Christian Dior ran his couture house for only ten years. However, his name remains inseparable from Paris fashion and his brand thrives seventy years later.
If there is one thing that Never Built New York and the breathtaking panorama at the Queens Museum can teach us, it is that the grid, far more than any architectural folly, embodies the spirit of this almighty metropolis.
It is fitting that the first American museum with an independent department of Korean art is home to this historic event: the first major exhibition that explores the past, present, and future of Korean fashion culture from a truly global perspective.
In April 2004, the curator of Frida Kahlo’s house museum in Coyoacán found a trove of Frida Kahlo’s personal items assembled over a lifetime of collecting all forms of Mexican artifacts.
Pierre Paulin was the first retrospective to be devoted to the leading French furniture and interior designer of the second half of the twentieth century. Paulin was drawn to the combination of simpler forms and the policy of large-scale production for a mass market.
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):
Los Angeles County Museum of Art (LACMA)
Ancient Bodies: Transformation, Personhood, and Power in Mesoamerica
April 12, 2018 – July 9, 2019
National Museum of The American Indian, New York, NY
Transformer: Native Art in Light and Sound
November 10, 2017 – January 6, 2019
The J. Paul Getty Museum
A Queen’s Treasure from Versailles: Marie-Antoinette’s Japanese Lacquer
January 23, 2018 – January 6, 2019
The Metropolitan Museum of Art, New York
The Secret Life of Textiles: The Milton Sonday Archive
December 18, 2017- December 31, 2018
Museum of Arts and Design
La Frontera: Encounters Along the Border
March 1 2018 – September 23, 2018
Cooper Hewitt, Smithsonian Design Museum
Jewelry of Ideas: Gifts from the Susan Grant Lewin Collection
November 17, 2017 – May 28, 2018
Museum of Fine Art, Boston
Klimt and Schiele: Drawn
February 25, 2018 – May 28, 2018
Museum of Fine Arts, Houston
The Design Reformation in Europe, 1845-1915: Selections from the Museum’s Collection
Through May 6, 2018
The Morgan Library & Museum
Now and Forever: The Art of Medieval Time
January 26, 2018 – April 29, 2018
Design Museum, London
Hope to Nope: Graphics and Politics 2008-18
March 28, 2018 – August 12, 2018
The Fitzwilliam Museum, Cambridge
Sampled Lives: Samplers from the Fitzwilliam Museum
May 6, 2017 – August 4, 2018
Musée des Arts Décoratifs, Paris
De Calder à Koons, Bijoux d’Artistes. La Collection Idéale de Diane Venet
March 7, 2018 – July 8, 2018
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 Forgotten Papyrus
May 8, 2018 – September 16, 2018
Calouste Gulbenkian Museum, Lisbon
The Emperor’s Flowers: From the Bulb to the Carpet
Through May 21, 2018
Musée du Louvre, Paris
Théâtre du Pouvoir
September 27, 2017 – July 2, 2018
June 24, 2017 – July 22, 2018
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