for Advanced Research in Design (CARD), that enabled great creativity and innovation within a corporate structure.
This exhibition features a set of posters by Massey for the CCA’s subsidiary Cartón de Venezuela. Each poster represents a different month of the year, with strong, clean lines and bold colors reflecting one of Massey’s primary influences, the Swiss school of design.
Closing March 5—http://bit.ly/2lYlz6I