Chareau Thesis Statement

How is it possible for scuba divers to stay underwater for a long period of time? A man named Jacques Cousteau made that all possible. His invention of the aqualung made scuba diving possible, letting people explore the underwater world.

The Soane style was not one to be reckoned with. Despite exploring all the classical styles of architecture in his lifetime, Soane, abstracted these classical conventions to fit his own personal interpretation , leading “towards a new freedom of architecture.” It is this freedom that allows us to disagree with the critical views of the 19th century, a time where Soane was indeed, “a great architect who suffered for his originality and integrity. ” Additionally, what people struggled to realise was that no. 13 Lincoln’s Inn Field functioned both as a house and as a museum for the study of architecture, emphasising further the building was entitled to defy convention. As the curator for the museum from 1945 to 1984, John Summerson understood that despite how deeply the criticism affected him and the limitations put on his architecture at the time, Soane was successful in achieving a sense of immortality, “surviving himself in the minds and thoughts of other men, undying and imperishable (Hazlitt).” This is made clear through the existence of his museum; it is Soane’s most visible projection of himself, whereby the façade of no. 13 Lincoln’s Inn Fields acts as the beginning of a story expressing the embodiment of Soane as an architect. (200

It showcases the dense, extensive and delicate connections in the artist’s experimental practices, which includes performance, installations, prints, photographs, films and paintings. The show reveals the transgression with the thematically structured six main galleries with an impressive display of Parr’s diaries in the foyer, films in the theatre and the artist’s archive, ‘Information Centre’. According to Parr, he said, “But in the foyer, I must say, there’s this rather beautiful pop-up space, which is nearly confined entirely to language pieces, and outside this space on the curved wall we’ve got 40 beautiful vitrines..and I’ve displayed 45 years of diaries. So the foyer’s got all of this text, and it’s very intimate.” The diaries were a very clever idea that gave a lot of help to the audience in terms of better understanding of the

With exhibitions of the most thought-provoking art, The Museum of Contemporary Art in Chicago is one of the Nation’s largest facilities devoted to the art of our time (“About the MCA”) . The mission of the MCA is to offer a direct experience to the public of modern day art and living artists. German architect Joseph Paul Kleihues designed the new building with seven times the square feet of its previous facility (“The Building”) . October of 1967 the museum opened its doors to the public for the first time. The Museum of Contemporary Art is a symbol of modern art, culture, and the artist of our time. It is a stepping stone in history and will leave footprints in the heart of Chicago for many generations to come.

This website throws a light on the building Jewish Museum (The Libeskind Building) , located in Berlin. It was designed by Daniel Libeskind a polish-American architect,artist and professor born in 1946 in Poland. Through Libeskind’s life the kibbutz experience raised his interest for green architecture.. ‘Kibbutz’ is a communal establishment in Israel,its mostly a farming space.The museum was built in 1992 a year later after Libeskind had drawn up the design.The museums name has another name called Between the lines,this title reflects the strain of German-Jewish past.The history of the German-Jewish is integrated into the design of the building,thus taking shape of two lines which shows the cultural connections.His design for the museum was

This transforms a regular museum visit into an experience, such as one was stepping into Greece and into the Parthenon. Furthermore, these classical properties highlight The Caroline Wiess Law Building’s unique property as a modern building that has held on to classical roots. Moreover with having the purpose in mind of further extenuating its purpose to the community. This purpose is one of educating the public of finer things, which has been transmitted through its architecture. Therefore, one's experience while visiting the facade is transformed from a bland modernistic approach to an overwhelming sense of awh from a more classical

Sorensen, Kimberly. The Chareau Show: French Designer Pierre Chareau at the Jewish Museum, Phillips, 2017

Frans Hals’s painting of Portrait of a Man was on the Beaux-Arts Court Floor, in the European Art exhibit, specifically in the section titled “The Secular: Portraiture”. I found it interesting that they grouped works of art based on a certain theme or what they shared in common. For example, in this section all the pieces of art were various portraitures and at the beginning of the section, they had information on how the revival of portraiture came about, which allowed for anyone who hasn’t studied art history to understand the reasons behind each work of art. Furthermore, among each painting it lists the name of the artist and his years of life, the title of the work, the year it was made even including if it was a gift to someone, as well

The show comprised of renowned restaurateur/artist Michael Chow’s collection of modern portraiture, in addition to ephemera from the Qi Beijing Opera school and several recent works by Chow himself. Light, marketing-friendly, easily digestible and attractive to local palates, the exhibition must have been seen as a major boon for the fledgling museum’s otherwise patchy programming. Unfortunately the exhibit, hung sparsely in three cavernous rooms, was no more an exercise in critical curatorship, than the interior design of one of Mr Chow’s eponymous restaurants. Realised in the museum space, the disparate collection of portraiture by well-known Western artists, Chow’s large-scale experiments in abstract expressionism, and the personal/historical images of Chow’s operatic father, seemed united by no other discernable thread, than one man’s ego. But I don’t wish to lay all criticism exclusively at the door of the show’s curator, Xiang Liping. It is my contention that shortcomings in this exhibition are a result of a lack of professionalism at several levels within the institution. And as Hanru foretold, the museum has fallen back on an entertainment-style market ploy, in this instance relying on the celebrity factor of the exhibition’s benefactor/contributor/subject.

Although this week, I also was drawn to Truettner’s argument about passive and active perception of the artworks in museums, I was carried away with Barr’s involvement and the formative aspect of the “Modern Architecture: International Exhibition”. So, thank you for mentioning the “Case for Active Viewing. In his essay, Truettner contemplates an interesting controversy: on one hand, museums have to engage visitor into the active viewing for the full comprehension and understanding of the artwork, on the other hand, the excessive informational supplements might distract and discourage person from the artwork itself, and in some cases, ruin one’s personal interpretation, especially if the historic contest is in the disagreement with well-established

These include "Analog Network: Mail Art, 1960-1999" which is a collection of mail art that emerged in the early 1960's from Conceptual art practices and "MoMA Studio: Beyond the Cut-Out" that is presented in conjuction with the exhibition "Henri Matisse: The Cut-Outs." Other exhibitions are "Robert Gober: The Heart is Not a Metaphor", "Sturtevant: Double Trouble", "Cut to Swipe", "100 Years in Post-Production: Resurrecting a Lost Landmark of Black Film History", "Uneven Growth: Tactical Urbanisms for Expanding Megacities", "Nicholas Nixon: Forty Years of the Brown Sisters", and "Bill Morrison: Re-Compositions." Drawing from the MOMA's collection, "Making Music Modern" gathers designs for auditoriums, instruments, and equipment for listening to music, along with sheet music, record sleeves, animation, and posters. This exhibition examines various types of music. "The Paris of Toulouse-Lautrec: Prints and Posters" is an exhibit that explores five subjects that together create a portrait of artist Henri de Toulouse-Lautrec's Paris. Other current displays are "A Collection of Ideas" which focuses on works designed during the last few decades that introduce new categories of investigation and new design forms and "Jean Dubuffet: Soul of the Underground" that draws on MOMA's collection of illustrated books, drawings, paintings, prints, and sculptures by

“How do you make a building for contemporary art that stays contemporary in the future without stooping to a neutral language? And how do you attract a big public without compromising the selfish, private, exclusive time we all want to have in a museum?” These questions, put forward by Elizabeth Diller of Diller Scofidio + Renfro, represent the urbanistic motivation supporting the construction of Boston’s Institute of Contemporary Art (ICA). In such a manner Boston’s ICA engages, not only with the urban citizen, but also the urban landscape in which the site is located. The ICA conveys the idea of architecture as art in itself. As a presenter of art to the urban citizen and because of its open design, the inside allows the citizens to not only appreciate the art within the building but also see the art of the building’s natural environment and setting.

The Louvre was not founded as a museum, and the road to attaining today’s program expanded across six centuries of monarchies, wars, treaties, and revolution. Dating far back to the 12th century as a fortress for King Phillip II, the Louvre laid foundations with protective walls, and underground crypts to function not as a gallery for the public, but rather a stronghold for the private. As the decades turned, the old Louvre acclimated to the needs of the monarchies, undergoing usage as both a stronghold and a retreat, but entirely defense-based nonetheless (Deitz). Two centuries passed when Charles V altered the program from a bulwark of protection, changing it into a residency. Here the program shifted towards a notion of more public structure. Several French kings after, Francis I decorated the bulky fortress with a French renaissance style, further changing the Louvre’s appearance and adapting the architecture to the art style of the time. This move would be seen again in I. M. Pei’s controversial addition. Under King Henry IV, the Louvre underwent reconstruction (Kostof). During the rise of Versailles, artisans resided within the Louvre’s halls, giving way to the notion of an art influenced program for the building

The construction of The Jewish Museum, located in Berlin, Germany, began in the year 1992 and it opened in the year 2001. Designed by the architect Daniel Libeskind, the structure reflects his ideas and philosophies like, “Architecture itself is communicative. Each of my buildings tells a unique and particular story reflecting both programmatic content and the singularity of site.” He uses in his architecture, metaphors and fragmentation in order to bring out the deeper meaning of the building. This building, along with its function of being a museum, tries to communicate the history of the struggle of Jewish people through the structure and skin itself. This structure, according to my understanding, deals with multiple ambiguous questions and debates. The façade of the museum has windows which are almost like slits on the entire skin. These slits are supposed

The second chapter overlooks a series of art movements such as De Stijl, Bauhaus, Enlightenment, CIAM, and the work of famous architect Frank Lloyd Wright. This chapter attempts to find their position on senses and the cultural memory. The authors