Exhibitions > As Seen: Exhibitions That Made Architecture and Design History
As Seen: Exhibitions That Made Architecture and Design History
October 1, 2015–August 14, 2016
Exhibitions have long played a crucial role in defining disciplinary histories, as they mark pivotal moments in time and document the environment in which new narratives or arguments unfolded. At a moment when the fields of architecture and design, spurred by a multitude of crosscultural and global conversations, are opening up to new definitions, ways of working, and design and production processes, this research highlights how an exhibition can help to both concretize and critique ongoing technological and cultural shifts. As Seen is an ongoing research project that looks at the influence of architecture and design exhibitions years after their closing.
The selection presented in As Seen focuses on 11 group exhibitions from 1956 to 2006, organized by a wide range of architecture and design professionals. Through varied approaches, these exhibitions reflected on then-current dilemmas, identified alternatives to prevailing practices, and reasserted design’s implications for everyday life. Since their debut, many of these exhibitions have grown in influence through the spread of their ideas and the rising popularity of the designers involved. As Seen features a range of materials—installation images, posters, invitation cards, catalogues, correspondence, and floor plans—that are more than residual and provide glimpses into the concepts driving the exhibitions as well as the physical spaces they once occupied. Critical discourse from the media and scholars presented alongside these materials illuminates and helps to vivify the discussions surrounding these events at the time. These presentations show how the tools of curators, graphic designers, industrial designers, architects, and others can be catalyzed toward new ends, which often resonate beyond the temporal duration of the exhibition itself, ultimately making history.
Initiated as part of the Istanbul Design Biennial 2014, the research has been brought to Chicago with the aim of continuing the dialogue and illustrating a cross section of creative output to be seen through new eyes. Although it presents only a small sampling of exhibitions—by no means global in scope—the hope is that this installation reignites conversations about the influence of exhibitions on the practice and perception of architecture and design.
Sponsor This exhibition was made possible by the generous support of the Architecture & Design Society.
The exhibition design is by Project Projects.
View of IBM Pavilion by Charles and Ray Eames in the 1964 New York World's Fair. Courtesy Eames Office, Library of Congress.
3 hours 35 min 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.
7 hours 8 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 6 hours 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.