Mack Lecture Series April 8–29, 7 pm$15 ($12 Walker members, students, and seniors)Walker Cinema
Hear directly from explorers of our culture and contemporary moment during the Mack Lecture Series. Throughout the month of April, artists, writers, and other great thinkers at the forefront of diverse fields share their vision on topics ranging from artificial intelligence in performance art to gender politics and gonzo journalism.
Writer-director Annie Dorsen tries “to make perceptible how ideas change over time: where they come from, how they influence and are influenced by politics and culture, and how they take root in the body, physically and emotionally.” For this conversation, she explores the intersection of algorithms and live performance with artificial intelligence researcher and computational linguist Catherine Havasi, moderated by Simon Adler, a producer for WNYC’s Radiolab.
Annie Dorsen’s performance work Yesterday Tomorrow, takes place in the Walker’s McGuire Theater March 27–28.
Genderqueer political activist, visual artist, and musician JD Samson is perhaps best known as leader of the band MEN and one-third of the electronic-feminist-punk band Le Tigre. As a self-defined “gender outlaw,” she will investigate the precarious masculinity of the butch/masculine-of-center body, play with traditional concepts of ownership and destruction, and break down the charged heteronormative history of queer sex dynamics.
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
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.
Inspired by the World’s Epic Alpine Destinations, New Concept Debuts with Dedicated Source Book Showcasing Distinctive New Collections by Acclaimed Global Designers
announced today the unveiling of RH
Ski House, a
curated concept inspired by the world’s epic alpine destinations
that presents over 60 new collections reflecting the brand’s
distinctive point of view on mountain living.
is defined by a rustic yet refined aesthetic with modern and
contemporary influences, and debuts with a dedicated print and
which can be viewed at RHSkiHouse.com.
Chairman and CEO Gary Friedman commented, “Whether you ski,
or just enjoy being in the mountains or snow, RH Ski House was
designed to make anyone feel warm, comfortable, and relaxed. It’s a
collection that is the result of curating the best people, products,
ideas, and inspiration we’ve come across, then carefully
integrating each, where the whole becomes more valuable than the
collection of furniture, lighting, textiles and décor is the result
of the brand’s creative partnerships with a select group of
internationally renowned designers. Evoking dramatic winter
snowscapes, sculptural shapes and luxe natural materials layer with
rich organic texture, warm earthen hues and stunning statement
bold silhouettes wrapped in sumptuous, long-haired New Zealand
sheepskin for ultimate, sink-in comfort, showcased in oversized sofas
and sectionals, as well as the
Yeti Sheepskin Armchair,
Sheepskin Dining Chair
living, dining and bedroom, The
Rustic European Oak collectionbyTheo
celebrates the organic beauty of solid oak timbers from decades-old
buildings with contemporary lines that allow the wood’s timeworn
character to take center stage. The Dutch designer also debuts Rigby
Reclaimed Rustic Oak–
where unfinished, rough-sawn slabs appear to float on streamlined
artists have been short-listed for the Hugo Boss Prize 2020,
the biennial award for significant achievement in contemporary art.
The short list is selected by a panel of international curators and
critics in recognition of artists whose work is transforming the
field. Since its inception in 1996, the prize has consistently
functioned as a platform for the most relevant and influential art of
the present, and has become a cornerstone of the Guggenheim’s
the occasion of the thirteenth Hugo Boss Prize, I’m delighted to
announce the finalists for the 2020 cycle,” said Nancy
Spector, Artistic Director and Jennifer and David Stockman Chief
Curator, Solomon R. Guggenheim Museum and Foundation, and jury
chair. “After a rigorous examination of today’s artistic
landscape, the jury identified a group of artists whose practices are
beacons of cultural impact. While diverse in their approaches and
themes, they each exemplify the spirit of experimentation and
innovation that the prize has always championed.”
Hugo Boss Prize recognizes the achievements of both emerging
and established artists, and sets no restrictions in terms of age,
gender, nationality, or medium. The winner, who will receive a
$100,000 honorarium, will be announced in the fall of 2020 and will
present a solo exhibition at the Solomon R. Guggenheim Museum
in spring 2021.
its inception in 1996, the Hugo Boss Prize has been awarded to
twelve influential contemporary artists: American artist Matthew
Barney (1996); Scottish artist Douglas Gordon (1998);
Slovenian artist Marjetica Potrč (2000); French artist Pierre
Huyghe (2002); Thai artist Rirkrit Tiravanija (2004);
English artist Tacita Dean (2006); Palestinian artist Emily
Jacir (2008); German artist Hans-Peter Feldmann (2010);
Danish artist Danh Vo (2012); American artist Paul Chan
(2014); American artist Anicka Yi (2016); and American artist
Simone Leigh (2018). The related exhibitions have constituted
some of the most compelling presentations in the museum’s history.
finalists include Laurie Anderson,
Janine Antoni, Cai Guo-Qiang, Stan Douglas, and Yasumasa Morimura
in 1996; Huang Yong Ping,
William Kentridge, Lee Bul, Pipilotti Rist, and Lorna Simpson in
1998; Vito Acconci, Maurizio
Cattelan, Michael Elmgreen and Ingar Dragset, Tom Friedman, Barry Le
Va, and Tunga in
2000; Francis Alÿs, Olafur
Eliasson, Hachiya Kazuhiko, Koo Jeong-A, and Anri Sala
in 2002; Franz Ackermann,
Rivane Neuenschwander, Jeroen de Rijke and Willem de Rooij, Simon
Starling, and Yang Fudong
in 2004; Allora &
Calzadilla, John Bock, Damián Ortega, Aïda Ruilova, and Tino Sehgal
in 2006; Christoph Büchel,
Patty Chang, Sam Durant, Joachim Koester, and Roman Signer
in 2008; Cao Fei, Roman Ondák,Walid Raad, Natascha SadrHaghighian, and Apichatpong
in 2010; Trisha Donnelly,
Rashid Johnson, Qiu Zhijie, Monika Sosnowska, and Tris Vonna-Michell
2012; Sheela Gowda, Camille
Henrot, Hassan Khan, and Charline von Heyl
in 2014; Tania Bruguera, Mark
Leckey, Ralph Lemon, Laura Owens, and Wael Shawky in
2016; and Bouchra Khalili,
Teresa Margolles, Emeka Ogboh, Frances Stark,
and Wu Tsang
following artists are finalists for the Hugo Boss Prize 2020:
Nairy Baghramian (b. 1971, Isfahan, Iran)
Kevin Beasley (b. 1985, Lynchburg, Va.)
Deana Lawson (b. 1979, Rochester, N.Y.)
Elias Sime (b. 1968, Addis Ababa, Ethiopia)
Cecilia Vicuña (b. 1948, Santiago, Chile)
Adrián Villar Rojas (b. 1980, Rosario, Argentina)
Hugo Boss Prize is our most prestigious engagement in the field of
arts,” said Mark Langer, CEO and Chairman of HUGO BOSS AG. “We
are excited about this diverse and distinguished short list for 2020
and looking forward to the announcement of the winner next fall.”
BOSS PRIZE 2020 SHORT LIST
1971, Isfahan, Iran) lives and works in Berlin. In an oeuvre that
probes the boundaries between the decorative, the utilitarian, and
the art object, Baghramian has illuminated new possibilities for
sculpture. The artist’s disarming biomorphic forms, made with a
range of materials including steel, silicon, resin, and leather,
elicit various unexpected art-historical and sociopolitical
references, reimagining the workings of the body, gender, and public
and private space.
work has been presented in solo exhibitions such as Privileged
Mudam Luxembourg—Musée d’Art Moderne Grand-Duc Jean (2019),
Spell (Un respire),
Palacio de Cristal del Retiro, Madrid (2018); Déformation
Museum der Moderne Salzburg, and Walker Art Center, Minneapolis
(2017); S.M.A.K. Museum of Contemporary Art, Ghent (2016); Nairy
Baghramian: Scruff of the Neck (Supplements),
Zurich Art Prize, Museum Haus Konstruktiv, Zurich (2016); Hand
Museo Tamayo, Mexico City (2015); Fluffing
MIT List Visual Arts Center, Cambridge, Mass. (2013), and Kunsthalle
Mannheim, Germany (2012); and Class
Contemporary Art Gallery, Vancouver (2012).
1985, Lynchburg, Va.) lives and works in New York. Working at the
intersection of sculpture, installation, and performance, Beasley
constructs revelatory formal and sonic experiences. In works that
embed found objects in substances such as resin, foam, and tar, or
incorporate unconventionally manipulated audio equipment, he
amplifies the cultural resonances of his materials to excavate
personal and shared histories of class, race, and institutional
has presented and performed in solo exhibitions such as ASSEMBLY,
The Kitchen, New York (2019); a
view of a landscape,
Whitney Museum of American Art, New York (2018); Kevin
The Institute of Contemporary Art, Boston (2018); Movement
CounterCurrent Festival, Cynthia Woods Mitchell Center for the Arts,
Houston (2017); Hammer
Projects: Kevin Beasley,
Hammer Museum at Art + Practice, Los Angeles (2017); Rubbings,
Kim? Contemporary Art Center, Riga, Latvia (2017); and inHarlem:
The Studio Museum in Harlem, New York (2016).
1979, Rochester, N.Y.) lives and works in New York. Her large-format
photographs channel vernacular, art-historical, and documentary
traditions within the medium, in compositions that valorize black
diasporic culture. Picturing individuals she encounters over the
course of her everyday life within carefully staged domestic
settings, Lawson choreographs every nuance of scenery, lighting, and
pose to create tableaux that powerfully evoke the agency of her
work has been presented in solo exhibitions including Deana
Huis Marseille, Museum voor Fotografie, Amsterdam (2019); Deana
The Underground Museum, Los Angeles (2018); Deana
Carnegie Museum of Art, Pittsburgh (2018); Deana
Contemporary Art Museum St. Louis (2017); Deana
The Art Institute of Chicago (2015); and Corporeal,
Light Work, Syracuse, N.Y. (2009).
Photo Credits: All Images photographed by Connie Zhou, Mo Daoud, and David Zheng (and provided by Nordstrom Inc. PR)
On October 24th, Nordstrom, Inc. opened the doors to its first-ever flagship store for women and children in New York City. Located at 225 West 57th Street, across from the Nordstrom Men’s Store which launched in April 2018, the new store occupies the base of Central Park Tower, the tallest residential building in the world. Customers can shop 320,000 square-feet of retail space across seven-levels in the heart of the city. Nordstrom NYC represents the biggest and best statement (as well as the biggest gamble) of what the brand has to offer.
diverse as New York City itself, merchandise includes a curated
offering across all categories. Customers can shop a comprehensive
selection of apparel brands across a broad range of accessible and
aspirational price points, including Dries Van Noten, Givenchy,
Saint Laurent, Vince, Ted Baker London, Madewell, Reformation and
Topshop, complemented by an extensive selection of accessory
brands like Longchamp, Chloe, Valentino, Fendi, Loewe, MCM, Coach
its heritage in shoes dating back to 1901, Nordstrom NYC offers
customers three shoe departments, including one entire
floor dedicated to women’s shoes. The vast shoe selection will
include Gucci, Prada, Christian Louboutin, Golden Goose, Tory
Burch, Birkenstock, UGG, Steve Madden, Nike and more.
testament to the ever-evolving nature of the New York City store, the
first level will be home to a rotating series of installations,
kicking off with a Christian Louboutin pop-up featuring an
exclusive 30-piece capsule of footwear, handbags and gift items
for men & women, inspired by the Palais de la Porte Dorée
Museum near Louboutin’s childhood home in Paris.
to its roots in shoes, Nordstrom is launching Perfect Pairs,
an exclusive collaboration with 14 customer favorite brands, and a
diverse group of NYC muses, bringing together the likes of Steve
Madden with model Winnie
Harlow; Cole Haan with
poet and activist Cleo Wade; Nike with
Tennis champion Maria Sharapova; Birkenstock
with celebrity stylist Leslie Fremar; UGG with costume
designer Patricia Field, and more.
Kim, Nordstrom Vice President of Creative Projects, also brings
the unique Nordstrom offering to life, curating concepts within the
flagship to create a sense of newness and discovery for customers.
Beginning with British fashion house Burberry, the exclusive Nordstrom concept shop will showcase products from the Autumn/Winter 2019 collection, housed within a giant, immersive installation spanning five rooms, accented with wood paneled walls and raised theatre style seating, windows for visitors to illustrate or tag with graffiti, and a café featuring Nick Knight‘s Portrait of a Rose print throughout with a menu of British classics available to order.
off fall with Nordstrom x Nike (NxN), Nordstrom has developed
the ultimate women’s sneaker boutique with a distinctive view on
style and sport. NxN is the place to find coveted Nike product with a
curated selection of merchandise from the most compelling brands in
fashion. To celebrate the opening, the shop will exclusively launch a
Jordan Air Latitude 720 sneaker with Swarovski and the Nike by
Olivia Kim capsule collection of sneakers and apparel, inspired
by Kim’s NYC-experience during the 90s, launching in-store on October
opening of the New York City flagship brings the exciting in-store
curation of SPACE, a boutique featuring advanced and emerging
designer collections selected by Olivia Kim from brands such as
Cecille Bahnsen, Bode, Eckhaus Latta, Jacquemus, Martine Rose,
Molly Goddard, and Simone Rocha, as well as exclusives
from Tom Wood and Sandy Liang. Unique to the flagship,
SPACE includes the first branded in-store shop from Acne Studios,
and a one-of-a-kind Comme des Garçons shop designed with
artist and furniture designer Marc Hundley.
Designs for Different Futures is organized by the Philadelphia Museum of Art, the Walker Art Center, and the Art Institute of Chicago.
role of designers in shaping how we think about the future is the
subject of a major exhibition that will premiere at the Philadelphia
Museum of Art this fall. Designs for Different Futures
(October 22, 2019–March 8, 2020) brings together some 80
works that address the challenges and opportunities that humans may
encounter in the years, decades, and centuries ahead. Organized by
the Philadelphia Museum of Art, theWalker
Art Center, Minneapolis,
and the Art Institute of Chicago,
Designs for Different Futures will be presented at the Walker
(September 12, 2020–January 3, 2021) and the Art Institute
of Chicago (February 6–May 16, 2021) following its
presentation in Philadelphia.
the questions today’s designers seek to answer are: What role
can technology play in augmenting or replacing a broad range of human
activities?Can intimacy be maintained at a distance? How can
we negotiate privacy in a world in which the sharing and use of
personal information has blurred traditional boundaries? How might we
use design to help heal or transform ourselves, bodily and
psychologically? How will we feed an ever-growing population?
no one can precisely predict the shape of things to come, the works
in the exhibition are firmly fixed on the future, providing design
solutions for a number of speculative scenarios. In some instances,
these proposals are borne of a sense of anxiety, and in others of a
sense of excitement over the possibilities that can be created
through the use of innovative materials, new technologies, and, most
importantly, fresh ideas.
Rub, the George D. Widener Director and Chief Executive Officer of
the Philadelphia Museum of Art, stated: “We often think of
art museums as places that foster a dialogue between the past and the
present, but they also can and should be places that inspire us to
think about the future and to ask how artists and designers can help
us think creatively about it. We are delighted to be able to
collaborate with the Walker Art Center and the Art Institute of
Chicago on this engaging project, which will offer our visitors an
opportunity to understand not only how designers are imagining—and
responding to—different visions of the futures, but also to
understand just how profoundly forward-looking design contributes in
our own time to shaping the world that we occupy and will bequeath as
a legacy to future generations.”
about the future has always been part of the human condition. It has
also been a perennial field of inquiry for designers and architects
whose speculations on this subject—ranging from the concrete to the
whimsical—can profoundly affect how we imagine what is to come.
Among the many forward-looking projects on view, visitors to Designs
for Different Futures will encounter lab-grown food, robotic
companions, family leave policy proposals, and textiles made of
of these possibilities will come to fruition, while others will
remain dreams or even threats,” said Kathryn Hiesinger,
the J. Mahlon Buck, Jr. Family Senior Curator of European Decorative
Arts after 1700, who coordinated the exhibition in Philadelphia with
former assistant curator Michelle Millar Fisher. “We’d like
visitors to join us as we present designs that consider the possible,
debate the inevitable, and weigh the alternatives. This exhibition
explores how design—understood expansively—can help us all
grapple with what might be on the horizon and allows our imaginations
to take flight.”
exhibition is divided into 11 thematic sections. In Resources,
visitors will encounter an inflatable pod measuring 15 feet in
diameter, part of the work Another Generosity first created in
2018 by Finnish architect Eero Lundén and designed in this
incarnation in collaboration with Ron Aasholm and Carmen
Lee. The pod slowly expands and contracts in the space,
responding to changing levels of carbon dioxide as visitors exhale
around it, and provoking questions about the ongoing effect of the
human footprint on the environment.
section titled Generations will explore ways in which the
choices we make today may contribute to the well-being or suffering
of those who come after us. Here, visitors will find a model of the
Svalbard Global Seed Vault, a repository that stores the
world’s largest collection of crop seeds. Located within a mountain
on a remote island near the Arctic Circle, the facility is designed
to withstand natural or human-made disasters. The Earths section
of the exhibition speculates on the challenges of extra-terrestrial
communication in Lisa Moura’s Alien Nations installation and
showcases typeface from the 2016 science-fiction film Arrival.
Bodies, designers grapple with choices about how our physical and
psychological selves might look, feel, and function in different
future scenarios. Featured here is one of the world’s lightest and
most advanced exoskeletons, designed to help people with mobility
challenges remain upright and active. Also notable is the CRISPR
Kit, an affordable and accessible gene-editing toolbox, which has
the potential to revolutionize biomedical research and open
opportunities for gene therapy and genetic engineering.
is a section that explores how technologies and online interfaces may
affect love, family, and community. Here, urban experiences of sex
and love are the focus of Andrés Jaque’s Intimate
Strangers, an audio-visual installation focusing on the gay
dating app. Through internet-enabled devices, designers explore the
possibility of digitally mediated love and sex, suggesting what
advanced digital networks hold for human sexuality.
contains projects that explore the future of the human diet.
Among them is a modular edible-insect farm, Cricket Shelter,
by Terreform ONE, which offers a ready source of protein for
impending food crises. A kitchen installation suggests how technology
and design may contribute to new modes of food production, including
an Ouroboros Steak made from human cells.
sections of the exhibition will focus on the future of Jobs and how
Cities will function and look 100 years from now—with
robotic baby feeders, driverless cars, and other
developments—affording a glimpse at how we might navigate living
beyond this planet. Shoes grown from sweat are among the innovations
visitors will find in a section devoted to Materials, while
Power will look at how design may affect our citizenship and
help us retain agency over such essentials as our DNA, our voices,
and our electronic communications in a future where the lines between
record-keeping, communication, and surveillance blur. Data
acknowledges and questions the different ways that information
might be collected and used, with all its inherent biases and
asymmetries, to shape different futures.
curatorial team is comprised of: at the Philadelphia
Museum of Art, Kathryn B.
Hiesinger, The J. Mahlon Buck, Jr. Family Senior
Curator of European Decorative Arts after 1700, and Michelle
Millar Fisher, formerly The Louis C. Madeira IV Assistant
Curator of European Decorative Arts after 1700; At the Walker
Art Center, Emmet Byrne,
Design Director and Associate Curator of Design; and at the Art
Institute of Chicago, Maite
Borjabad López-Pastor, Neville Bryan Assistant Curator of
Architecture and Design, and Zoë Ryan,
the John H. Bryan Chair and Curator of Architecture and Design.
Consulting curators are Andrew Blauvelt,
Director, Cranbrook Art Museum, Bloomfield
Hills, Michigan, and Curator-at-Large, Museum of Arts
and Design, New York; Colin Fanning,
Independent Scholar, Bard Graduate Center,
New York; and Orkan Telhan,
Associate Professor of Fine Arts (Emerging Design Practices),
University of Pennsylvania School of Design,
B. Hiesinger is the J. Mahlon Buck, Jr. Family Senior Curator of
European Decorative Arts after 1700 at the Philadelphia
Museum of Art. Her work focuses on decorative arts and
design from the mid-nineteenth century to the present and includes
the exhibitions and publications Zaha Hadid: Form in Motion
(2011), Out of the Ordinary: The Architecture and Design of
Robert Venturi, Denise Scott Brown and Associates (2001),
Japanese Design: A Survey since 1950 (1994) and Design
since 1945 (1983).
Millar Fisher is the Ronald C. and Anita L Wornick Curator of
Contemporary Decorative Arts at the Museum
of Fine Arts, Boston. She is a graduate of the University
of Glasgow, Scotland, and is currently completing her
doctorate in architectural history at the Graduate
Center of the City University of New York. She is the
co-author, with Paola Antonelli, of Items: Is Fashion
Byrne is the Design Director and Associate Curator of Design at
the Walker Art Center in
Minneapolis. He provides creative leadership and strategic direction
for the Walker in all areas of visual communication, branding,
publishing, while overseeing the award-winning in-house design
studio. He was one of the founders of the Task Newsletter in
2009 and is the creator of the Walker’s Intangibles platform.
Borjabad López-Pastor is the Neville Bryan Assistant Curator of
Architecture and Design at the Art Institute
of Chicago. She is an architect and curator educated at
the Universidad Politécnica de Madrid and Columbia
University, New York. She is the author and curator of
Scenographies of Power: From the State of Exception to the Spaces
of Exception (2017). Her work revolves around diverse forms of
critical spatial practices, operating across architecture, art, and
Ryan is the John H. Bryan Chair and Curator of Architecture and
Design at the Art Institute of Chicago.
She is the editor of As Seen: Exhibitions That Made Architecture
and Design History (2017) and curator of In a Cloud, in a
Wall, in a Chair: Six Modernists in Mexico at Midcentury (2019)
and the 2014 Istanbul Design Biennial, The Future is Not
What it Used to Be. Her projects explore the impact of
architecture and design on society.
on the innovative contemporary design objects, projects, and
speculations of the exhibition’s checklist, the accompanying volume
proposes design as a means through which to understand, question, and
negotiate individual and collective futures, giving provocative voice
to the most urgent issues of today. It asks readers to contemplate
the design context within broader historical, social, political, and
aesthetic spectrums. Designs for Different Futures addresses
futures near and far, exploring such issues as human-digital
interaction, climate change, political and social inequality,
resource scarcity, transportation, and infrastructure.
primary authors are Kathryn B. Hiesinger, Michelle Millar Fisher,
Emmet Byrne, Maite Borjabad López-Pastor, and Zoë Ryan,
with Andrew Blauvelt, Colin Fanning, Orkan Telhan, Juliana Rowen
Barton, and Maude de Schauensee. Additional contributions
include texts by V. Michael Bove Jr. and Nora Jackson,
Christina Cogdell, Marina Gorbis, Srećko Horvat, Bruno Latour,
Marisol LeBrón, Ezio Manzini, Chris Rapley, Danielle Wood, LinYee
Yuan, and Emma Yann Zhang; and interviews with Gabriella
Coleman, Formafantasma (Andrea Trimarchi and Simone
Farresin), Aimi Hamraie and Jillian Mercado, Francis
Kéré, David Kirby, Helen Kirkum, Alexandra Midal, Neri Oxman,
and Eyal Weizman.
for Different Futures will be distributed by Yale University
Press. The book was overseen by Philadelphia Museum of Art
publishing director Katie Reilly and editors Katie Brennan
and Kathleen Krattenmaker. It is designed by Ryan Gerald
Nelson, Senior Graphic Designer at the Walker Art Center, under the
direction of Walker design director Emmet Byrne.
part of the exhibition, visitors to the Philadelphia Museum of Art
galleries will also encounter a space for community meetups, public
programs, school visits, and self-directed activities. The Futures
Therapy Lab will weave personal connections between visitors and
the exhibition as part of a collaboration between the museum’s
Education Department and the curatorial team. Weekly programs,
many of which will occur on Pay-What-You-Wish Wednesday Nights,
will connect visitors with designers, artists, and locally based
creatives. The Futures Therapy Lab will contain a crowdsourced
Futures Library that includes everything from science-fiction
books to the exhibition catalogue. “Thinking about possible
futures is both exhilarating and anxiety-provoking,” said
Emily Schreiner, the Zoë and Dean Pappas Curator of Education,
Public Programs. “The Futures Therapy Lab is a place for
conversation, critique, and creativity in which visitors can imagine
their own hopes, fears and solutions for the future through
reflection, discussion, and art making.”
Philadelphia, this exhibition is generously supported by the
Annenberg Foundation Fund for Major Exhibitions, the Robert
Montgomery Scott Endowment for Exhibitions, the Kathleen C.
and John J.F. Sherrerd Fund for Exhibitions,Lisa Roberts and
David Seltzer in Honor of Collab’s 50th Anniversary, the Women’s
Committee of the Philadelphia Museum of Art, the Laura and
William C. Buck Endowment for Exhibitions, the Harriet and
Ronald Lassin Fund for Special Exhibitions, the Jill and
Sheldon Bonovitz Exhibition Fund, and an anonymous donor.
Futures Therapy Lab will host a series of weekly happenings:
in the Lab
and designers share their work through talks, demonstrations, and
workshops. Wednesday Nights, 5:00–8:45 p.m.
Designer is In
it out. One-on-one sessions with local designers offer new
perspectives on your everyday life. Thursdays & Saturdays,
readings that explore narratives of the future. Select Sundays,