Immersive Exhibition at the Smithsonian’s National Museum of Asian Art Highlights Importance of the Preservation of Cultural Heritage
Using the most recent digital techniques, the Freer Gallery of Art and the Arthur M. Sackler Gallery, the Smithsonian’s National Museum of Asian Art, take visitors on a virtual tour of three ancient cities—Palmyra and Aleppo in Syria and Mosul in Iraq.
The exhibition, located in the Sackler Gallery, highlights the devastation of these historically significant sites but also offers hope for their reconstruction and rehabilitation. By including the testimony of Iraqis and Syrians, the installation underscores the importance of place in the preservation of historical and architectural memory.
“Age Old Cities: A Virtual Journey from Palmyra to Mosul” will be on view at the Sackler Gallery from Jan. 25 through Oct. 26. It was organized by the Arab World Institute in Paris, and created in collaboration with Iconem, which specializes in digitizing cultural heritage sites in 3-D, and in partnership with UNESCO. The exhibition offers an immersive experience that emphasizes the importance of preserving the world’s fragile cultural and built heritage.
“‘Age Old Cities’ is a landmark exhibition, not only for its innovative use of digital technology within a museum context, but also for the poignant story it tells,” said Chase F. Robinson, the Dame Jillian Sackler Director of the Arthur M. Sackler Gallery and the Freer Gallery of Art. “This exhibition narrates the heartbreaking story of cultural destruction—and resilience—in these cities, and we are proud to be the exhibition’s inaugural U.S. venue. Palmyra, Mosul and Aleppo are cornerstones of world culture, and it is our shared responsibility to ensure that these cities are preserved to continue to tell their rich histories and inspire future generations.”
In the recent past, Iraq and Syria have suffered profound upheavals that have destroyed many significant cultural and religious sites—leaving little of the rich historical past. “Age Old Cities” sheds light on the devastating destruction, the important cultural heritage of Syria and Iraq, and the need to preserve these sites.
The exhibition invites visitors into the heart of each of the three cities with large-scale projections of dynamic imagery and 3-D reconstructions of damaged monuments. The projections shift gradually from destruction to progressive reconstruction. To contextualize the sites, visitors will also see projections of historical photographs of the structures.
“Beyond the stones, this heritage is a common good, and safeguarding it is the responsibility of all,” said Jack Lang, president of the Arab World Institute. “Citizens of every faith, archaeologists and curators have all worked and continue working today hand in hand to shelter, protect and rebuild.”
The exhibition offers more than a visual of potential reconstruction of mostly destroyed sites; it introduces visitors to the people who still live in the cities. Several videos throughout the exhibition feature interviews with residents, as well as archeologists and curators who work at great personal risk to protect and preserve these sites. Other videos explore unique parts of the cities such as the souks (markets) of Aleppo or the tomb of the Three Brothers in Palmyra (an underground burial chamber turned into an ISIS base of operations).
Throughout the run of the exhibition, the museum will offer a series of programs focusing on each city. Programming will include lectures and presentations on architectural heritage and current events, family programs and related film and music programs to enhance the visitor experience, further explore the rich cultures of these cities, as well as the challenges and opportunities of cultural restoration and public policies.
The Walker Arts Center continues to flesh out what is considerably a very dynamic exhibition schedule for the next two years. Additions to the Walker Art Center’s 2020–2021 exhibition schedule include two new solo exhibitions by female artists, Faye Driscoll: Thank You for Coming(February 27–June 14, 2020) and Candice Lin(April 17–August 29, 2021) as well as a Walker collection show of women artists, Don’t let this be easy(July 16–March 14, 2021). For her first solo museum exhibition, Faye Driscoll incorporates a guided audio soundtrack, moving image works, and props to look back across the entirety of her trilogy of performances Thank You For Coming—Attendance(2014), Play(2016), and Space(2019)—works that were presented and co-commissioned by the Walker and subsequently toured around the world over the past six years. Another newly added exhibition, Candice Lin, is the first US museum solo show by the artist, co-organized by the Walker Art Center and the Carpenter Center for Visual Arts (CCVA). Lin is creating a site-specific installation that responds to the space of the gallery at each institution, allowing the shape of the work to evolve over the course of its presentation.
The Walker-organized exhibition Don’t let this be easy highlights the diverse and experimental practices of women artists spanning some 50 years through a selection of paintings, sculptures, moving image works, artists’ books, and materials from the archives.
The initiative is presented in conjunction with the Feminist Art Coalition (FAC), a nationwide effort involving more than 60 museums committed to social justice and structural change.
Other upcoming exhibitions include An Art Of Changes: Jasper Johns Prints, 1960–2018 (February 16–September 20, 2020), a survey of six decades of Johns’ work in printmaking drawn from the Walker’s complete collection of the artists’ prints including intaglio, lithography, woodcut, linoleum cut, screenprinting, lead relief, and blind embossing; The Paradox of Stillness: Art, Object, and Performance (formerly titiled Still and Yet) (April 18–July 26, 2020), is an exhibition that rethinks the history of performance featuring artists whose works include performative elements but also embrace acts, objects, and gestures that refer more to the inert qualities of traditional painting or sculpture than to true staged action.
Additional exhibitions include Michaela Eichwald’s (June 13–November 8, 2020) first US solo museum presentation, bringing together painting, sculpture, and collage from across the past 10 years of her practice; Designs for Different Futures (September 12, 2020 – January 3, 2021)—a collaborative group show co-organized by the Walker Art Center, Philadelphia Museum of Art, and the Art Institute of Chicago—brings together about 80 dynamic works that address the challenges and opportunities that humans may encounter in the years, decades, and centuries to come; Rayyane Tabet(December 10, 2020– April 18, 2021), a solo show by the Beirut-based multidisciplinary artist featuring a new installation for the Walker that begins with a time capsule discovered on the site of what was once an IBM manufacturing facility in Rochester, Minnesota.
AN ART OF CHANGES: JASPER JOHNS PRINTS, 1960–2018, February 16–September 20, 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 (US, b. 1930) has continued to astonish viewers with the beauty and complexity of his paintings, drawings, sculpture, and prints. Today, he is considered one of the 20th century’s greatest American artists.
In celebration of the artist’s 90th birthday, An Art of Changes surveys six decades of Johns’s work in printmaking, highlighting his experiments with familiar, abstract, and personal imagery that play with memory and visual perception in endlessly original ways. The exhibition features some 90 works in intaglio, lithography, woodcut, linoleum cut, screenprinting, and lead relief—all drawn from the Walker’s comprehensive collection of the artist’s prints.
Organized in four thematic sections, the show follows Johns through the years as he revises and recycles key motifs over time, including the American flag, numerals, and the English alphabet, which he describes as “things the mind already knows.” Some works explore artists’ tools, materials, and techniques. Others explore signature aspects of the artist’s distinctive mark-making, including flagstones and hatch marks, while later pieces teem with autobiographical imagery. To underscore Johns’s fascination with the changes that occur when an image is reworked in another medium, the prints will be augmented by a small selection of paintings and sculptures.
Curator: Joan Rothfuss, guest curator, Visual Arts.
Exhibition Tour Carnegie Museum of Art, Pittsburgh: October 12, 2019–January 20, 2020 Walker Art Center, Minneapolis: February 16–September 20, 2020 Grand Rapids Art Museum, Michigan: October 24, 2020–January 24, 2021 Tampa Art Museum, Florida: April 28–September 6, 2021
Auberge Resorts Collection, a portfolio of award-winning hotels, resorts and residences, today announced that it plans a Spring 2020 opening for its first urban retreat in the dynamic destination of Austin, Texas. Commodore Perry Estate, Auberge Resorts Collection will be a modern interpretation of a residential estate from yesteryear, where guests are invited to sit back, celebrate and inspire thoughtful conversation. Designed by internationally known designer Ken Fulk, the resort will bring a new level of contemporary glamour, whimsical soul and effortless luxury representative of Austin’s uniqueness. The intimate 10-acre resort offers a uniquely Texas familiarity brimming with character, independent spirit and charm, boasting 42 rooms and 12 suites, and amenities including an organic urban farm, Lutie’s – the signature garden restaurant, a members club and a serene outdoor swimming pool.
“It is with great pride that we welcome Commodore Perry Estate to the Auberge family. Bringing a combination of exquisite design, exceptional location and an authentically Austin experience, this one-of-a-kind Estate introduces a new level of style and distinctive luxury to the diverse city,” said Marco Bustamante, General Manager, Commodore Perry Estate. “We are delighted that Auberge Resorts Collection has been welcomed so warmly into the vibrant Austin community, and are excited to be a best-loved destination for events, weddings and celebration.”
Built in the Jazz Age in 1928, Commodore Perry Estate was originally the country home of Commodore Edgar and Lutie Perry, a place for them to entertain and connect with family when they weren’t traveling through Europe. The 10,800-square-foot Italianate mansion was designed by Dallas architect Henry Bowers Thompson in 1927. Declaring the home, “a great place to throw a party,” Perry was popular for his Gatsby-esque soirées on property. In subsequent decades, Commodore Perry Estate went through many chapters, housing several schools and adding a chapel, and serving as the site of prominent weddings and important Austin events. Located just north of The University of Texas at Austin in the historic neighborhood of Hancock, Commodore Perry Estate is surrounded by expansive grounds, lush green English gardens, spring-fed Waller Creek and a stone wall enclosing the property to create an ideal setting for year-round getaways. The intimate chapel and gardens are the perfect backdrop for special events, weddings and private celebrations.
Commodore Perry Estate features signature imaginative elements from powerhouse designer Ken Fulk, known for projects such as San Francisco’s The Battery and Saint Joseph’s Arts Society, Legacy Records in New York’s Hudson Yards and notable private residential commissions. The layered aesthetic is part history, part imagination and all Austin. The imaginative interiors represent over two years of Fulk’s shopping excursions to Round Top Antiques Show, the Lone Star State’s haven for antiquing. Fulk has curated a mix of custom and heirloom vintage pieces creating an atmosphere that feels collected over time. Fulk worked in collaboration with renowned architecture firm Moule and Polyzoides and award-winning local Austin firms Clayton & Little and Ten Eyck Landscape Architects to restore Commodore Perry Estate to its former glory.
“When I first saw Commodore Perry Estate, I was simply mesmerized. It was as if a European country estate had been transported to a bucolic Texas hill country landscape,” said Fulk. “We strived to craft experiences that combined a relaxed European elegance and true gracious Texas hospitality with an ease and comfort to every experience that will welcome members and visitors to sit back and enjoy themselves.”
As the centerpiece of the property, the original Mansion instantly communicates an elevated, residential atmosphere. Guests will feel as though they’re arriving at the stately home of an old family friend. Handed keys upon arrival, guests will be invited to enjoy the Mansion as they would their own private estate. The five bedrooms from the Perry’s original residence have been transformed into uniquely charming hotel suites as a nod to its original inhabitants. Edgar Perry’s Suite, with its safari-inspired play of patterns, reflects a love of world travel and high culture, while Lutie Perry’s Suite presents a softer side in a palette of pink velvet, faux fur and muted leopard carpet. The downstairs Living Room boasts a new cocktail bar, and the sunny Solarium, with its original tile floors, is perfect for small bites or cocktails. The Dining Room and Breakfast Room are dedicated to informal dining experiences throughout the day. With a wide range of indoor and outdoor lounge options, including the Loggia and Terrace, members and resident members can enjoy a daily menu of Estate favorites and signature cocktails with prime seating for club programming, such as intimate concerts, lectures or tastings. Membership at The Commodore Perry Estate offers members and their guests’ exclusive access to the resort in addition to inspired, cultural programming, experiences and events.
The new private club at Commodore Perry Estate will draw membership from the diverse fabric of the ever-changing Austin community. Offering a stunning environment for locals to meet, dine, collaborate and nourish while cultivating community connection and building on the Estate’s history and traditions. The club also seeks to acknowledge and support exceptional local and national talent in the arts, fashion, culinary, wellness and finance realms to not only provide a rich and unique experience for members, but to also give back to the Austin community.
A Reassuring Presence Instilling Calm, Confidence, And Connection
Tapping into sight, sound, smell, taste, and texture Pantone makes PANTONE 19-4052 Classic Blue the first multi-sensory Color of the Year in the company’s history.
Pantone, provider of professional color language standards and digital solutions, today announced PANTONE 19-4052, Classic Blue, as the Pantone® Color of the Year for 2020; a timeless and enduring hue elegant in its simplicity. Suggestive of the sky at dusk, the reassuring qualities of the thought-provoking PANTONE 19-4052 Classic Blue highlight our desire for a dependable and stable foundation from which to build as we cross the threshold into a new era.
“We are living in a time that requires trust and faith. It is this kind of constancy and confidence that is expressed by PANTONE 19-4052 Classic Blue, a solid and dependable blue hue we can always rely on,” said Leatrice Eiseman, Executive Director of the Pantone Color Institute. “Imbued with a deep resonance, PANTONE 19-4052 Classic Blue provides an anchoring foundation. A boundless blue evocative of the vast and infinite evening sky, PANTONE 19-4052 Classic Blue encourages us to look beyond the obvious to expand our thinking; challenging us to think more deeply, increase our perspective and open the flow of communication.”
The Color of the Year selection process requires thoughtful consideration and trend analysis. To arrive at the selection each year, Pantone’s color experts at the Pantone Color Institute comb the world looking for new color influences. This can include the entertainment industry and films in production, traveling art collections and new artists, fashion, all areas of design, popular travel destinations, as well as new lifestyles, playstyles, and socio-economic conditions. Influences may also stem from new technologies, materials, textures, and effects that impact color, relevant social media platforms and even up-coming sporting events that capture worldwide attention. For 21 years, Pantone’s Color of the Year has influenced product development and purchasing decisions in multiple industries, including fashion, home furnishings, and industrial design, as well as product packaging and graphic design. Past selections for Color of the Year include:
PANTONE 16-1546 Living Coral (2019)
PANTONE 18-3838 Ultra Violet (2018)
PANTONE 15-0343 Greenery (2017)
PANTONE 15-3919 Serenity and PANTONE 13-1520 Rose Quartz (2016)
PANTONE 18-1438 Marsala (2015)
PANTONE 18-3224 Radiant Orchid (2014)
PANTONE 17-5641 Emerald (2013)
PANTONE 17-1463 Tangerine Tango (2012)
PANTONE 18-2120 Honeysuckle (2011)
PANTONE 15-5519 Turquoise (2010)
PANTONE 14-0848 Mimosa (2009)
PANTONE 18-3943 Blue Iris (2008)
PANTONE 19-1557 Chili Pepper (2007)
PANTONE 13-1106 Sand Dollar (2006)
PANTONE 15-5217 Blue Turquoise (2005)
PANTONE 17-1456 Tigerlily (2004)
PANTONE 14-4811 Aqua Sky (2003)
PANTONE 19-1664 True Red (2002)
PANTONE 17-2031 Fuchsia Rose (2001)
PANTONE 15-4020 Cerulean (2000)
The color selected as the Pantone Color of the Year 2020 was taken from the Pantone Fashion, Home + Interiors Color System, the most widely used and recognized color standards system for fashion, textile, home, and interior design.
Imprinted in our psyches as a restful color, PANTONE 19-4052 Classic Blue brings a sense of peace and tranquility to the human spirit, offering refuge. Aiding concentration and bringing laser-like clarity, PANTONE 19-4052 Classic Blue re-centers our thoughts. A reflective blue tone, Classic Blue fosters resilience.
As technology continues to race ahead of the human ability to process it all, it is easy to understand why we gravitate to colors that are honest and offer the promise of protection. Non-aggressive and easily relatable, the trusted PANTONE 19-4052, Classic Blue lends itself to relaxed interaction. Associated with the return of another day, this universal favorite is comfortably embraced.
“The Pantone Color of the Year highlights the relationship between trends in color and what is taking place in our global culture at a moment in time, a color that reflects what individuals feel they need that color can hope to answer.” added Laurie Pressman, Vice President of the Pantone Color Institute. “As society continues to recognize color as a critical form of communication, and a way to express and affect ideas and emotions, designers and brands should feel inspired to use color to engage and connect. The Pantone Color of the Year selection provides strategic direction for the world of trend and design, reflecting the Pantone Color Institute’s year-round work doing the same for designers and brands.”
To fully bring to life the true meaning of PANTONE 19-4052 Classic Blue, Pantone has translated PANTONE 19-4052 Classic Blue into a multi-sensory experience. By extending the sensory reach of PANTONE 19-4052 Classic Blue, Pantone is hoping to reach a greater diversity of people to provide everyone with an opportunity to engage with the Color of the Year 2020 in their own unique way.
“As we all head into a new era, we wanted to challenge ourselves to find inspiration from new sources that not only evolve our Color of the Year platform, but also help our global audiences achieve richer and more rewarding color experiences,” added Pressman. “This desire, combined with the emotional properties of PANTONE 19-4052 Classic Blue, motivated us to expand beyond the visual, to bring the 2020 Pantone Color of the Year to life through a multi-sensory experience.”
Classic Blue in Fashion
PANTONE 19-4052 Classic Blue is a poised and self-assured blue hue elegant in its simplicity. Genderless in outlook and seasonless in endurance, this foundational anchor shade enables color mixes throughout the spectrum, as well as making a strong statement on its own. Emblematic of heritage but at the same time highly contemporary, versatile PANTONE 19-4052 Classic Blue takes on distinct appearances through application to different materials, finishes and textures from shimmering metallics, lustrous sheens and high-tech materials to hand crafted looks and more fragile fabrics.
Classic Blue in Beauty
In the ultimate display of personal expression, PANTONE 19-4052 Classic Blue makes a dramatic statement for eyes, nails and hair in a variety of finishes from glittery and glam to dusty matte.
Classic Blue in Home Décor
Offering the promise of protection PANTONE 19-4052 Classic Blue is a pervasive favorite for home. Creating a stable foundation from which to build, PANTONE 19-4052 Classic Blue injects creative confidence into interiors, transforming a space through unique color combinations and tonal statements. Easily applied across so many different materials, textures and finishes, PANTONE 19-4052 Classic Blue is a dependable blue that can take you in different directions expressing tradition and elegance as well as unexpected boldness.
Classic Blue in Graphic Design and Packaging
Because of PANTONE 19-4052 Classic Blue’s relation to the sky at dusk, something we see every day, it maintains a perception of dependability and constancy. A color we respond to viscerally as being trustworthy, PANTONE 19-4052 Classic Blue is an ideal shade for many applications of graphic design. This is especially true for packaging where PANTONE 19-4052 Classic Blue conveys the message of honesty, credibility and reliability that today’s consumers are connecting to.
Exhibition to Examine Radical Changes Transforming the Surface of the World beyond Cities
R. Guggenheim Museum will
an exhibition addressing urgent environmental, political, and
socioeconomic issues through the lens of architect and urbanist Rem
the think tank of the Office
for Metropolitan Architecture (OMA).
A unique exhibition for the Guggenheim rotunda, Countryside,
The Future will
explore radical changes in the vast nonurban areas of Earth with an
immersive installation premised on original research. The project
extends investigative work already underway by AMO, Koolhaas, and
students at the Harvard
Graduate School of Design;
Academy of Fine Arts, Beijing;
and the University
the past decades, I have noticed that while much of our energies and
intelligence have been focused on the urban areas of the world—under
the influence of global warming, the market economy, American tech
companies, African and European initiatives, Chinese politics, and
other forces—thecountryside has
changed almost beyond recognition,”
stated Koolhaas. “The
story of this transformation is largely untold, and it is
particularly meaningful for AMO to present it in one of the world’s
great museums in one of the world’s densest cities.”
(b. 1944, Rotterdam) founded the Office
for Metropolitan Architecture (OMA) in
1975 together with Elia
and Zoe Zenghelis
He graduated from the
Architectural Association School of Architecture
in London and in 1978 published Delirious
New York: A Retroactive Manifesto for Manhattan.
His 1995 book S,M,L,XL,
summarizes the work of OMA in “a novel about architecture.” In
2001 Koolhaas published with his students two volumes of the Harvard
Project on the City, The
Harvard Design School Guide to Shopping and
and in 2011 Project
Japan: Metabolism Talks looked
back at the Metabolism
His built work includes the
Garage Museum of Contemporary Art in Moscow
Prada in Milan
(2015), the headquarters for
China Central Television (CCTV) in
Beijing (2012), Casa
da Música in Porto, Portugal
(2004), and the Embassy
of the Netherlands in Berlin
(2003). Koolhaas designed the Guggenheim
in Las Vegas, open from 2001 to 2008, and, in 1978, The
Sparkling Metropolis, an
exhibition on the top ramp of the rotunda of the Guggenheim in New
York. Current projects include the Qatar
Performing Arts Center,
a new building for Axel
in Berlin, and the Factory
Manchester. Koolhaas is a professor at Harvard University and in 2014
was the director of the 14th
Venice Architecture Biennale,
S’more flights, mountaintop yoga under the winter sun, new downtown hotel and art hubs with long-range views and “Downton Abbey” at Biltmore
overlooked and underrated, winter in Asheville,
N.C., is a bit of a secret in a Blue Ridge Mountain city
world-famous for fall color and lush summer adventure. Mostly
moderate winter weather means Asheville’s Art Deco Downtown
remains walkable and cozy with picture-perfect long-range views of
snowy peaks, romantic restaurants and easy access to hiking and
walking trails. This winter brings a mix of cozy new offerings
including wellness experiences to beat the winter blues, a new
downtown hotel with expansive views and luxury wellness amenities,
“Downton Abbey” costumes and life-sized set
recreations at The Biltmore, beverages to warm the soul and
new cultural offerings to tuck into.
panoramic views, the best rates of the year and last-minute travel
deals from an array of mountaintop retreats and inviting B&Bs—some
offering private hot tubs overlooking the surrounding peaks and
valleys, fireplaces in epic locales and the chance to see nationally
traveling bands in intimate music venues. Find out more at
HOTEL WITH EXPANSIVE VIEWS & SERENITY-THEMED AMENITIES
opened, the Kimpton Hotel Arras has added a new icon and
four-star luxury property to Asheville’s famed Art Deco
skyline. In addition to a completely new Art Deco façade for
Asheville’s tallest building, the 128-room hotel offers grand views
of the surrounding mountains and an extensive food focus with two
restaurants by local chef Peter Pollay—Bargello, a
Mediterranean-inspired restaurant, and District 42, a more
casual spot with outdoor seating, small bites and hand-crafted
cocktails. The hotel also offers an artisanal serenity cart,
available upon request for guest room delivery, filled with
everything from books by Asheville authors to lavender sachets and
evening cordials. Wellness amenities also include a massage room and
ABBEY” AT BILTMORE
the heels of the hit
Abbey: The Exhibition arrives
at America’s Largest Home on Nov.
with set recreations and artifacts, more than 50 of the show’s
costumes and exclusive multimedia elements. Housed at Biltmore‘s
locations, the exhibition will run through April
and will highlight the parallels between the show, the movie and
Biltmore’s Vanderbilt family, friends and staff. (More
Check out the enlightening new Tea
and Tarot offering
Asheville Wellness Tours
that includes an educational, traditional Chinese tea experience and
a group tarot reading at one of Asheville’s coziest tea houses.
Your Spirit on Top of a Mountain:
is offering the Yoga
on the Mountain Hike
this winter. Make your way through the forest and then warm your
spirit with yoga under the winter sun. Enjoy a peaceful mountain,
crisp fresh air and long-range views along the way.
Fire Pits & Mountain Views:
Rooftop Bar Tours
offer a guided tour to some of Asheville’s most scenic spots. Winter
means gorgeous sunset views, crystal clear vistas of the surrounding
mountains, hot toddies and fire pits.
ART MUSEUM JOINS ARRAY OF FRESH, IMMERSIVE CULTURAL ADVENTURES
Inside & Out:
reopens this November with a new state-of-the-art building that
features education facilities, an art library, a lecture and
performance space, a new ArtPLAYce for families and children and the
addition of a rooftop sculpture terrace and café with views of
downtown architecture and the surrounding mountains. The opening
exhibition “Appalachia Now!” is a survey of contemporary
art in Southern Appalachia, highlighting 50 emerging artists from the
NEW Cultural Experiences Downtown:
of Asheville’s most beloved festivals now has a brick-and-mortar
location downtown. Opening to the public this winter, LEAF
Global Arts Center
will be a cornerstone in the continued rebirth of the city’s
historical African-American business district,
The Center will offer educational experiences for guests rooted in
music, art, community and culture inclusivity via a mini-theater and
global immersion room using virtual reality, unique musical
instruments and a stage for performances and interactive artist
this November, The
Center for Craft
is expanding with The
National Craft Innovation Hub,
including new public galleries featuring local and national makers,
lecture space, classrooms and a co-working space, cementing
Asheville’s reputation as a force in the nation’s fine art and maker
scene. To celebrate the reopening, the “Craft
Futures 2099” exhibition showcases
10 local and national artists and their craft objects of the future,
an exploration of what’s been and what’s to come in the world of
craft. The exhibition runs until February
Center for Craft galleries
are free and open to the public.
Brewery Blends National Park History and Maker Culture:
Set in the buildings that once housed young forestry workers of the
New Deal-era Civilian Conservation Corps,
Beer Co.’s Forestry Camp Restaurant and Bar
just opened, offering beer, wine and coffee and highlighting local
makers, from bakers to artists to musicians. James Beard
chef and owner of Cucina
leads the food program.
Academy” Pairs Drinks, Food & Live Music:
This newly opened venture from Charlie
(Sovereign Remedies), Asheville
features cocktails, champagne and brandy menus, a small food program
and live music. The iconic downtown building, built in 1913, was
home to the Asheville Beauty Academy in the 1950s and more recently
a beloved jazz and blues bar.
New downtown brewery DSSOLVR
opens this November with beer offerings fit for the pickiest of beer
enthusiasts to the most casual of light beer drinkers, as well as
their own mead, wine, cider and cold-brew coffee.
known for ice cream sandwiches and their gourmet takes on
after-school snacks like moon pies and zebra cakes, is making winter
a little warmer with s’more flights. Think house-made marshmallows,
scratch-made graham crackers, dark chocolate and toppings in a
variety of rotating flavors.
Teas Infuse Local Flavors:
working with a dozen local and regional farms, is warming up spirits
this winter with their Snow
(utilizing French Broad Chocolate cacao nibs), Winter
(a blend of white tea, Fraser Fir, wintergreen, peppermint, birch
bark and yarrow flower) and Nutcracker
tea, cinnamon, hickory nuts and vanilla bean).
Views: Take in stunning panoramic views of the surrounding
mountains while on a winter hike. Multiple trailhead access points
remain open all year long on the Blue Ridge Parkway and
across Pisgah National Forest. Find your perfect winter trail
with Explore Asheville‘s NEW Asheville Hike Finder,
where you can sort by difficulty, distance from Asheville and
features like waterfalls or views.
Deals: Winter offers the best rates of the year for travel deals
+ fewer crowds. Cozy travel packages include wellness opportunities
and other winter adventures. Find more at
Fever: Asheville’s array of mountaintop retreats and inviting
B&Bs offers private hot tubs overlooking the surrounding peaks
and valleys, candlelight dinners and the opportunity to get away
from it all.
Season for Music: Deep-seated bluegrass roots harmonize with new
talent and innovative sounds in Asheville. In winter many nationally
traveling local bands come home to the region to play shows and pop
in to jam sessions.
with a View: From rooftops to cozy spots to imbibe, Asheville’s
trend of fireplaces accompanied by spectacular vistas of downtown
architecture and mountain scenery is highlighted at venues like
Capella on 9 at the AC Hotel Asheville Downtown and
Hemingway’s Cuba at Cambria Downtown Asheville. Other
hot spots with epic fireplace offerings: Omni Grove Park Inn,
Pillar Bar at the Hilton Garden Inn Asheville Downtown and
Wicked Weed Brewing.
winter events in Asheville include: The Big Crafty
(December), showcasing handmade art from hundreds of local artists;
The Fringe Arts Festival (January), an innovative series of
boundary-pushing arts performances; Big Band Dance Weekend
(January) at the Omni Grove Park Inn; and Asheville
Restaurant Week (January). Find more winter events at
The Art Institute of Chicago presents an examination of midcentury art and design with In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury, on view now through January 12, 2020. The exhibition, which opened on September 6, 2019, brings together the work of Clara Porset (b.1895), Lola Álvarez Bravo (b.1903), Anni Albers (b.1899), Ruth Asawa (b.1926), Cynthia Sargent (b.1922), and Sheila Hicks (b.1934), reflecting the unique experiences of these designers and artists in Mexico between the 1940s and 1970s. Despite their singularities, they created work that reflected on artistic traditions, while at the same time opened up new readings of daily life at a time of great social and political change.
work of Clara Porset, Lola Álvarez Bravo, Anni Albers, Ruth Asawa,
Cynthia Sargent, and Sheila Hicks has never been shown together
before. While some of these artists and designers knew one another
and collaborated together, they are from different generations, and
their individual work encompasses a range of media varying from
furniture and interior design to sculpture, textiles, photography,
and prints. They all, however, share one defining aspect: Mexico, a
country in which they all lived or worked between the 1940s and
1970s. During this period they all realized projects that breached
disciplinary boundaries and national divides.
exhibition takes its title from a quote by Clara Porset who,
encouraging makers to seek inspiration widely, wrote: “There is
design in everything…in a cloud…in a wall…in a chair…in the
sea…in the sand…in a pot. Natural or man-made.” A political
exile from Cuba, Porset became one of Mexico’s most prominent
modern furniture and interior designers. Influenced by Bauhaus ideas,
she believed that design and art could reshape cities, elevate the
quality of life, and solve large-scale social problems. She shared
these values with the other artists and designers in this exhibition,
who were also committed to forging relationships across cultures;
bringing different voices into dialogue; and responding productively
to a moment of profound cultural and economic transformation. While
some knew one another and worked together, this constellation of
practitioners was from different generations, and their individual
work encompasses a range of media varying from furniture and interior
design to sculpture, textiles, photography, and printmaking.
Porset conceived designs informed by modernism with clean lines
and forms, while also inspired by Mexican lifestyles. Mexican
photographer Lola Álvarez Bravo created dynamic photomontages
by cutting and pasting together parts of different photographs to
produce images that emphasized the intense urban development. She
also photographed Porset’s work. Following Porset’s invitation to
visit Mexico, German émigré Anni Albers saw the country’s
landscape and architecture as a vital source of inspiration,
informing the abstract visual language of her designs. Japanese
American Ruth Asawa, who took a class on craft and housing
with Porset in Mexico City, was drawn to the artistry in utilitarian
looped-wire baskets that she encountered in Toluca and her sculptures
made with this wire technique became her primary practice. Cynthia
Sargent and her husband Wendell Riggs moved to Mexico City
from New York in 1951, where they produced several popular lines of
textiles and rugs in their weaving workshop, collaborated with Porset
for her exhibition Art in Daily Life (1952), and encouraged an
appreciation of crafts by founding the weekly market Bazaar Sábado.
Sheila Hicks, who moved in the same artistic circles as
Porset, set up a workshop in Taxco el Viejo where she collaborated
with and learned from local weavers, while producing pieces that were
resolutely her own.
the decades following the Mexican Revolution, which ended around
1920, Mexico was rapidly modernizing, and the art scene of its
capital was as cosmopolitan and vibrant as it is today. Government
projects promoted the country’s artisanal traditions in an attempt
to build a cohesive national identity. This open climate attracted
intellectuals and artists, such as the six celebrated here. They were
transformed by what they learned, drawing inspiration from Mexican
lifestyles and artistic practices, including the patterns of ancient
indigenous sculptures, the geometries of archaeological sites, and
the complex technical qualities found in thousands of years of
artist Lola Álvarez Bravo, a close friend and collaborator of
Porset, was one of few women photographers working in the country
during this period. Her photographs are essential to understanding
Porset’s no longer extant projects, and her dynamic photomontages,
created by cutting and pasting together parts of different
photographs to create new images, provide insights into Mexico’s
richly layered social, political, and geographical landscape during
the 1940s and 1950s.
was also friends with German émigré Anni Albers. Encouraged to
visit Mexico by Porset, she first traveled to the country in 1935 and
made 13 subsequent trips. Mexico’s landscape and architecture
became a vital source of inspiration and remained so throughout her
career, providing an abstract visual language for her designs. The
triangle motif, for instance, that she used repeatedly in textiles
and screenprints was drawn from archaeological Zapotec sites such as
also left a deep impression on Japanese American Ruth Asawa. In 1947,
two years after taking a class with Porset at the Universidad
Nacional Autónoma de México, she returned to the country and was
drawn to the artistry in utilitarian looped-wire baskets that she
encountered in Toluca. From then on, sculptures made with this wire
technique became her primary practice.
Cynthia Sargent moved to Mexico City from New York with her husband
Wendell Riggs in 1951 and produced several popular lines of rugs in
their weaving workshop. Porset championed Sargent’s work and
included her fabric designs in her pivotal exhibition Art in Daily
Life. Sargent and Riggs went on to co-found the Bazaar Sábado, an
influential market for Mexican and expatriate art and craft that
continues to this day.
American artist Sheila Hicks never met Porset, she was aware of
Porset’s designs through her close friendship with architect Luis
Barragán, who worked with both artists. After studying Latin
American weaving traditions and traveling to South America, Hicks
relocated to Mexico in the late 1950s and set up a workshop in Taxco
el Viejo, where she collaborated with and learned from local weavers,
while producing pieces that are resolutely her own.
a story, In a Cloud… reminds us that, for many,
transnational migration is both a fact of life and a provocation of
creativity; it also challenges easy assumptions about the directions
that migration can take. Current political discourse in the United
States often frames Mexico as a place that people either leave or
move through and not as a country that attracts immigrants of its
own. As this exhibition makes clear, it was this country’s openness
to artistic practice that drew a host of ambitious modern artists and
designers from around the world.
work of these independent-minded designers and artists provides six
distinct yet aligned models of creative practices that followed
alternative routes and opened up new possibilities. Displayed
together, their work makes the case for a continued evaluation of
Mexico’s creative landscape and contributes to burgeoning
discussions aimed at a more inclusive history of modern art and
design,” said Zoë Ryan, John H. Bryan Chair and
Curator of Architecture and Design, Department of Architecture and
Design, the Art Institute of Chicago.
pieces in this exhibition resulted from a complex dynamic of cultural
learning and exchange. Each artist went beyond replication and
applied their newfound knowledge and practices to create their own
unique output while crediting the sources of their inspiration. These
works highlight the importance of these still-influential
contributions to art and design.
funding for In a Cloud, in a Wall, in a Chair: Six Modernists in
Mexico at Midcentury is provided by the Gordon and Carole
Segal Exhibition Fund; the Walter and Karla Goldschmidt
Foundation; Margot Levin Schiff and the Harold Schiff
Foundation; and Barbara Bluhm-Kaul and Don Kaul.
support is provided by Maria and William D. Smithburg;
Kimberly M. Snyder; the George Lill Foundation Endowment;
Nada Andric and James Goettsch; the Graham Foundation for
Advanced Studies in the Fine Arts; Thomas E. Keim and Noelle
C. Brock; the Butler-VanderLinden Family Fund; the Terra
Foundation for American Art; The Danielson Foundation; The
Robey Chicago; and CNA.