Media Archive: Decorative Arts and Design

Carnegie Museum Of Art Announces New Exhibitions That Explore Creativity In Its Many Forms

Highlights Include a Survey of Prints by Influential American Artist Jasper Johns and a New Collection Gallery Dedicated to Art and Design from Pittsburgh

Contact
Taia Pandolfi
Carnegie Museum of Art
pandolfit@cmoa.org
412.688.8690

Pittsburgh, PA—Over the next six months, Carnegie Museum of Art (CMOA) will present a program of thought-provoking exhibitions that investigate the many facets of human creativity. From 17th-century still life paintings to vibrant, contemporary prints and a new commissioned sculpture, the offerings present visitors with a diverse range of artistic experiences and myriad opportunities for conversation.

“Where does creativity come from?” asks Eric Crosby, Henry J. Heinz II Acting Director and Richard Armstrong Senior Curator of Modern & Contemporary Art. “How do our minds and hands give form to something new, unfamiliar, perhaps even strange? What, fundamentally, is the work of the artist? By posing these questions across our many exhibitions, we hope visitors will look closely, encounter new ideas, and unearth answers that are meaningful to them.”

CMOA’s upcoming calendar is anchored by two special exhibitions, each presenting a detailed investigation of a single mode of creative expression. In the Heinz Galleries, An Art of Changes: Jasper Johns Prints, 1960–2018, organized by the Walker Art Center in Minneapolis, surveys the influential American artist’s careerlong fascination with printmaking. In Gallery One, A Delight for the Senses: The Still Life celebrates an often-overlooked genre of painting that for centuries has harnessed the power of close observation to spark creativity.

Elsewhere in the museum, visitors will have a surprising encounter with a meticulously rendered, lifelike sculpture by Los Angeles–based artist Margaret Honda in the Forum Gallery. A selection of iconic photographs by Charles “Teenie” Harris—staff favorites from past exhibitions—will greet visitors in the Lobby Gallery. Finally, in the Scaife Collection Galleries, A Pittsburgh Anthology will explore Pittsburgh’s special place in history as a city of creativity and artistic innovation by featuring a rotating selection of objects from CMOA’s collections.

A large, green pickle on a white plate

Duane Michals, A Gursky Gherkin is Just a Very Large Pickle, 2001, Carnegie Museum of Art, The Henry L. Hillman Fund. © Duane Michals

A Pittsburgh Anthology
Scaife Gallery 17
August 15, 2019–ongoing

A Pittsburgh Anthology celebrates stories of creative life in Pittsburgh as prompted by Carnegie Museum of Art’s collections across time and media. Since its inception in 1895, the museum has collected works by, about, and for Pittsburgh. Each object sheds light on the many ways that artists, whether local or passing through, engage with the city, its people, communities, landscape, and built environment. While some objects reveal the creative impulse to map or document the city, others speak to Pittsburgh’s unique cultural character.

With this project, CMOA will dedicate Scaife Gallery 17 to exploring these stories, relayed by a multitude of voices from inside and outside the museum. Each story will unfold on printed cards displayed near the artworks, which will be free for the taking. For those wishing to create their own anthology, customizable binders will be available for purchase in the museum store.

A Pittsburgh Anthology is organized by Eric Crosby, Henry J. Heinz II Acting Director and Richard Armstrong Senior Curator of Modern & Contemporary Art; Rachel Delphia, The Alan G. and Jane A. Lehman Curator of Decorative Arts & Design; and Hannah Turpin, Curatorial Assistant, Contemporary Art and Photography, Carnegie Museum of Art.

A young woman sits on top of a large old-school car in front of a smoky city landscape

Charles “Teenie” Harris, Doris Clark (Moody) seated on Buick car with steel mill in background, Clairton, ca. 1945, Teenie Harris Archive, Carnegie Museum of Art

Iconic: The Photographs of Charles “Teenie” Harris
Lobby Gallery
Ongoing starting this summer

The next exhibition of photographs by Charles “Teenie” Harris will look back at some of the Hill District native’s most iconic images of Pittsburgh. For more than four decades, Harris photographed the city’s African American community for the Pittsburgh Courier, one of the nation’s most influential black newspapers. Since 2011, Carnegie Museum of Art has been showcasing his indelible work through a series of focused exhibitions spanning a number of themes, topics, and histories—Hair (2013), Civil Rights (2015) and Jazz from the Hill (2018)—to name a few. The museum’s collection of nearly 80,000 Harris images is one of the most detailed and intimate records of the black urban experience known today.

This installment celebrates Harris’s work with a selection of staff favorites from past exhibitions. From portraits of Pirates pitching ace Al McBean at Forbes Field and a haunting double exposure of Nina Simone to a pair of Tuskegee Airmen standing at attention and three young boys witnessing the demolition of the Lower Hill, Harris documented cultural moments that were at once hyper-local and nationally resonant. CMOA is currently preparing a gallery in the Scaife Collection Galleries dedicated to the Archive, which will open in early 2020.

The exhibition is organized by Charlene Foggie-Barnett and Dominique Luster, Teenie Harris Archive, Carnegie Museum of Art.

Margaret Honda
Forum Gallery
September 20, 2019–January 26, 2020

The 82nd installment of CMOA’s Forum series debuts a new commission by Los Angeles–based artist Margaret Honda (b. 1961, San Diego, California). For this exhibition, Honda has created a singular, enigmatic sculpture. Painstakingly rendered in lifelike detail including internal organs, and measuring nearly five feet long, the work is modeled after a frog-like form Honda observed in a Renaissance painting at the Pinacoteca Ambrosiana in Milan. The painting, Bramantino’s Madonna delle Torri (1520), depicts the Madonna and Child enthroned; at their feet lies a slain man and a gargantuan frog with anthropomorphic features. At once material and philosophical, Honda’s sculpture prompts us to ponder our relationship to art and the world we make.

Margaret Honda is organized by Eric Crosby, Henry J. Heinz II Acting Director and Richard Armstrong Senior Curator of Modern & Contemporary Art, Carnegie Museum of Art.

Major funding for the Forum series is generously provided by the Juliet Lea Hillman Simonds Foundation. Additional support for this exhibition is provided by the Ruth Levine Memorial Fund.

An Art of Changes: Jasper Johns Prints, 1960–2018
Heinz Galleries
October 12, 2019–January 19, 2020

When Jasper Johns’s paintings of flags and targets debuted in 1958, they brought him instant acclaim and established him as a critical link between Abstract Expressionism and Pop Art. In the ensuing 60 years, Johns has continued to astonish viewers with the beauty and complexity of his paintings, drawings, sculptures, and prints. Today, he is widely considered one of America’s most influential artists.

An Art of Changes is a rare opportunity to survey six decades of Johns’s work in printmaking through a selection of some 90 works in intaglio, lithography, woodcut, linoleum cut, screenprinting, and lead relief. Organized in four thematic, roughly chronological sections, the exhibition follows Johns as he revises and recycles key motifs over time. Viewers will see examples of his familiar flags and targets as well as images that explore artists’ tools, materials, and techniques of mark-making; abstract works based on motifs known as flagstones and hatch marks; and later works that teem with autobiographical and personal imagery.

An Art of Changes: Jasper Johns Prints, 1960–2018 is organized by the Walker Art Center, Minneapolis. Major support is provided by Judy Dayton and the Prospect Creek Foundation.

The exhibition is curated by Joan Rothfuss, guest curator, Visual Arts, Walker Art Center. Carnegie Museum of Art’s presentation is organized by Eric Crosby, Henry J. Heinz II Acting Director and Richard Armstrong Senior Curator of Modern & Contemporary Art.

A bowl of ripe lemons, some peeled, with greenery in the background.

Jacob Fopsen van Es, Still Life with Lemons, Carnegie Museum of Art, Gift of the Drue Heinz Charitable Trust

A Delight for the Senses: The Still Life
Gallery One
November 2, 2019–March 15, 2020

Once considered the lowliest of the painting genres, the still life has long been overshadowed in the history of art. A Delight for the Senses: The Still Life is a celebration of this humble genre, exploring nearly 250 years of the tradition from the Dutch Golden Age to America’s Gilded Age.

On the surface, these picturesque arrangements are easy to appreciate for their aesthetic beauty and skillful rendering. A closer look at these sumptuous arrays of objects ranging from the mundane to the luxurious reveals moral undertones and allusions to the transience of life. Loans from the Detroit Institute of Arts and several local collectors will be featured, along with recent bequests from the late Drue Heinz, including the only Dutch Golden Age still life in the museum’s collection on view for the first time.

A Delight for the Senses: The Still Life is curated by Akemi May, Assistant Curator, Fine Arts, Carnegie Museum of Art.

Major support for this exhibition is provided by Elizabeth Hurtt Branson and Douglas Branson.


Support

General operating support for Carnegie Museum of Art is provided by The Heinz Endowments and Allegheny Regional Asset District. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.

Mission

Carnegie Museum of Art creates experiences that connect people to art, ideas, and one another. The museum is committed to global engagement and regional advancement. We champion creativity and its importance to society with experiences that welcome, inspire, challenge, and inform. Our core activities—collecting, conserving, presenting, and interpreting works of art—make those experiences possible. Our collection of over 30,000 works emphasizes art, architecture, photography, and design from the 19th century to the present. One of the four Carnegie Museums of Pittsburgh, Carnegie Museum of Art was founded by industrialist and philanthropist Andrew Carnegie in 1895. To learn more, please call 412.622.3131 or visit cmoa.org.

Carnegie Museum of Art Presents the Latest in Accessibility Design in New Exhibition

Contact
Taia Pandolfi
Carnegie Museum of Art
pandolfit@cmoa.org
412.688.8690

Access+Ability
June 1–September 8
Heinz Galleries

Pittsburgh, PA—Carnegie Museum of Art (CMOA) is excited to present Access+Ability, a new exhibition highlighting objects that represent innovations in accessibility design. These products are the result of extraordinary research and design work, led or informed by people who span a wide range of physical, cognitive, and sensory abilities. Organized by Cooper Hewitt, Smithsonian Design Museum in New York, CMOA is the second stop in a national tour of the exhibition. The Pittsburgh presentation is organized by Rachel Delphia, The Alan G. and Jane A. Lehman Curator of Decorative Arts and Design.

In recent years, society has experienced a surge in products and services designed to help people live more fully and independently. Access+Ability showcases more than 70 such groundbreaking designs that meet the specific needs and challenges of their users, while also providing aesthetic variety for individual self-expression. These objects represent breakthroughs enabled by modern technologies and by collaborative problem-solving between designers and users.

A woman with short hair closes her eyes, showing off a sparkling and colorful hearing aid shaped like an earring.

Earring Aid, Bedazzled, 2014. Designed by Elana Langer. Swarovski crystals, e6000 glue, hearing aid. Gift of Elana Langer. Photo: © Hanna Agar.

The museum has a longstanding commitment to presenting innovative product design. Through shows like Aluminum by Design (2000), Inventing the Modern World (2012), and Silver to Steel: The Modern Designs of Peter Muller-Munk (2015), the museum has emphasized the widespread influence of good design on everyday life. With this show, CMOA builds on its history as a prominent voice in the national and international conversation around innovative design.

“Since its inception more than a century ago, the design profession has tackled life’s most quotidian problems,” says Rachel Delphia. “How do we cook, eat, dress, and stay warm or cold? In Access+Ability we see how striving to improve the lives of individuals has resulted in products that enable vast numbers of people. I envision the museum doing more to celebrate and showcase this type of thinking.”

With its history of design, manufacturing, and medical research, Pittsburgh is a perfect backdrop for Access+Ability. From software firms and tech start-ups to hospitals and universities, the city has become a hub for companies invested in accessible design solutions.

The Americans with Disabilities Act of 1990 and subsequent amendments have spurred increased advocacy, wider access, and greater awareness of the challenges facing people with disabilities. Like all public spaces, CMOA is making strides towards greater accessibility, from updating entryways and navigability of the building to creating more inclusive arts programming in collaboration with local advocacy groups.

A bright, neon leg cover in the shape of a prosthetic leg with geometric designs.

Prosthetic Leg Covers, ca. 2011; Designed and manufactured by McCauley Wanner and Ryan Palibroda for Alleles Design Studio; Digitally fabricated ABS plastic, polyurethane straps, metal hooks. Photo courtesy of The ALLELES Design Studio Ltd.

This summer, CMOA will present a series of programs that respond to Access+Ability in innovative ways. The museum will continue In the Moment, its award-winning tours for visitors with dementia or Alzheimer’s. In addition, the museum will expand its American Sign Language (ASL) and visual description tours, which launched last year to coincide with the 2018 Carnegie International.

Tours will be offered in both morning and evening sessions, with special family tours for all ages. For the first time, the visual description tours will be accompanied by tactile reproductions of two key works from the collection, which offer visitors the chance to interact with these objects through touch. The museum has also partnered with The Eye & Ear Foundation to present lectures that will explore advancements in research related to the senses. Dr. José-Alain Sahel of UPMC will launch the series with a lecture on June 13.

Access+Ability marks a high point in the work our museum has been doing for years,” says Eric Crosby, the Henry J. Heinz II Director and Richard Armstrong Senior Curator of Contemporary Art. “As an institution, we’ve been prioritizing education programming and a curatorial strategy that is more sensitive to populations who have historically been excluded from consideration. This exhibition gives us the chance to broaden the conversation about accessibility beyond the walls of the museum and into our community.”

Access+Ability was organized by the Cooper Hewitt, Smithsonian Design Museum; the Pittsburgh presentation is organized by Rachel Delphia, The Alan G. and Jane A. Lehman Curator of Decorative Arts and Design at Carnegie Museum of Art.


Support

Major support for this exhibition is provided by the Henry L. Hillman Fund and The Fellows of Carnegie Museum of Art. Additional support is provided by the Decorative Arts Exhibition Fund.

General operating support for Carnegie Museum of Art is provided by The Heinz Endowments and Allegheny Regional Asset District. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.

Mission

Carnegie Museum of Art creates experiences that connect people to art, ideas, and one another. The museum is committed to global engagement and regional advancement. We champion creativity and its importance to society with experiences that welcome, inspire, challenge, and inform. Our core activities—collecting, conserving, presenting, and interpreting works of art—make those experiences possible. Our collection of over 30,000 works emphasizes art, architecture, photography, and design from the 19th century to the present. One of the four Carnegie Museums of Pittsburgh, Carnegie Museum of Art was founded by industrialist and philanthropist Andrew Carnegie in 1895. To learn more, please call 412.622.3131 or visit cmoa.org.

Carnegie Museum of Art Announces Exhibitions and Programming for January–June

Contact
Emily Willson
Carnegie Museum of Art
willsone@cmoa.org
412.622.3328

Pittsburgh, PA (January 9, 2019) Carnegie Museum of Art (CMOA) announces four new exhibitions, dynamic social programming, and engaging educational opportunities for 2019. The exhibitions represent a wide range of artistic styles and periods, from decorative arts and design and contemporary art to classic Impressionism favorites.

“I’m proud of the variety this year,” says Henry H.J. Heinz II Acting Co-Director Catherine Evans. “They show the dynamic and varied experiences you can have at a museum—from seeing Ruth Root’s fabulous patterns to studying the serial painting techniques of Monet to learning about the latest breakthroughs in accessibility design. Museums should be a place for discovery and inspiration, and I think 2019 embodies that spirit.”

New Exhibitions

Ruth Root

April 19–August 25
Forum Gallery

The 81st installment of CMOA’s Forum series will debut a new body of work by acclaimed New York–based painter Ruth Root. For the last two decades, Root has fashioned unruly paintings that push the boundaries of the medium and delight in the pleasures of pattern and shape. For this new series, curator Eric Crosby invited Root to mine CMOA’s collection of artworks and design objects as inspiration for her digitally printed fabrics, which suspend irregular sheets of painted plastic. Through a visual dialogue with the museum’s collection, her eye-popping works personify the wonder of painting.

Ruth Root, digital fabric design for Untitled, 2017; Image courtesy the artist and Andrew Kreps Gallery, New York.

Ruth Root, digital fabric design for Untitled, 2017; Image courtesy the artist and Andrew Kreps Gallery, New York.

Influencers: The Pritzker Architecture Prize

May 4–September 2
Heinz Architectural Center

Since its establishment in 1979, the Pritzker Architecture Prize has become the most esteemed prize in architecture worldwide; awarded to individual architects for their total body of work, the Pritzker is frequently referred to as the Nobel Prize for Architecture. To mark the prize’s 40th anniversary, Raymund Ryan, curator, Heinz Architectural Center, presents work from the museum’s collection done by Pritzker laureates. Bolstered by several recent acquisitions, these drawings, models, furniture, and photographs are presented in collaboration with the annual summer camp to stimulate the imaginations of museum visitors and camp participants alike.

Hans Hollein, Stadtstruktur (City Structure), 1959, ink on paper, Carnegie Museum of Art. Gift of the Drue Heinz Trust. 2018.23.

Hans Hollein, Stadtstruktur (City Structure), 1959, ink on paper, Carnegie Museum of Art. Gift of the Drue Heinz Trust. 2018.23.

Monet and the Modern City

May 25–September 2
Gallery One

Monet and his contemporaries responded to the urban industrial landscape through works that convey the power and promise of modernization. Organized by curator Akemi May, this exhibition contextualizes Monet’s famous Waterloo Bridge series with other artists’ work from the time, exploring Monet’s process of serial painting and the enduring theme of industry in art. Carnegie Museum of Art’s own Waterloo Bridge painting is presented alongside two others from the series, thanks to the Memorial Art Gallery of the University of Rochester and the Worcester Art Museum, and captures the range of moods and colors that serial painting can produce. Other notable works include pieces by Camille Pissarro, Jean-Emile Laboureur, and James Abbott McNeill Whistler, which provide a broader frame of reference for the urban industrial landscape as subject.

Claude Monet, Waterloo Bridge, London, 1903, Carnegie Museum of Art. Acquired through the generosity of the Sarah Mellon Scaife Family. 67.2

Claude Monet, Waterloo Bridge, London, 1903, Carnegie Museum of Art.
Acquired through the generosity of the Sarah Mellon Scaife Family. 67.2

Access+Ability

June 1–October 6, 2019
Heinz Galleries

Access+Ability highlights some of the extraordinary research and designs developed during the past decade with and by people who span a wide range of physical, cognitive, and sensory abilities. Fueled by demand and advances in research and digital technologies, a proliferation of functional, life-enhancing products is creating unprecedented access. Low-tech designs that assist with daily routines, digital technology like eye-tracking devices for communicating and editing, and sensors that stabilize tremors associated with Parkinson’s disease, plus innovations in all-terrain wheelchairs, are augmenting the potential for people to access the world in ways previously unimaginable. These objects—some of which are still in prototype stage, and many of which are available commercially—represent the future of accessibility design.

Access+Ability was organized by Cooper Hewitt, Smithsonian Design Museum. The CMOA presentation of Access+Ability is organized by Rachel Delphia, the Alan G. and Jane A. Lehman Curator of Decorative Arts and Design.

Earring Aid, Bedazzled, 2014. Designed by Elana Langer. Swarovski crystals, e6000 glue, hearing aid. Gift of Elana Langer. Photo: © Hanna Agar.

Earring Aid, Bedazzled, 2014. Designed by Elana Langer. Swarovski crystals, e6000 glue, hearing aid. Gift of Elana Langer. Photo: © Hanna Agar.

Ongoing and Educational

Carnegie International, 57th Edition, 2018.

Open through March 25
Presented by Bank of America

The second-oldest exhibition of global art, the Carnegie International opened with excitement in October of last year. This sprawling show, which permeates the museum’s exhibition spaces and reaches into its collection galleries, sees its final three months arrive with a variety of activities: visiting artist lectures by Jeremy Deller, Ulrike Müller, and Thaddeus Mosley; a Tam O’Shanter Drawing Session with Beverly Semmes; a Sound Series concert produced by Josiah McElheny, John Corbett, and Jim Dempsey with the Andy Warhol Museum; and drawing sessions with Yuji Agematsu and Tavares Strachan. See the works of Carnegie Prize–winner Lynette Yiadom-Boakye and Fine Prize–winners Postcommodity before the exhibition closes in March.

Social Programs

Ongoing

People engage with art on many levels. The social programming at CMOA aims to bring new faces into the museum and create opportunities for discovery and inspiration. These programs range from the FEAST dinner series—which pairs a local chef with a theme from the Carnegie International for a unique dining experience—to monthly Third Thursday, a themed 18+ event that invites local artists and vendors to create programming relevant to the current exhibitions. An important piece of the museum’s mission of connecting people to art, ideas, and one another, social programs offer an avenue to build engagement and respond to the community.

Summer Camps

June 10–August 16

Following a winter and spring of educational programming, including the exhibition of work by students from The Art Connection, the museum will launch a full calendar of summer camps. Camps offer a unique opportunity to dive deeper into all aspects of art-making, creativity, and collaboration through week-long programs. As part of the museum’s ongoing mission of educating and inspiring, summer camps provide the structure and materials for young people to engage their own creative process. Using the museum’s collection as a resource, campers of all levels and abilities explore through classic and modern art techniques, styles, and practices.


Our Mission

Carnegie Museum of Art creates experiences that connect people to art, ideas, and one another.
We believe creativity is a defining human characteristic to which everyone should have access. CMOA collects, preserves, and presents artworks from around the world to inspire, sustain, and provoke discussion, and to engage and reflect multiple audiences.

Our world-class collection of over 30,000 works emphasizes art, architecture, photography, and design from the 19th century to the present. One of the four Carnegie Museums of Pittsburgh, Carnegie Museum of Art was founded by industrialist and philanthropist Andrew Carnegie in 1895. Learn more: call 412.622.3131 or visit cmoa.org.

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Visions of Order and Chaos: The Enlightened Eye

Contact: Jonathan Gaugler | gauglerj@cmoa.org | 412.688.8690 / 412.216.7909

Pittsburgh, PA…Carnegie Museum of Art announces its first major exhibition of its 1750–1850 holdings, Visions of Order and Chaos: The Enlightened Eye. The exhibition packs CMOA’s Heinz Galleries with over 200 popular and never-before-seen works. It shares artist’s visions of a world rapidly becoming modern, and shaped by explosive debates: Does religion have a role in public life? Should we redistribute wealth to the poor? Can women fully participate in democracy? Can public education produce good citizens? All remain hot-button issues today.

Visions of Order and Chaos: The Enlightened Eye
March 3–June 24, 2018
Heinz Galleries

Ary Scheffer, 'Faust in His Study,' c. 1831, watercolor and gouache on paper, Carnegie Museum of Art, Gift of Dr. and Mrs. Daniel Fishkoff

Ary Scheffer, ‘Faust in His Study,’ c. 1831, watercolor and gouache on paper, Carnegie Museum of Art, Gift of Dr. and Mrs. Daniel Fishkoff

Between 1750–1850, the world changed dramatically. Revolutions toppled monarchies, and constitutional democracy took root in the US and France. This was a time of accelerating ideas on liberty and equality challenging social norms. People began to behave in ways we’d recognize today. Portraits depict their subjects in classical costume, just as we would carefully style an Instagram profile or digital avatar. Gorgeous painted fans could send quick messages, signaling romance from across the room. Celebrities behaved badly and artists captured every single episode.

The Enlightenment was a time of reason and order. Scientific breakthroughs and new ways of governing stimulated optimism for making the world better. A portrait by George Romney, ca. 1779–1780, shows an idealized image of his subject in classical garments and pose. An Edward Hicks painting from 1837 depicts a peaceful gathering of European colonists and Native Americans, alongside a menagerie of coexisting animals, a utopian vision of a young United States. Subjects like global trade, scientists at work, and a new recognition of non-Western cultures crept into art.

Edward Hicks, 'The Peaceable Kingdom,' c. 1837, oil on canvas, Carnegie Museum of Art, Bequest of Charles J. Rosenbloom

Edward Hicks, ‘The Peaceable Kingdom,’ c. 1837, oil on canvas, Carnegie Museum of Art, Bequest of Charles J. Rosenbloom

The Romantics challenged notions of rational, orderly societies. Watching as the noble ideals of the French Revolution ended in violent chaos, the Romantics championed emotions and individuals. Miniature portraits of lovers were worn inside of clothes and out of sight. Ary Scheffer’s 1851 masterwork depicts the swirling shades of entwined lovers Francesca and Rimini from Dante’s Inferno. In Caspar David Friedrich’s 1803 print, a forlorn woman contemplates suicide.

Research and restoration projects have yielded several never-before-shown works. Combined with new acquisitions and longtime gallery favorites, the exhibition tells a story of this sensational century. Quotes from writers of the time contextualize the art on view.

Through painting, sculpture, furniture, prints, drawings, and personal objects, The Enlightened Eye shows a Western world in tension between rational order and chaotic abandon. This was one of the most fascinating times in our history, and CMOA invites you to view our world through their eyes.

Visions of Order and Chaos: The Enlightened Eye is organized by Louise Lippincott, curator of fine art, with additional support from Rachel Delphia and Margaret Powell, department of decorative arts and design.

Support
Generous support for this exhibition is provided by The Fellows of Carnegie Museum of Art, the Richard C. von Hess Foundation, the Gailliot Family Foundation, and Ritchie Battle. Additional support is provided by the Mary Louise and Henry J. Gailliot Fund for Exhibitions, the Martin G. McGuinn Art Exhibition Fund, Martha Malinzak, and The European Fine Art Foundation.

General operating support for Carnegie Museum of Art is provided by The Heinz Endowments and Allegheny Regional Asset District. The programs of the Heinz Architectural Center are made possible by the generosity of the Drue Heinz Trust. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.

Carnegie Museum of Art
CMOA creates experiences that connect people to art, ideas, and one another. We believe that creativity is a defining human characteristic to which everyone should have access. CMOA collects, preserves, and presents artworks from around the world in order to inspire, sustain, and provoke discussion, and to engage and reflect multiple audiences. Our world-class collection of over 30,000 works emphasizes art, architecture, photography, and design from the 19th century to the present. One of the four Carnegie Museums of Pittsburgh, Carnegie Museum of Art was founded by industrialist and philanthropist Andrew Carnegie in 1895. Learn more: call 412.622.3131 or visit cmoa.org.

Groundbreaking Contemporary Fashion Exhibition comes to CMOA

Works from 15 stunning collections by designer Iris van Herpen

Contact: Jonathan Gaugler | gauglerj@cmoa.org | 412.688.8690 / 412.216.7909

Fashion designer Iris van Herpen (Dutch, b. 1984) marries precision and meticulous handcraft, inventive technological solutions, and a striking, futuristic aesthetic. Organized by the High Museum of Art, Atlanta, and the Groninger Museum, The Netherlands, Iris van Herpen: Transforming Fashion gathers seven years of van Herpen’s original haute couture for this exhibition: her first North American tour. Opening February 4 at Carnegie Museum of Art (CMOA), it presents works from 15 of her collections across a bewildering range of materials and techniques. This Pittsburgh presentation is its easternmost US venue.

Media Preview Event – Happy Hour Drinks
Iris van Herpen: Transforming Fashion at CMOA
Thursday, February 2, 2017, 6–8 p.m.
Photo and interview opportunities

Meet the curatorial team behind this extraordinary show, and be the first to enjoy the installations.

Please contact Jonathan Gaugler to RSVP.

Visit our website to browse related events and programming.

High resolution images are available.

Exhibition Highlights

Iris van Herpen, "Refinery Smoke," Dress, July 2008, Untreated woven metal gauze and cow leather, Groninger Museum, 2012.0196, Photo by Bart Oomes, No 6 Studios

Iris van Herpen, “Refinery Smoke,” Dress, July 2008, Untreated woven metal gauze and cow leather, Groninger Museum, 2012.0196, Photo by Bart Oomes, No 6 Studios

Refinery Smoke Collection
July 2008

Refinery Smoke is based on the astonishing beauty, the ambiguity, and the elusiveness of industrial smoke. Seen from a distance, smoke provides a fascinating and dynamic spectacle: at times it seems to be alive, but it also harbors something sinister and can even be toxic.

Van Herpen has manifested smoke’s flowing texture in a metal gauze that she had specially woven for the Refinery Smoke collection. This unusual, stiff material consists of innumerable fine, metal threads, appearing soft and light. The dresses started as silver gray but have oxidized overtime to a reddish brown, reflecting the dual nature of industrial smoke.

 

Iris van Herpen, "Radiation Invasion, Dress," September 2009, Faux leather, gold foil, cotton, and tulle, Groninger Museum, 2012.0201, Photo by Bart Oomes, No 6 Studios

Iris van Herpen, “Radiation Invasion, Dress,” September 2009, Faux leather, gold foil, cotton, and tulle, Groninger Museum, 2012.0201, Photo by Bart Oomes, No 6 Studios

Radiation Invasion collection
September 2009

Iris van Herpen considers the flows of digital information that surround us at every moment and in every place, typically accessed through smartphones and other devices.  What would we do with our daily overdose of electromagnetic waves and digital information streams if we could see them with our own eyes?

In Radiation Invasion, the wearer seems to be surrounded by a complex of wavy rays, flickering patterns, vibrating particles, and reflecting pleats. Here van Herpen imagines how it might look if we could detect and manipulate the radiation that surrounds us. This collection is the start of a theme that pervades her work: the role of technology and its relationship to the body.

 

 

Iris van Herpen, "Hybrid Holism," Dress, July 2012 3-D-printed UV-curable polymer In collaboration with Julia Koerner and Materialise, High Museum of Art, Supported by the Friends of Iris van Herpen, 2015.170 Photo by Bart Oomes, No 6 Studios

Iris van Herpen, “Hybrid Holism,” Dress, July 2012 3-D-printed UV-curable polymer In collaboration with Julia Koerner and Materialise, High Museum of Art, Supported by the Friends of Iris van Herpen, 2015.170 Photo by Bart Oomes, No 6 Studios

Hybrid Holism collection
July 2012

Canadian architect and artist Philip Beesley’s work Hylozoic Ground provided the inspiration for Iris van Herpen’s collection Hybrid Holism. Hylozoism is the ancient belief that all matter is in some sense alive. Beesley’s seemingly living environment breathes, shifts, and moves in response to the people walking through it, touching it, and sensing it.

Intrigued by the possibility of constructing semi-living systems, van Herpen imagined a new form of fashion where designs can grow, evolve, and even exist independently from us. In a culture where obsolete designs are often discarded, van Herpen proposes that clothes and objects might instead evolve and transform over time. Combining diligent craftsmanship with cutting-edge technology, including 3-D printing, van Herpen translated this futuristic vision into a collection that is highly complex and diverse in terms of shape, structure, and material.

 

Iris van Herpen, "Magnetic Motion," Dress, September 2014, 3-D-printed transparent photopolymer and stereolithography resin, High Museum of Art, Purchase with funds from the Decorative Arts Acquisition Trust and through prior acquisitions, 2015.82 Photo by Bart Oomes, No 6 Studios

Iris van Herpen, “Magnetic Motion,” Dress, September 2014, 3-D-printed transparent photopolymer and stereolithography resin, High Museum of Art, Purchase with funds from the Decorative Arts Acquisition Trust and through prior acquisitions, 2015.82 Photo by Bart Oomes, No 6 Studios

Magnetic Motion collection
September 2014

Early in 2014, Iris van Herpen and Canadian architect Philip Beesley visited CERN (the European Organization for Nuclear Research) to see the Large Hadron Collider, which has a magnetic field that is 100,000 times more powerful than Earth’s. Van Herpen was fascinated by the interplay of magnetic forces, saying: “I find beauty in the continual shaping of chaos, which clearly embodies the primordial power of nature’s performance.”

Van Herpen’s layered, three-dimensional structures—which combine innovative techniques like 3-D printing with intricate handwork—explore the dynamic forces of attraction and repulsion. Van Herpen collaborated with Beesley to create luminous, three-dimensional textiles comprising tiny webs of laser-cut acrylic that echo the body’s movements.

Iris van Herpen: Transforming Fashion is co-organized by the High Museum of Art, Atlanta, and the Groninger Museum, The Netherlands.

The exhibition was curated by Sarah Schleuning, High Museum of Art, and Mark Wilson and Sue-an van der Zijpp, Groninger Museum.

The CMOA presentation of Iris Van Herpen: Transforming Fashion is organized by Rachel Delphia, The Alan G. and Jane A. Lehman Curator of Decorative Arts and Design.

Support
Support for this exhibition has generously been provided by Creative Industries Fund NL.

Carnegie Museum of Art’s presentation of Iris van Herpen: Transforming Fashion is supported by The Coby Foundation, Ltd., PNC, Vivian and Bill Benter, and UPMC and UPMC Health Plan.

General operating support for Carnegie Museum of Art is provided by The Heinz Endowments and Allegheny Regional Asset District. Carnegie Museum of Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.

Carnegie Museum of Art
Carnegie Museum of Art enriches people’s lives through art. The museum is committed to global engagement and regional advancement. We champion creativity and its importance to society with experiences that welcome, inspire, challenge, and inform. Our core activities—collecting, conserving, presenting, and interpreting works of art—make those experiences possible. Our world-class collection of over 30,000 works emphasizes art, architecture, photography, and design from the 19th century to the present. One of the four Carnegie Museums of Pittsburgh, Carnegie Museum of Art was founded by industrialist and philanthropist Andrew Carnegie in 1895. Learn more: call 412.622.3131 or visit cmoa.org.

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