the UK’s most innovative and daring commercials from the creative
world of British advertising. One of the Walker’s most popular
traditions back for the 33rd year, the British Arrows Awards
showcases an eclectic mix of riveting mini-dramas, high-tech
extravaganzas, wacky comedy, and vital public service announcements.
British Arrows is a much-loved program in the Twin Cities with
many people attending year after year. The audiences are moved by the
program, which can be a unique cross-cultural experience, as they try
to figure out brands and products that are not available in the U.S.,
but are cleverly conveyed. It’s a unique experience for American
audiences to view ads that are not invested in the hard sell; rather,
gaining interest in products and services through humor, pathos and a
dynamic cinematography. Although there are 95 screenings this year,
they are sure to sell out quickly.
NIGHT, Friday, December 6, 7 and 9 pm
early and celebrate with a cash bar, plus music by DJ Simon Husbands
of KFAI’s True Brit Radio. Introduced by Clare Donald and Jani
Guest, British Arrows board co-chairs, and Lisa Lavender, operations
Friday, November 29: 3, 5, and 7 pm
Saturday, November 30: 3, 5, and 7:30 pm
Sunday, December 1: 3, 5, and 7 pm
Friday, December 6: 7 and 9 pm: Brits Night. Introduced by Clare Donald and Jani Guest, British Arrows board co-chairs, and Lisa Lavender, operations director.
Saturday, December 7: 5 and 7 pm
Sunday, December 8: 1, 3, and 5 pm
Thursday, December 12: 6, 7, and 8 pm
Friday, December 13: 6, 7, and 8 pm
Saturday, December 14: 1, 2, 3, 4, 5, 6, 7, and 8 pm
Sunday, December 15: 1, 2, 3, 4, 5, 6, and 7 pm
Tuesday, December 17: 6, 7, and 8 pm
Wednesday, December 18: 6, 7, and 8 pm
Thursday, December 19: 6, 7, and 8 pm
Friday, December 20: 6, 7, and 8 pm
Saturday, December 21: 1, 2, 3, 4, 5, 6, 7, and 8 pm
Sunday, December 22: 1, 2, 3, 4, 5, and 6 pm
Thursday, December 26: 1, 2, 3, 4, 5, 6, 7, and 8 pm
Friday, December 27: 1, 2, 3, 4, 5, 6, 7, and 8 pm
Saturday, December 28: 1, 2, 3, 4, 5, 6, 7, and 8 pm
Sunday, December 29: 1, 2, 3, 4, 5, 6, 7, and 8 pm
Independent documentary filmmaker Julia Reichert has been asking defining questions about workers’ rights, gender roles, taboos, and social change in America since the early 1970s. The pioneering Emmy Award–winner and three-time Academy Award–nominee comes to the Walker Arts Center for a retrospective of her distinguished body of work, Julia Reichert: 50 Years in Film, Feb 1–29, 2020 (at the Walker’s Bentson Mediatheque). Reichert will be on-site February 28 and 29, 2020 to discuss her career and her two recent, widely celebrated documentaries, American Factory and 9 to 5: The Story of a Movement.
Up Female Directed
by Julia Reichert and Jim Klein
February 20, 7 pm Free
wish every high school kid in America could see this film.”
—Susan Sontag on Growing
Growing Up Female is the very first feature-length film of the modern women’s movement. Considered controversial and exhilarating on its release, the film examines female socialization through a personal look into the lives of six women, ages four to 35, and the forces that shape them—teachers, counselors, advertisements, music, and the institution of marriage. A time capsule of a generation’s feminist issues, sometimes intersecting with race and class, the film illuminates a complex system of institutions upholding internal and external oppression. Selected to the National Film Registry in 2011. 1971, DCP, 52 min.
by Julia Reichert, Jim Klein, and Miles Mogulescu
Reichert interviews three “Union Maids” on their experiences as organizing women of the Labor movement. Fighting for humanitarian rights, these radical workers reflect on their lives filled with purpose and struggle. Frustrated by the privileged class’ participation in the women’s movement and caught up in race and gender discrimination within class warfare, their voices echo and contextualize many social justice issues today. 1976, DCP, 48 min.
Red: Stories of American Communists,
Directed by Julia Reichert and Jim Klein
7 pm; $10 ($8 Walker members, students, and seniors)
Reichert brings to light the forgotten history of Americans who joined the Communist Party and the high price many of them paid for their beliefs. Boldly countering traditional myths, the film presents engaging interviews and personal accounts that take on a new resonance in today’s charged political climate. 1983, DCP, 100 min.
Evening Will Feature Live Music by Katy Vernon and PJ Harvey Film A Dog Called Money
The Sound Unseen Film+Music Festival (November 12 – 17, 2019) celebrates 20 years of film, music, and art in the Twin Cities. The opening night event includes a live music performance by Katy Vernon on the Walker Cinema Stage starting at 6:30 pm and a postshow reception in the main lobby. (Visit Sound Unseen for the full schedule of events and locations.)
the fall of 1999, Sound Unseen introduced itself as a unique, cutting
edge “films-on-music” festival in Minneapolis. Formulated as a
cultural organization dedicated to the role of film and music as a
conduit of powerful ideas and diverse viewpoints. Its mission is to
foster a greater appreciation of cinema, to bridge cultures, create
and expand community, provide cultural exchange, networking
opportunities and educational outreach through regular interaction
with great films, filmmakers, musicians and artists.
its inception, It has established itself as one of the premiere niche
festivals in the country, but more importantly as a vital part of the
regional cultural scene. Now in its 19th year, the festival has
expanded to include year-round programming, unique pop-up events, and
special screenings including world and regional premieres.
“One of the 25 Coolest Film Festivals In The World” by Moviemaker
in 2016, the “Best Winter Film Festival” by the Star
2012, and the “Best of the Fests 2010” from Mpls/St
Sound Unseen continues its tenure as the region’s premiere
films-on-music festival. While bringing the best in documentaries,
short films, and music videos it also showcases rare concert footage,
interactive panels, and live music events. As part of its year-round
presence, Sound Unseen offers a successful monthly screening series
and special events throughout the Twin Cities. This diversity in
content is one of the things that separates Sound Unseen from the
typical outdoor mega concerts and film festivals.
Unseen has received press coverage in all major local media including
Star Tribune, Pioneer Press, City Pages, Vita.mn, Secrets of the
City, Walker Art blog, TC Daily Planet, Northland News, Growler
Magazine, MinnPost; local radio stations The Current, KQRS, MPR,
Radio K and television news including NBC, FOX, and CBS. National
media mentions have included Rolling Stone, Paste Magazine, USA
Today, Music Film Web blog, The Playlist,
Independent magazine of New York.
ninth studio album, 2016’s The
Hope Six Demolition Project,
was created through a unique process that blended travelogue,
photography, performance art, and now a documentary feature. It began
when Harvey, looking to develop a new set of politically tinged songs
that would also evoke a tangible sense of place, decided to accompany
award-winning photojournalist and filmmaker Seamus
as he travelled on assignments to war-torn regions in Afghanistan and
Kosovo, as well as to the poor, mostly black neighborhoods of
Washington, DC. As Murphy filmed, Harvey personally interacted with
the members of the different communities and wrote her impressions in
a diary, crafting song lyrics and melodies based on the stories she
uncovered. Back in London, Harvey and her band experimented with
these new songs during a live sound installation called “Recording
at the distinguished
generating an album’s worth of material entirely within a
glass-walled recording studio, with members of the public invited to
watch. Chronicling the entire project, and even including a handful
of songs not on the final album, A
Dog Called Money is
Murphy’s inspiring, expressionistic document of this unprecedented
collaborative experiment. 2019, Ireland/UK, DCP, 90 min. —Clinton
McClung, Seattle International Film Festival
Unseen Opening Night
Tuesday, November 12
Katy Vernon, 6:30pm
Dog Called Money, 7pm
Cinema, $20 ($15 Walker members, students, and seniors)
features have been submitted for consideration in the Animated
Feature Film category for the 92nd Academy Awards®. The submitted
features, listed in alphabetical order, are:
Angry Birds Movie 2”
Day of Life”
in the Labyrinth of the Turtles”
of the Sea”
Tartakovsky’s ‘Primal’ – Tales of Savagery”
to Train Your Dragon: The Hidden World”
Lost My Body”
Lego Movie 2: The Second Part”
Secret Life of Pets 2”
Swallows of Kabul”
& Ipin: The Lone Gibbon Kris”
of the films have not yet had their required Los Angeles seven-day
qualifying run. Submitted features must fulfill the theatrical
release requirements and comply with all of the category’s other
qualifying rules before they can advance in the nominations voting
process. To determine the five nominees, members of the Short
Films and Feature Animation Branch are automatically eligible to
vote in the category. Academy members outside of the Short Films and
Feature Animation Branch are invited to opt-in to participate and
must meet a minimum viewing requirement to be eligible to vote in the
category. Films submitted in the Animated Feature Film category
also qualify for Academy Awards in other categories, including Best
for the 92nd Academy Awards will be announced on Monday,
January 13, 2020.
92nd Oscars® will be held on Sunday, February 9, 2020, at the
Dolby Theatre® at Hollywood & Highland Center® in
Hollywood, and will be televised live on the ABC Television
Network. The Oscars also will be televised live in more than 225
countries and territories worldwide.
The Academy of Motion Picture Arts and Sciences is a global community of more than 9,000 of the most accomplished artists, filmmakers and executives working in film. In addition to celebrating and recognizing excellence in filmmaking through the Oscars, the Academy supports a wide range of initiatives to promote the art and science of the movies, including public programming, educational outreach and the upcoming Academy Museum of Motion Pictures, which is under construction in Los Angeles.
Festival to open with “Just Mercy,” close with World Premiere of “Verticals”
The ninth annualNapa Valley Film Festival (NVFF) has announced its film line-up, including Opening and Closing Night screenings. NVFF returns this fall with its five-day festival showcasing the year’s best new independent films, November 13-17. Organizers will showcase Napa Valley’s finest food and wine at all special events, including the Festival Gala, VIP receptions and Vintner Circle dinners, and will feature a lively series of filmmaker-chef collaborative demonstrations at the Monogram Appliances Demonstration Kitchen at the Oxbow Commons in downtown Napa. The seven screening venues located throughout the Valley include the Archer Hotel Napa, the historic Cameo Cinema, the CIA at Copia, Charles Krug Winery, Lincoln Theater, Native Sons, and the Uptown Theatre.
are excited to release another eclectic selection of highly-curated
comedies and dramas from established and emerging filmmakers,”
said Napa Valley Film Festival CEO Tom Tardio. “These films
consist of inspiring and compelling stories that will thoroughly
engage and entertain our festival-goers. At the intersections of
film, food, and wine, the festival continues to deliver tremendously
unique and exclusive experiences that only a world-class destination
such as Napa Valley can provide and only that NVFF can deliver.”
Preview Night, Opening Night and Closing Night
will kick off with their Sneak Preview Night on Tuesday,
November 12 with a special presentation of 20th Century Fox’s
Ford v Ferrari. The film is inspired by the remarkable
true story of visionary American car designer Carroll Shelby and the
fearless British driver Ken Miles. Directed by James Mangold, the
film stars Matt Damon, Christian Bale, Jon Bernthal, Caitriona Balfe,
Tracy Letts, Josh Lucas, Noah Jupe, Remo Girone and Ray McKinnon.
festival’s official Opening Night film on Wednesday,
November 13 is Warner Bros.’ Just Mercy, a powerful and
thought-provoking true story following young lawyer Bryan Stevenson
and his history-making battle for justice. The film is directed by
Destin Daniel Cretton and stars Michael B. Jordan, Brie Larson and
the festival on Sunday, November 17 is SOMMTV’s world
premiere of Verticals, a series that showcases Napa
Valley winemakers and the human condition through a bottle of wine.
This premiere is also the launch of SOMMTV, the first food and wine
dedicated streaming platform. The series is directed by Jason Wise.
(Neon) – Years of carrying out death row executions have taken a
toll on prison warden, Bernadine Williams. The emotional wedge in
her marriage grows and memories of a recently botched execution
plague her daily. As she prepares to end the life of another inmate,
Bernadine must confront the psychological and emotional demons her
job creates, ultimately connecting her to the man she is sanctioned
to execute. Directed by Chinonye Chukwu and starring Alfre Woodard,
Aldis Hodge, Wendell Price, Richard Schiff and Danielle Brooks.
of a Lady on Fire (Neon) – In 1760 France, Marianne is
commissioned to paint the wedding portrait of Héloïse, a young
woman who has just left the convent. Marianne arrives under the
guise of companionship with the reluctant bride-to-be, observing
Héloïse by day and secretly painting her by firelight at night. As
the two women orbit one another, intimacy and attraction grow as
they share Héloïse’s first moments of freedom. Héloïse’s
portrait soon becomes a collaborative act of and testament to their
love. Directed by Céline Sciamma and starring Noémie Merlant and
The Stars (Samuel Goldwyn Films) – Iris, a bespectacled
and reclusive teen living in a god-fearing Oklahoma town in the
1960s, endures the booze-induced antics of her mother and daily
doses of bullying from her classmates. She finds solace in Maggie,
the charismatic and enigmatic new girl at school, who hones in on
Iris’s untapped potential and coaxes her out of her shell. When
Maggie’s mysterious past can no longer be suppressed, the small
community is thrown into a state of panic, leaving Maggie to take
potentially drastic measures and inciting Iris to stand up for her
friend and herself. Directed by Martha Stephens and starring Kara
Hayward, Liana Liberato, Malin Akerman, Tony Hale, Shea Whigham and
Zero (Amazon Studios) – In a tiny Georgia town in 1977, a
motherless girl named Christmas Flint dreams of life beyond the
confines of her trailer-park home and hopes to make contact with
outer space. When Christmas learns that the winners of the annual
Birdie Scout Jamboree talent contest will be included on a recording
to be sent into space for posterity, she tries to join the local
Scouts troop. When she is rejected by the snobbish group of girls
and their uptight leader Miss Massey, Christmas rallies a group of
elementary-school outliers to start their own chapter. Troop Zero is
an endearing and magical tale of friendship and individuality.
Directed by Bert & Bertie and starring Viola Davis, Mckenna
Grace, Jim Gaffigan, Mike Epps, Charles Shotwell and Allison Janney.
& Response – 2018 was the worst year on record for
natural disasters. Code & Response takes us into the heart of
the aftermath of some of those disasters as we meet the first
responders who are supported by innovative technology. Follow four
coders from around the world (Japan, Puerto Rico, California, and
Mexico) to learn about why they are getting involved, as well as how
they are building technologies to help first responders save lives.
Directed by Austin Peck.
– Bruno is still mourning his wife’s passing when his
in-laws evict him from the home he and wife built together.
Unwilling to let his beloved home fall into disrepair, Bruno sneaks
back to the house and meets the new owner of the home, Marie.
Determined to be the only person to make any changes to the house he
built, Bruno poses as a local handyman and Marie hires him for
renovations. As the two begin work on the house, Bruno is forced to
face the reality that his wife is gone, and he learns to move on
from his grief. Directed by Hernán Jiménez and starring Aden
Young, Parker Posey, Ken Jeong, Beau Bridges and Jacki Weaver. World
the Vine – Mark, a downtrodden CEO, is experiencing an
ethical crisis at work. In an attempt to re-calibrate his moral
compass, he travels back to his hometown in rural Italy. He finds
newfound purpose by reviving his grandfather’s old vineyard,
offering the small town of Acerenza a sustainable future and
reconnecting with his family in the process. Combining magical
realism and Italian neorealism, and set against the backdrop of
Italian wine country, From the Vine is about returning to your roots
and redefining your life when you’re at the bottom of the barrel.
Directed by Sean Cisterna and starring Joe Pantoliano, Wendy
Crewson, Marco Leonardi, Paula Brancati and Tony Cisterna.
Chorus Deep South – In response to a wave of
discriminatory anti-LGBTQ laws in Southern states, the San Francisco
Gay Men’s Chorus embarks on a tour of the American Deep South. The
tour brings a message of music, love, and acceptance to communities
and individuals confronting intolerance. What emerges is a less
divided America, where the lines that separate us in faith,
politics, and sexual identity are erased through the soaring power
of music, humanity, and a little drag. Directed by David Charles
Want My MTV – A nostalgic and thrilling ride, I Want My
MTV takes its audience back to the beginning, when the idea of a
television channel devoted to only videos seemed destined for
failure. The chronicling of this unique journey provides a peek into
how a team of young executives were tasked with growing this seed of
an idea, which would quickly flourish into a beloved and often
controversial cultural juggernaut. Features commentary from Sting,
Billy Idol, The Eurythmics, Jerry Cantrell, Pat Benatar, and more.
Directed by Patrick Waldrop and Tyler Measom, and starring Sting,
Billy Idol, Pat Benatar, Dee Snider, Norman Lear, The Eurythmics ,
Darryl McDaniel and Jerry Cantrell.
All Begins with a Song: The Story of the Nashville Songwriter
– It All Begins with a Song: The Story of the Nashville
Songwriter is a celebration of one of music’s most important
yet underrated forces: the songwriter. These songwriters have penned
melodies and lyrics for some of the biggest stars in the music
industry, yet few know their names. Pull back the curtain to reveal
the process of creating a successful song and learn more about the
origins of some of the world’s most iconic hits. Directed by
Anthony ‘Chusy’ Haney-Jardine.
Land of High Mountains – The Land of High Mountains is the
inspiring true story of the only pediatric hospital in Haiti. In a
country where one third of the population is under fourteen years of
age and foreign NGOs consistently come and go, Saint Damien
Pediatric Hospital has been providing life-saving healthcare to the
most vulnerable families for over thirty years. This is a powerful
account of the incredible people, both Haitian and foreign who,
despite encountering every conceivable obstacle, are working
together to create a brighter future for their patients and for
Haiti. Directed by Will Agee and starring Liferne Forestal, Phadoul
Amisial, Fr. Rick Frechette, Dr. Renee Alce, Dr. Jacqueline Gautier,
Fr. Enzo Del Brocco, Veline , Gaelle , Lourdy , Pierre Nadine,
Sainfleur Jean Israel, Marie Yolene, Vilaire Meralin and Christiana
Waves: The Art of Cinematic Sound – Since the invention of
sound in films, sound designers have been influencing the landscape
of cinema. Making Waves: The Art of Cinematic Sound shines a
spotlight on the unsung heroes of sound design throughout cinematic
history. Through interviews with legendary directors and some of the
industry’s most-respected sound designers, we revisit film
classics that helped shape the way we listen to and experience films
today. Making Waves: The Art of Cinematic Sound reveals the hidden
impact of sound in cinema and how the auditory intake of a film
holds so much power over an individual’s experience of
storytelling. Directed by Midge Costin.
A Picture Story – In the 1970s, Martha Cooper was one of a
handful of photographers documenting the first vivid images of
graffiti appearing on New York City’s subway carriages. 20 years
later, she discovers that her book Subway Art has become one of the
most stolen books of all time – inspiring the spread of graffiti
around the globe and making Martha an unexpected icon of the street
art world. Now, at age 75, Martha must navigate her way through the
vastly changed culture of the modern world. Directed by Selina
Beautiful Stutter – After lifetimes of bullying,
isolation, and failed fluency training, witness the incredible
transformation of five kids who stutter when they enter a
groundbreaking program through SAY, The Stuttering Association. Over
the course of a year of events and workshops, these young people of
wildly different backgrounds experience SAY’s revolutionary
mantra: it’s okay to stutter. Directed by Ryan Gielen and starring
– Justice Ginsburg in Her Own Words – How does a person
with three strikes against her rise to the highest court in the
land, the U.S. Supreme Court? RUTH – Justice Ginsburg in Her Own
Words tells the improbable story of how Ruth Bader Ginsburg became
an Associate Justice of the Supreme Court. It also reveals both the
public and private sides of a resilient, resourceful woman who has
survived the hostility of the profoundly male universe of government
and law to become a revered Justice and icon for gender equality and
women’s rights. Directed by Freida Lee Mock and starring Justice
Ruth Bader Ginsburg, Justice Goodwin Liu, Dean Erwin Chemerinsky,
Irin Carmon, Shana Knizhnik, Delegate Jennifer Carroll Foy, M.E.
Freeman, Lilly Ledbetter and Kathleen Peratis.
Three Drinkers Do Scotch Whisky – Packed full of humour,
personality, and flavour, The Three Drinkers do Scotch Whisky is a
drinks-focussed travelogue, where three friends embark on a road
trip through Scotland. From Dufftown and Islay to Elgin and Jura,
they journey through breath-taking landscapes, visiting iconic
distilleries and touching on Scottish culture, tourism and
traditional dishes you can’t even pronounce. This is whisky for a
new, global audience, from twenty-one to ninety-one. Directed by
David Agrawal. World Premiere
Competitions (previously announced)
Me an Avocado, Directed by Maria Mealla and starring
Bernardo Peña, Sarah Burkhalter, Molly Ratermann, Candace Roberts.
Awhile, Directed by Tim True and starring Anna Camp, Steven
Strait, and Joe Lo Truglio. World Premiere
Directed by Stephanie Turner and starring Glynn Turman, Darby
Stanchfield, Josh Stamberg, Daisy Prescott, and Stephanie Turner.
Grandma, Directed by Sasie Sealy and starring Tsai Chin,
Corey Ha, Michael Tow, Woody Fu, Yan Xi, Wai Ching Ho, and Clem
Nomads, Directed by Brandon Eric Kamin and starring Tika
Sumpter and Tate Donovan.
This Town, Directed by Ricky Tollman and starring Ben Platt,
Mena Massoud, Nina Dobrev, Damian Lewis, Jennifer Ehle, and Scott
Up, Falling Down, Directed by Matt Ratner and starring Billy
Crystal, Ben Schwartz, Eloise Mumford, Grace Gummer, Caitlin McGee,
David Castaneda, Debra Monk, and Jill Hennessy.
School, Directed by Li Dong and starring Celine Tsai,
Jonathan Keltz, Michelle Monteith, Mpho Koaho, Darrin Baker,
Jonathan Malen, Matthew Edison, and Vas Saranga. World Premiere
Am Human, Directed by Taryn Southern and Elena Gaby.
Day Jew, Directed by Aliza Rosen.
Directed by Liz Canning.
Pollinators, Directed by Peter Nelson.
Remix: Hip Hop X Fashion, Directed by Lisa Cortes and Farah
Story of Plastic, Directed by Deia Schlosberg.
Is My Home, Directed by Karl Nickoley.
Groomed, Directed by Rebecca Stern.
As You Are, Directed by Richard Wong.
Grass, Directed by Dawn Luebbe and Jocelyn DeBoer.
Directed by Ryan Daniel Dobson. World Premiere
Call, Directed by Gavin Michael Booth.
Directed by Takashi Doscher.
of Life, Directed by Liz Manashil.
Trouble, Directed by Dan Erickson.
Way You Look Tonight, Directed by John Cerrito.
Bread, Directed by Beth Elise Hawk.
Directed by Gab Taraboulsy.
to Tail, Directed by Jesse Zigelstein.
Fancy: Diana Kennedy, Directed by Elizabeth Carroll.
The Culinary Internship, Directed by Abby Ainsworth.
Taste of Sky, Directed by Michael Lei.
festival will also feature Short Film Programs with:
Napa Valley Film Festival (NVFF) is a five-day celebration
that blends the art of film, food, and wine together. Discover the
best new independent films of the year, savor exquisite cuisine
paired with legendary wines, and create lasting memories found only
in the Napa Valley. The Napa Valley Film Festival is presented by
Cinema Napa Valley, a registered 501c3 non-profit organization
headquartered in Napa, California. Cinema Napa Valley’s mission is
to celebrate the cinematic arts and enrich the community by
presenting an annual world-class festival and year-round education
and outreach programs. The Napa Valley Film Festival takes place
November 13-17, 2019. Visit napavalleyfilmfest.org for more
information on passes and festival events.
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,
This fall, the Philadelphia Museum of Artpresents Off the Wall: American Art to Wear, (November 10, 2019 – May 17, 2020) a major exhibition that highlights a distinctive American art movement that emerged in the late 1960s and flourished during the following decades. It examines a generation of pioneering artists who used body-related forms to express a personal vision and frames their work in relation to the cultural, historical and social concerns of their time. Focusing on iconic works made during the three decades between 1967 and 1997, the exhibition features over 130 one-of-a-kind works by more than sixty artists. Comprised primarily of selections from a promised gift of Julie Schafler Dale, it will also include works from the museum’s collection and loans from private collections. Off the Wall: American Art to Wear is accompanied by a new publication of the same title, co-published by the Philadelphia Museum of Art and Yale University Press.
Rub, the George D. Widener Director and CEO, said: “This
exhibition will introduce to our visitors an exceptionally creative
and adventurous aspect of American art which took the body as a
vehicle for its expression. We are not only deeply grateful to Julie
Dale for her extraordinary gifts and support of the museum but also
see this as an opportunity to acknowledge the dynamic role she played
in nurturing the growth and development of this movement.”
champions of Art to Wear during the early years were a
few forward-thinking museums, among them New York’s Museum of
Contemporary Crafts (Museum of Art and Design), collectors, and
galleries such as Sandra Sakata’s Obiko, founded in
1972 in San Francisco, and Julie Schafler Dale’s Julie:
Artisans Gallery, which opened the following year on Madison
Avenue in New York. For over 40 years, Dale’s gallery was a premier
destination for presenting one-of-a-kind wearable works by American
artists. Through her gallery installations and rotating window
displays, she gave visibility to the Art to Wear movement. In 1986,
she brought further recognition to the art form by publishing the
seminal book Art to Wear—from which the title of this
exhibition is taken—which provided in-depth profiles of artists
alongside photographs by Brazilian fashion photographer Otta
Stupakoff. Dale’s gallery closed in 2013.
the Wall is arranged in nine sections; the titles of some are
derived from popular music of the ‘60s and ‘70s to suggest the
wide-ranging concerns of the artists. The introductory section, The
Times They Are A Changin’ (Bob Dylan, 1964), contains works by
Lenore Tawney, Dorian Zachai, Claire Zeisler, Ed Rossbach, and
Debra Rapoport to illustrate how textile artists in the late
‘50s and ‘60s liberated tapestry weaving from the wall, adapting
it to three-dimensional sculptural forms inspired by pre-Columbian
1969, a group of five students at Pratt Institute studying
painting, sculpture, industrial design, multimedia, and graphic
design taught each other how to crochet, leading to remarkable
outcomes. Janet Lipkin, Jean Cacicedo, Marika Contompasis, Sharron
Hedges, and Dina Knapp all created clothing-related forms
that they would describe as wearable sculpture, thus establishing a
cornerstone of the Art to Wear movement. A highlight in this
section is a wool crochet and knit Samurai Top, 1972, by
Sharron Hedges, modeled by the young Julie Dale for the book
Creative Crochet, authored by two of the artist’s friends,
Nicki Hitz Edson and Arlene Stimmel.
next section, Good Vibrations (Beach Boys, 1966), traces the
migration of many of these young artists from the East Coast to the
West Coast where they joined California’s vibrant artistic
community and connected with Sandra Sakata’s Obiko. A pair
of colorful denim hand-embroidered mini shorts by Anna VA Polesny
embroidered while traveling conveys this new youthful spirit.
Pacific Rim influences are evident in the Japanese kimono form as a
blank canvas offering infinite possibilities for pattern and design.
Katherine Westpahl’s indigo blue resist-dyed cotton work, A
Fantasy Meeting of Santa Claus with Big Julie and Tyrone at
McDonald’s, 1978, and Janet Lipkin’s Mexico at
Midday, a coat made in 1988 are exceptional examples. A range of
counter-culture influences, evoking ceremony and spirituality,
pervade this section.
Together (The Beatles, 1969) responds to the popular use of
assemblage in art-making, especially the use of nontraditional
materials. It also looks at the art of performance, reflected in Ben
Compton and Marian Clayden’s Nocturnal Moth, 1974,
inspired by Federico Fellini’s film La Dolce Vita
(1960). “Mother Earth,” a nod to the publication Mother
Earth News Magazine, looks to nature and environmental concerns
while This Land is Your Land (Woodie Guthrie, 1940) explores
iconic American imagery including reference to the American West and
Native American cultures. Examples in this section include Joan
Ann Jablow’s Big Bird cape, 1977, made entirely of
recycled bird feathers, and Joan Steiner’s Manhattan
Collar, 1979, which reimagines New York’s skyline in miniature.
Worlds explores fantasy and science fiction, two genres that
offered young people an escape from the period’s cultural and
political upheavals. Noteworthy here are works by Jean Cacicedo
and Nina Huryn, both of whom riff on one of the most widely
read English language books at the time, J.R.R. Tolkien’s
trilogy Lord of the Rings (1965). Cacicedo responded with a
portrait of Treebeard, 1973, a Tolkien character, while Huryn
created her own fantasy world in Tree Outfit, with its flowing pants,
loose shirt and leather sleeveless jacket containing forest and
folklore imagery, a work made especially for Julie: Artisans
Gallery in 1976. Other artists turned to dreams, such as Susanna
Lewis, who created Moth Cape, 1979, in response to a
nightmare that she had of a giant moth enveloping her body.
section called I Am Woman (Helen Reddy, 1971) underscores the
ways in which artists invoked feminism directly and indirectly in Art
to Wear. Janet Lipkin, for example, invested her works
with symbols of freedom while searching for new directions in her
life, as seen in Bird Coat, 1972, Flamingo, 1982, and
Transforming Woman, 1992. Other works like Combat Vest,
1985, by Sheila Perez, feature plastic toy soldiers as
protective armor for the chest area, while Nicki Hitz Edson’s
Medusa Mask, 1975, is a wild expression of fraught emotions
surrounding the breakup of her marriage.
My World (Chicago, 1970) reflects the buoyant rainbow color
spectrum that was ubiquitous during this era. Recently published
works on color theory by Johannes Itten and Josef Albers
provided a cornerstone of the new art education. For Linda
Mendelson, color, typography, and text became inseparable. She
adapted Albers’s ideas relating to after-images in Big Red,
and linked color progression with lines from a poem titled Coat by
William Butler Yeats from which she drew inspiration. Other
artists such as Tim Harding created an effect similar to
impressionist brush strokes by slashing and fraying dyed fabrics, as
seen in his colorful coat Garden: Field of Flowers, 1991.
final section Everybody’s Talkin’ (Harry Nilsson, 1969)
explores the use of text in Art to Wear. JoEllen Trilling
engages in visual word play using common prepositions on a
jacket, while Jean Cacicedo channels her grief over her
father’s death using words taken from the bible that celebrated his
life in My Father’s House, 1994.
Blum, The Jack M. and Annette Y. Friedland Senior Curator of Costumes
and Textiles, who organized the exhibition, said: “We are
looking back at this period with a fresh lens through which to
consider a uniquely American art form that continues to have a
worldwide influence. With roots and connections in fine arts, fiber
art, craft, performance and fashion, there are so many important
artists to appreciate. For this reason I am delighted by the
opportunity to cast a light on such extraordinary talents, including
so many adventurous women who deserve much greater recognition.”
the Wall: American Art to Wear is accompanied by a new
publication of the same name co-published the Philadelphia Museum of
Art and Yale University Press, co-authored by exhibition curators
Dilys E. Blum, The Jack M. and Annette Y. Friedland Senior
Curator of Costumes and Textiles at the Philadelphia Museum of Art,
and independent textile scholar and curator Mary Schoeser,
with a contribution written by Julie Schafler Dale. The volume
provides the social, political, and artistic context for Art to
Wear. ISBN 9780876332917.
Dilys Blum, The Jack M. and Annette Y. Friedland Senior Curator of
Costume and Textiles and Mary Schoeser, Independent Textile Historian
exhibition has been made possible by Julie Schafler Dale, PNC, The
Coby Foundation, the Arlin and Neysa Adams Endowment Fund, Catherine
and Laurence Altman, the Center for American Art at the Philadelphia
Museum of Art, and other generous donors.