Aluminum by Design: Jewelry to Jets
October 29, 2000 – February 11, 2001
Get Ready for the Metal of the Future
Paco Rabanne rejected the notion that fabric was the only material suitable for clothing and in 1966 first ordered aluminum disks from a company that made protective aprons for industrial use. His 1999/2000 couture collection includes several aluminum dresses as well. While metal armor is nothing new, Rabanne’s reinterpretation takes the idea of chain mail from the battlefield to the catwalk, finding beauty in what had been strictly utilitarian.
Marc Newson’s Lockheed Lounge is based
on his vision of a “fluid metallic form, like a giant blob of mercury.”
The chair’s fiberglass body is covered with thin aluminum sheets joined
with blind rivets, giving the impression of an airplane fuselage.
The Lounge secured a place in popular culture when it appeared in Madonna’s
Rain video in 1988 and Philippe Starck integrated it into the 1990 redesign
of the Paramount Hotel in New York.
Aluminum By Design: Jewelry to Jets is made possible by the generous sponsorship of Alcoa Foundation.
Significant support has also been provided by Audi of America, Inc.
Additional major support has been provided by The Roy A. Hunt Foundation, The Arthur Vining Davis Foundations, and the Commonwealth of Pennsylvania.
Funding has also been provided by Perfido Weiskopf Architects.
Inside Out: New Perspectives on the Heinz Architectural Center’s Collection
October 28, 2000 – January 21, 2001When the Heinz Architectural Center re-opens after extensive renovation, the space available for exhibitions will have increased by forty percent. The additional gallery will be a single large room that permits bigger installations, gives the curators more flexibility by providing for insertion of temporary walls and other exhibition-specific elements, and accommodates technology-based representations of architecture. To introduce and celebrate the new space, curator Joseph Rosa and associate curator Tracy Myers have organized an exhibition of highlights from the collection--many previously not shown.
“This exhibition will be about relationships
between objects," explains Rosa, "rather than a chronological look at what
we have, in order to illustrate the nuances and influences among the various
media of architectural drawings and models.” The Center’s collection
surveys primarily the 19th and 20th centuries; purchases in the past two
years have focused on the work of current practitioners. Organizing
this exhibition has given Rosa and Myers the opportunity to show the Center’s
newest acquisitions and to take a fresh look at its works on paper, models,
rare books, and photographs, drawing unexpected connections among them.
Lucien Freud: Etchings from the PaineWebber Art Collection
Forum Gallery, October 28, 2000 – January 21, 2001Lucien Freud entered a private art school in London at the age of 16, accidentally burned it down, and ran off to sea. When he returned to London two years later with some drawings published in the magazine Horizon, he was welcomed back at the school. Maybe it was his handsomeness, his charming manners, or his numerous royal awards, but he has become, according to cultural commentator Marina Warner, “a figure of popular myth, an artist poised between the underworld and the aristocracy, a kind of slumming Faust who prowls lowlife pubs and eats woodcock for breakfast.”
The son of architect Ernst Freud and the grandson of Sigmund Freud, Lucien Freud was born in Berlin in 1922. Known primarily as a painter, he began to produce etchings in 1946 and then turned his back on the medium until 1982. That year he made a few etchings for inclusion in a monograph on his work. While the prints had to be small to fit in the book, writes Scott Wilcox, exhibition curator and curator of prints and drawings at Yale Center for British Arts, the size “imparts a sense of intimacy, accentuated by the crowding of facial features into the small box defined by the plate.”
Freud’s technically proficient works detail heavy limbs, drooping breasts, and the conflicting planes in the human face. “As difficult to like as they are to ignore,” writes David Cohen in the exhibition catalogue, these etchings convey the sensation of seeing the familiar human figure for the very first time.
The exhibition, organized by the Yale Center of British Art, is made possible by PaineWebber Group Inc.
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