Visitors to the popular Futurama pavilion at the 1939 New York World’s Fair were given a souvenir: a pin that read, “I have seen the Future.”
As I write this, activists in the West Bank are instructing protesters in Ferguson, Missouri, via social media, on the best ways to counter the effects of tear gas. Milk or Coke in particular prove much more effective than water for washing the face and eyes.
The encounter between Bauhauslers and the Bengali avant-garde in 1922 has long tantalized scholars of South Asian modernism.
Just as there is no such thing as a private language, no artist—even one of the stature of Chris Burden—can play the art game alone.
As saints, Landy’s absurd machines become poignantly human: like us they are inefficient, flawed, and break down.
While exploring the School’s peculiarities, the exhibition at the Barbican, perhaps inadvertently, encourages the visitor to frame things in a wider cultural and political context.
How have humans almost the world over crafted sculptures from this curious alloy of copper to such wonderful effect?
How can we properly consider objects within their historical setting while allowing for the very real presence they have in the present day?
Do we read or see art made of words? Is the aim of text in art to communicate efficiently?
With near-simultaneous exhibitions at MoMA and MAK, it might be claimed that the poster designer Mihály Biró is finally breaking into the consciousness of art and design historians.
A response to Mark Alan Hewitt’s review of the exhibition and the catalogue for Gustav Stickley and the American Arts and Crafts Movement.
Until this show, there has been no major museum exhibition devoted to the most readily and widely worshipped deity in the Hindu pantheon, leaving a Vishnu-shaped void in the U.S. exhibition program.
Stickley is widely regarded as the central figure in the American arts and crafts movement. Considering his importance, it is odd that no monographic exhibition of his work should appear until this show.
“[O]n the continent, it was Austria, and in Austria, Vienna, which celebrated this festival in the most splendid and appropriate manner.” —Friedrich Engels
A watershed study of the medieval reliquary, the exhibition emphasizes a novel and serious turn towards an understanding of reliquaries as “things”.
Charles LeDray works as a tailor, shirtmaker, and hatter, but in impossibly small sizes, bigger than for a doll, but smaller than for a child.
To architecture and design historians, the Czech city of Brno—”the Manchester of Central Europe”—is probably best known as home to a number of key modernist buildings. . . .
Of all the designed spaces that adults in the developed urban world occupy on a regular basis, the office has probably received less attention from architecture and design historians than any other.
If you are interested in reviewing an exhibition, please contact us.
A brief sampling–in no particular order–of some of the current or upcoming exhibitions we would like to see reviewed (this listing will be updated regularly and we are open to contributor suggestions):
Detroit Institute of Arts
Art of Rebellion: Black Art of the Civil Rights Movement
July 23, 2017 – October 22, 2017
The Museum at FIT, New York
Force of Nature
May 30, 2017 – November 18, 2017
The Drawing Center, New York
Exploratory Works: Drawings from the Department of Tropical Research Field Expeditions
April 14, 2017 – July 16, 2017
Cooper-Hewitt, Smithsonian Design Museum
The Jazz Age: American Style in the 1920s
April 7, 2017 – August 20, 2017
The Metropolitan Museum of Art, New York
Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C. – A.D. 220)
Cleveland Museum of Art
African Master Carvers: Known and Famous
March 26, 2017 – July 16, 2017
Museum of Arts and Design, New York
Counter-Couture: Handmade Fashion in an American Counterculture
March 2, 2017 – August 20, 2017
National Museum of the American Indian, New York
Native Fashion Now
February 17, 2017–September 4, 2017
Los Angeles County Museum of Art (LACMA)
Moholy-Nagy: Future Present
February 12, 2017 – June 18, 2017
Museum of Fine Arts, Houston
Arts of Islamic Lands: Selections from The al-Sabah Collection, Kuwait
Through January 28, 2018
Grand Trianon, Château de Versailles
Peter the Great: A Tsar in France, 1717
May 30, 2017 – September 24, 2017
Victoria & Albert Museum, London
Balenciaga: Shaping Fashion
May 27, 2017 – February 18, 2018
Fashion and Textile Museum, London
The World of Anna Sui
May 26, 2017 – October 1, 2017
Design Museum, London
California: Designing Freedom
May 24, 2017 – October 15, 2017
The Fitzwilliam Museum, Cambridge
Sampled Lives: Samplers from the Fitzwilliam Museum
May 6, 2017 – August 4, 2018
Musée des Arts Décoratifs, Paris
Or Virtuose à la Cour de France: Pierre Gouthière (1732-1813)
March 16, 2017 – June 25, 2017
Museum of Archaeology and Anthropology, Cambridge
Another India: Explorations and Expressions of Indigenous South Asia
March 8, 2017 – April 22, 2018
Kunsthistorisches Museum, Vienna
The First Gold | Ada Tepe: Europe’s Oldest Gold Mine
March 7, 2017 – June 25, 2017
Centraal Museum, Utrecht
Rietveld’s Masterpiece: Long Live De Stijl!
March 4, 2017 – June 11, 2017
Bibliothèque Forney, Paris
Mode et Femmes 14/18
February 28, 2017 – June 17, 2017
Science Museum, London
February 8, 2017 – September 3, 2017
Music at Home
January 15, 2016 – June 25, 2017
National Museum of Ireland – Decorative Arts & History, Dublin
Shadow of Sodeisha: Japanese and Irish Art in Clay
Museum With No Frontiers (MWNF)
Sharing History: Arab World – Europe, 1815-1918