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20th and 21st Century Design Art Collection Education Events

Connecting the Dots

Grete Marks, Tea Service, ca. 1930. Milwaukee Art Museum, Purchase, by exchange. Photo by John R. Glembin
Grete Marks, Tea Service, ca. 1930. Milwaukee Art Museum, Purchase, by exchange. Photo by John R. Glembin.

Let’s begin with three seemingly disparate thoughts.

One: Since I started working here at the Museum as the Team Coordinator for the Kohl’s Color Wheels art education outreach program in August, I have seen over 25,000 people while out in the community. As you can imagine, the idea of the accessibility of art has definitely been on my mind.

Two: As part of the Museum community, last month, I had the chance to see two lectures in one day: one on the German potter Grete Marks, given by Mel Buchanan, the Assistant Curator of 20th Century Design at the Museum; the other about the creative process at Pixar Animation Studios, given by Dan Holland, a sketch artist there. It made my day.

Three: I also teach freshmen at MIAD. One of my classes focuses on discussing the philosophical and practical underpinnings of these young artists’ budding visual practices. The other day my students started an impromptu discussion about Felix Baumgartner jumping from the stratosphere. It was a great class.

So, where am I going with all of this? Let me explain.

Categories
20th and 21st Century Design American Art Collection Curatorial

New Installation of George Mann Niedecken objects

Installation shot of Museum's lower level George Mann Niedecken installation. Photo by the author.
Installation shot of Museum’s lower level George Mann Niedecken installation. Photo by the author.

Milwaukee in the early 1900s was a wealthy city known for its manufacturing—including beer, leather, steam engines, and metal machinery.

Milwaukee’s industrialists brought cutting-edge technology to their businesses, and a few brought cutting-edge design into their homes.

For a new look, they could turn to interior architect George Mann Niedecken (American, 1878–1945), who revolutionized the upper-class homes in Milwaukee with a step forward from the cluttered interiors of the Victorian era.

The Museum collection has a wealth of drawings, objects, and archival information about our hometown designer that famously collaborated with Frank Lloyd Wright.

Recently, to honor the addition of several fantastic new artworks to the Museum’s Niedecken collection, a new installation was put together on the Museum’s lower level.

What’s the story?

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20th and 21st Century Design Art Behind the Scenes Collection Curatorial

Celebrating the 50th Anniversary of the American Studio Glass Movement

American Studio Glass installation. Photo by the author.

The year 2012 is considered the 50th anniversary of the American Studio Glass movement. The anniversary is being celebrated with exhibitions and events across the country, organized in large part by the Art Alliance for Contemporary Glass.

The Milwaukee Art Museum has a terrific collection of studio glass, and we were thrilled to be part of the celebration. Along one wall of the newly-designed Kohl’s Art Generation Studio is a new installation that celebrates using glass as a medium of creative impulse.

The glass sparkles, tells an important art history story, and I hope that its visual beauty inspires young artists as they create their own artwork nearby.

What is the American Studio Glass movement, and what is this anniversary?

Categories
20th and 21st Century Design Art Behind the Scenes Collection Curatorial

From Museum Storage–Wiener Werkstätte Vase

Hilda Jesser (Austrian, 1894–1985), for Wiener Werkstätte, Vase, ca. 1921. Hand-painted earthenware, 9 1/4 x 3 3/8 in. Milwaukee Art Museum, Gift of Daniel Morris and Denis Gallion, Historical Design, New York City, M2002.104. Photo by John R. Glembin.

I’ve just learned that Hilda Jesser could design anything.

Correction: I’ve just learned who Hilda Jesser was.

To back up, I should explain that I often use this blog as an excuse to explore something in the Museum’s collection that I should know more about. This colorful ceramic vase is charming, but I’ve never selected it to go on view in the galleries because I wasn’t quite certain how to explain it.

Thanks to the markings on its base and the curatorial cataloging records here at the Museum, I knew that the vase was designed by Hilda Jesser while at the Wiener Werkstätte sometime around 1921.

But it doesn’t look anything like my preconceived notion of what Wiener Werkstätte ceramic designs would look like, so how could I select it to represent that influential moment in modern design history?

It was time to find out more.

Categories
20th and 21st Century Design Art Collection Curatorial

From Museum Storage—Beneath a Ray and Charles Eames LCW Chair

Late in 2010 I advocated that the Museum accept a Ray and Charles Eames DCW (“Dining Chair Wood”) into the Permanent Collection.

No big surprise there, as this bent plywood chair is the iconic work of two of the most influential 20th-century furniture designers. It is a must-have for any design collection!

However, this chair wasn’t the Museum’s first Eames object. The Collection already included one DCW chair (pictured at left), a 1946 folding plywood screen, and several examples of the World War II U.S. Navy leg splint that bolstered Ray and Charles’ experiments in complex two-way bent molded plywood.

So why an additional example of the DCW? And, why this one?

Well, to tell the truth, I put in to motion the Museum’s acceptance of the DCW based on a hunch…and I just might be wrong.

Categories
20th and 21st Century Design Art Art News Collection

From the Collection—Toshiko Takaezu

Oil of the Earth

The ceramic artist Toshiko Takaezu generously gave the Milwaukee Art Museum ten of her fine art vessels in 2006.

Today I was nonchalantly compiling information on her life in preparation for a potential display of those vessels, when I was suddenly saddened to read of her recent death on March 9, 2011. In Toshiko Takaezu’s obituary in the New York Times, she is credited with helping “to elevate ceramics from the production of functional vessels to a fine art.”

As one often does when encountered with the loss of either someone close or someone distant but admired (like an artist), I ran through my bank of fond memories.