Frank Lloyd Wright is deservedly prominent in American architectural education. Consequently, Froebel blocks, a type of building block toy fundamental to Wright's youthful development, are widely known to architectural graduates. Little recognized though is that these geometric toys that Friedrich Froebel designed in Germany in the 1830s, were merely a small part of the educational system he invented and called kindergarten. And that in direct, and unprecedented fashion, they were the vehicle that first exposed not only Wright, but the likes of Le Corbusier, Vassily Kandinsky, Piet Mondrian, and everyone at the Bauhaus to the viability of geometric abstraction. Cubism may have been a common thread through modern art and modern architecture, but kindergarten began casting its crystalline spell over Western art years before the Cubists were born.
About the speaker
Architect and collector Norman Brosterman first became interested in the history of kindergarten while assembling the world's finest collection of antique building block and construction toys. In 1989, Brosterman's collection was acquired by the Canadian Centre for Architecture in Montreal. Discovering that the famed "Froebel Blocks," which are well-known to all students of Frank Lloyd Wright, were merely part of a much larger system of elegant, nature-based design toys, Brosterman embarked on years of research into the history of this lost world, culminating in the publication in 1997 of his award-winning book,Inventing Kindergarten. Brosterman recently co-founded Kaleidograph Design LLC, makers of the Kaleidograph paper kaleidoscope, pattern design toys, to create and manufacture nature-based toys in the spirit of Friedrich Froebel.
Celebrating the 50th anniversary of New York’s landmark legislation, this exhibition will feature more than a dozen public spaces, known and little-known, that have been designated as interior landmarks. In archival and new photography, it will highlight the importance of public interiors as the spaces in which we conduct our daily lives. Clarifying the different approaches to preserving and restoring interiors, it will point out the challenges and controversies in maintaining the integrity of these spaces in the face of changing needs and popular taste, and the achievements in keeping them accessible to the public. All new photography is by Larry Lederman © All rights reserved.
This exhibition is in conjuction with NYC Landmarks 50, a city-wide celebration of the the 50th anniversary of New York City’s Landmarks Preservation Commission, with many events, exhibitions and programs staged by public and private organizations around the city. Most of these will focus on architecture and exteriors — which, though the most visible, are not where people conduct their day-to-day activities. That function is served by interiors, which are not only integral to any structure, but are often more distinctive and historically significant.
Read the full press release here.
This exhibition is made possible by the generous support of:
The Achelis Foundation
The Felicia Fund
Ina Mae Kaplan Historic Preservation Grant from the IFDA Educational Foundation
The challenges of preserving New York’s landmark interiors doesn’t end with their designation. Changing circumstances that mandate their conversion to different functions may bring about alterations that change the appearance and may compromise the integrity of the site. Hugh Hardy, H3 Hardy Collaboration Architecture; Kitty Hawks, interior designer; and Justin Davidson, architectural critic, will join New Yorkmagazine design editor Wendy Goodman in a provocative discussion, introduced by Judith Gura, about the problems faced in preserving landmark interiors in an era of changing needs and a city committed to the pursuit of the new.
NYSID Auditorium, 170 East 70th Street, NYC
Tickets: $12 general public, $10 seniors and non-NYSID students
NYSID students, faculty, and staff are free.
Tuesday March 31, 2015 at 7:00pm
Glessner House Museum coach house
Reservations requested to 312-326-1480
Have you ever wondered what remnants of Chicago history lie buried right beneath your feet? Join Eric Nordstrom, owner of Urban Remains, for this exciting, fast-paced review of recent digs at several locations throughout the city including the former site of the John Kent Russell house (c. 1855), a near west side parking lot, and Wolf's Point. Erick will share discoveries he has made in long-abandoned privy pits and explain what layers of prior generations' trash reveal about the developement of the city we know and love today.
In 1904, the category “apartment houses” first appeared in the Portland City Directory. While only four buildings were listed, the new term signified the emergence of a new building type, one that differed from the boarding houses, hotels, and other multi-dwelling units of the time.
Within a few years, Portland’s explosive growth pushed this new form of housing to be an integral part of the city’s urban landscape. By 1910, 90 apartment houses were advertised in the directory, and by 1930 there were 750! Even so, the rise of the apartment building remains a less studied part of Portland’s architectural history.
This presentation by Ed Teague is an introduction to the history of Portland’s apartment buildings from the early 20th century to the Depression Era. Ed will explore the factors that influenced the evolution of this building type, such as improvements in materials, advances in construction and transportation systems, and the growth of the real estate industry. Moreover, the presentation will illustrate the skill and versatility of Portland’s leading architects as they expanded their design portfolios to include a new kind of housing.
Ed Teague is the head of the Architecture & Allied Arts Library at the University of Oregon.
What does Alfred Hitchcock have to do with a schoolhouse, albeit one that has attributes of the Victorian period? Furthermore, what are Mayan temples doing in Los Angeles? To find the answers to these questions we’re going to the movies… via architecture!
Using brief clips from selected films, AHC Education Committee member, walking tour docent, and retired architect, Bob Hermanson will explore the role of architecture in film. This program is sure to be an exciting adventure into realms of make believe, while also situated in the real world of concrete and glass cities. Along the way you’ll learn some of the vocabulary of film and architecture, as well as the art of storytelling and the fascinating, and architectural, role of film “sets.” The clapperboard is ready…let’s go to the movies!!!
Bob Hermanson has taught architecture at several universities in the US and in Paris. As a practicing architect he has worked in Minneapolis, Salt Lake City, and Depoe Bay, Oregon.
After 16 years, more than 4,200 tour-goers, and well more than 100 kitchens visited, our long-running and very successful Kitchen Revival Tour is being transformed in 2015 into the Old House Revival Tour!
The redesigned tour will still offer the opportunity to see great kitchens in vintage homes, but will also showcase other spaces that demonstrate Portlanders living in older homes; paying respect to the past while also making them their own. Our goals are to highlight ideas and resources for preserving original building materials, restoring spaces lost to previous remodels, and creating new spaces that are sensitive to the architecture of the home. Tour-goers might see a restored bathroom or original mid-century basement bar, a unique Arts & Crafts dining room, or a refurbished wrap-around porch. All living spaces in homes from the late 1800s through the 1970s will be considered for the tour. We hope that you will join us on April 11, 2015 as we begin this new era for our most popular education program.
We are accepting nominees for this year’s tour through February 2, 2015. For more information about the Old House Revival Tour, please call Val Ballestrem, Education Manager, at the AHC (503) 231-7264 or email info@VisitAHC.org.
With over 50 built projects across the world, David Adjaye is rapidly emerging as a major international figure in architecture and design. Rather than advancing a signature architectural style, Adjaye’s structures address local concerns and conditions through both a historical understanding of context and a global understanding of modernism. This exhibition—the first devoted to Adjaye—offers an in-depth overview of the architect’s distinct approach and visual language through a dynamic installation design conceived by Adjaye Associates.
Capturing a significant moment in Adjaye’s career, this exhibition spans projects from furniture and housing to public buildings and master plans and features drawings, sketches, models, and building mock-ups. In addition, a specially commissioned film featuring interviews with Adjaye’s collaborators including an international roster of artists, the exhibition curators, and other influential figures in the art world, helps bring the projects alive and makes clear the important role that Adjaye plays in contemporary architecture today.
Space, Alterity, Memory
In recent years, public protest movements such as Occupy and #BlackLivesMatter have demonstrated the ways in which political power, economic and ethnic identity, and cultural memory are closely linked to questions of space. The assembly of non-hierarchical oppositional communities in Zuccotti Park, the mass demonstrations across American cities countering police-enforced racial segregation, and the construction of precarious counter-monuments to the victims of state violence (such as the recently-destroyed memorial for Michael Brown in Ferguson, Mo.) exemplify how efforts to resist and commemorate are entangled with the unequally distributed access to public space in post-Civil Rights America.
Analogous issues are at the fore throughout the Americas, Europe, Asia, the Middle East, and Africa where new forms of local belonging and transnational immigration have revealed systematic patterns of racism and exclusion. Increasingly, public displays of xenophobia rely on essentialist notions of place and identity, which threaten fragile multicultural agreements. What happened to the utopic future of progressive cultural inclusiveness envisioned in our popular culture? Is this turn part of a cyclical longer history? What are the markers of state power, familial legacies, capital, fear and an empowered populace that allow for resistance and how do they manifest in the public arena whether virtual or real?
This special issue of Shift takes a broad view of these recent developments by exploring the interrelationships of space, alterity/identity and memory in visual and material culture. We accept papers, as well as exhibition and book reviews from a range of visually-oriented disciplines that explore such issues as:
The status of the public monument or assembly
Ephemeral, archival and other non-monumental forms of public memorialization
The fate of established art historical categories such as site-specificity or monumentality
The figure of the migrant in visual culture/the relationship between art, migration and urban space
The contestation and occupation of public and private space
The architectural construction of race
The city versus the nation as art historical or museological framework
This journal is an online publication. All submissions should be sent by email to firstname.lastname@example.org by 01 March 2015. The journal launch will take place 01 October 2015.
For submission and style guidelines, please visit: http://shiftjournal.org/call-for-papers/
Hillwood Estate, Museum & Gardens announces a new scholar-in-residence
program. PhD candidates or higher and any qualified applicants are
encouraged to apply. There is no application form. Applicants should
submit a curriculum vitae and a proposal, not to exceed 500 words,
stating the necessary length of residence, materials to be used and/or
studied, and the project's relevance to Hillwood's collections and/or
exhibition program including, but not limited to: art and architecture,
landscape design, conservation and restoration, archives, library
and/or special collections, as well as broader study areas such as the
history of collecting or material culture. The project description
should be accompanied by two letters of recommendation and will be
reviewed by the selection committee.
There are three potential types of awards:
Type #1: 1- 2 weeks
Hillwood will arrange and pay for travel costs to and from the museum;
housing near campus; shop and café discounts; free access to all public
Type #2: 1-3 months
Hillwood will arrange and pay for travel costs to and from the museum;
shop and café discounts; free access to all public programs; a stipend
of up to $1,500 per month depending on length of stay.
Type #2: 3-12 months
Hillwood will arrange and pay for travel costs to and from the museum;
shop and café discounts; free access to all public programs; visa
support (if necessary); a stipend of up to $1,500 per month depending
on length of stay.
Hillwood is in a special class of cultural heritage institution as a
historic site, a testament to the life of an important 20th century
figure, an estate campus, magnificent garden, and a museum with world
renowned special collections. Founded by Marjorie Merriweather Post
(1887-1973), heir to the Post Cereal Companies that later became
General Foods, the Museum houses over 17,000 works of art. It includes
one of the largest and most important collections of Russian art
outside of Russia, comprising pieces from the pre-Petrine to early
Soviet periods, an outstanding collection of French and European art,
and jewelry, textile, fashion and accessories collections. As part of
the visitor experience, and in conjunction with a robust offering of
public and educational programs, the Museum presents two changing
special exhibitions annually that bring together objects and thematic
content that highlight the acknowledged strengths of its permanent
Scholars will have full access to Hillwood's art and research
collections. The Art Research Library has over 38,000 volumes including
monographs, serials, annotated and early auction catalogs, and
electronic resources; the Archives contain the papers of Marjorie
Merriweather Post, her staff, and family members.
Application deadline: March 2, 2015
We will announce the award recipient(s) by March 17, 2015
For inquiries or to submit an application please contact one of the
Associate Curator of 19th Century Art
Head of Archives & Special Collections
CALL FOR APPLICATIONS:
Episcopal, Canonical and Secular Memorial Devices
in Medieval Cathedrals. Art, Architecture, Liturgy and Writing
Pilgrim Arts of the Eighteenth Century.
(Historians of Eighteenth-Century Art and Architecture session)
American Society of Eighteenth-Century Studies Annual Meeting
Los Angeles, Westin Bonaventure, 404 South Figueroa Street, San Fernando
March 20th 2015, 4.15-5.45pm
Session Chairs: Noémie Etienne, Institute of Fine Arts, and Meredith Martin, New York University and Institute of Fine Arts
1. Multiple Hands: Workshop Practice and Masters of Eighteenth-Century French Painting
David Pullins, Harvard University
2. Invitations to Travel: Circulating Pontiffs, Pilgrims and Pictures in the Bazaars of Early Modern India
Dipti Khera, New York University and Institute of Fine Arts
3. Moving Across Media: The Mobile Image and Eighteenth-Century Sino-French Encounter
Kristel Smentek, Massachusetts Institute of Technology
4. A Vernacular Orientalism: Exoticizing Discourse and Amateur Japanning in the Northern Connecticut Frontier, 1725-35
Matthew Fisk, Boston Architectural College
This SAH Field Seminar takes you to two South American nations united by the river between them, Uruguay and Argentina. Explore the architecture of the Rio de la Plata Basin with SAH 2nd Vice President Sandy Isenstadt and architect Natalia Muñoa. This seminar features an itinerary customized for SAH members and includes visits to sites not open to the general public, supplemental lectures, and a significant educational component designed to enhance your experience of the architecture, landscapes, and culture of the region. Travel with SAH to learn firsthand about the countries’ shared architectural heritage and the differences drawn by history and regional cultures.
Click the link above for more information and to register.
See link above for more information.
This symposium explores how recent forms of media influence our understanding and formation of landscapes. It examines the substantial changes that have occurred within the digital realm over the last decade, focusing in particular on the development of computationally enabled imaging and modeling. How can we better engage the “invisibles”—biotic and abiotic interactions and flows—that exist outside of human creation but can only be understood through our systems of representation? This symposium considers emerging methods and vocabularies that engage this question; it looks to our allied fields—architecture, art, ecology, engineering, and philosophy—to seek points of convergence as well as to challenge our presumptions when designing with nature today.
For details and to register, visit
January 31 - March 13, 2015
Opening Reception: January 31, 2015, 6:00 - 8:00 pm
In partnership with On the Map: Unfolding Albuquerque Art + Design opening events
Richard Levy Gallery is pleased to present Strata, an exhibition of collages, works on paper, and architectural models by internationally acclaimed New Mexico architect Antoine Predock. Strata samples the expansive scope of this architect’s approach to design with a focus on his process works for the Tacoma Art Museum and selected projects in the Albuquerque area. This exhibtion is in participation with On the Map: Unfolding Albuquerque Art + Design, an expansive collaboration celebrating the art of central New Mexico.
Critical to the spirit of Predock’s work is the enigmatic quality of the desert. His large scale collages reflect diagrams of historical data often seen in exposed rock faces in New Mexican landscapes. These collages are a collection of visual information relating to each site. Clusters of images are stratified with quotes ranging from Jorge Luis Borges to Richard Serra and reveal the beginning phases of his conceptual process.
Predock’s handmade clay models provide physical form to two dimensional ideas. Building on these forms, sophisticated three dimensional models are made. In spite of utilitarian function,these elegant models stand independently as abstract art objects. Process models of the Tacoma Art Museum in Washington, Robinson Valley House and United Blood Services in Albuquerque are exhibited alongside corresponding works on paper. These renderings illustrate structure, space and the impulse to reflect the spirit of environment. His intuition regarding the elemental power of place resonates throughout initial design phases and completed projects.
Antoine Predock is the recipient of the 2006 American Institute of Architects Gold Medal, Smithsonian Cooper-Hewitt National Design Museum’s Lifetime Achievement Award, and the 1985 Rome Prize from the American Academy in Rome. He was named a 2015 Royal Institute of British Architects International Fellow, an Honorary Fellow from the Royal Architectural Institute of Canada and National Academician in 2014, and a Senior Fellow of the Design Futures Council in 2010. His most recent project, The Canadian Museum for Human Rights in Winnipeg, Manitoba, opened in September 2014 and has garnered much attention. Predock currently lives and works in Los Angeles, CA and Albuquerque, NM.
Call for Papers Special Issue of American Jewish History dedicated to Material Culture
American Jewish History is currently seeking submissions for a special issue on material culture, guest-edited by Laura Leibman (Reed College). The journal offers articles on every aspect of the American Jewish experience and is the most widely recognized journal in its field. Founded in 1892 as Publications of the American Jewish Historical Society, AJH is the official publication of the American Jewish Historical Society (AJHS), the oldest national ethnic historical organization in the United States.
This issue will address how Jewish American religion and culture is shaped through and by material objects. Objects discussed may be from any time period colonial to the present, and may include images, ritual artifacts, architecture, sacred space, art, popular culture, or other physical forms.
Professor Laura Leibman would be delighted to speak to scholars about the possible fit of their work with the special issue. Proposals should include a 500 word abstract and an abbreviated CV. Manuscripts must not exceed 10,000 words including footnotes.
Deadline for proposals: February 15, 2015
Other deadlines: June 1, 2015 (first draft of accepted manuscripts); December 15, 2015 (final version of manuscripts).
All submissions should conform to the Chicago Manual of Style (15th edition) and will undergo peer review in keeping with the procedures of the journal. The issue will appear in 2016.
Please direct all questions and proposals to Laura Leibman (email@example.com).
Southeastern College Art Conference (SECAC) | October 21-24, 2015 | Pittsburgh, PA
Visual Resources Association Affiliate Organization Sponsored Session
"Reconfiguring Knowledge: Making the Digital Humanities Visual"
Organizer and Moderator: John Taormina, Duke University
How do digital technologies allow us to look at knowledge production differently in the arts and humanities? New technologies allow us to interrogate and disseminate visual information from multiple vantage points. Digital Humanities in the cultural heritage environment includes such activities as curating online collections, mining large cultural data sets, data visualization and representational technologies, information retrieval, digital publishing, gaming, multimedia, peer-to-peer collaboration, and GIS and cultural mapping. In this new collaborative, interdisciplinary, digital environment, visual resources specialists and librarians work side-by-side with faculty and students to develop and support Digital Humanities projects for teaching and research. The use of digital technologies as a means to synthesize, present, and communicate large amounts of information challenges the instructor and researcher to incorporate different ways to investigate works of art or develop new visual support tools. This session seeks to highlight the issues surrounding the support, development, dissemination, and preservation of Digital Humanities projects in the arts and humanities. Papers should address the transformational changes brought about by introducing digital technologies into the arts and humanities disciplines.
Paper proposals should be submitted via the SECAC conference website (www.secollegeart.org/conference
). The paper proposal deadline is Monday, April 20, 2015.
VRA-SECAC Affiliate Organization Liaison
KAPSULA is a listserv dedicated to engaged and evaluative art criticism. Entirely digital, the publication explores forms appropriate for web documents and aims to advance online art publishing.
Objects matter. Material culture scholars use artifactual evidence such as consumer goods, architecture, clothing, landscape, decorative arts, and many other types of material.
The Bard Graduate Center will host a four-week NEH Summer Institute on American Material Culture. The institute will focus on the material culture of the nineteenth century and use New York as its case study because of its role as a national center for fashioning cultural
commodities and promoting consumer tastes. We will study significant texts in the scholarship of material culture together as well as in tandem with visiting some of the wonderful collections in and around New York City for our hands-on work with artifacts. The city will be our laboratory to explore some of the important issues of broad impact that go well beyond New York.
We welcome applications from college teachers and other scholars with some experience doing object-based work, as well as those who have never taught or studied material culture. Application materials and other information about content, qualifications, stipends, housing,
etc. is available at http://www.bgc.bard.edu/neh-institute.
The application deadline is March 2, 2015.
David Jaffee, Project Director
Bard Graduate Center: Decorative Arts, Design History, Material Culture
For more information, please contact:
Bard Graduate Center: Decorative Arts, Design History, Material Culture
38 West 86th Street
New York, NY 10024
212.501.3026 / firstname.lastname@example.org