Let your watchword be order and your beacon beauty. The traditions and lessons of generations past are embedded in craft.
It is up to our generation to inform ourselves, and build upon them. The Design Museum of Chicago is youthful, adaptable, and collaborative. We strengthen culture.
Unfolded paper in design art architecture and industry
We build community. Unfolded represents all of these qualities. For that, I am proud. Thank you. Tanner Woodford—Made with Paper opened 49 years ago, in November of What was the Museum of Contemporary Crafts like then and how did you become associated? Paul J. I joined the staff in , one year after the museum opened, to develop traveling exhibitions and educational components.
In , I became Assistant Director, and was appointed Director in When I became director, I had a small staff and a limited budget, but I had an opportunity to explore many new directions that I might not have been able to in a more established institution.
Quite frankly, I had a lot of freedom in developing the program, and I took full advantage of that opportunity. How did this impact MCC and decisions you were making? PS—We were in a modest space in a five-story renovated brownstone in a great location in mid-town Manhattan, a couple of doors away from MoMA. It was an advantage to be so close to another museum that attracted a large attendance of visitors, as there was the possibility that some would also visit our new museum.
It was also a pioneering opportunity for the first craft museum in America to focus on showing work of artists working in clay, fiber, metal, wood, glass, and craft- and design-related subjects. TW—What cultural and artistic shifts were happening during the development of Made with Paper? PS—The s decade was a remarkable period of breaking from tradition resulting in a cultural change in America.
It had good and bad aspects: the Vietnam War, the rebellion against it, and the assassinations of important figures resulted in challenging times, but many great new things surfaced in music and the arts in general. Most important was the new energy and attitude among young people who were going back to the basics of living, searching for roots, and starting fresh. There were many lifestyle activities such communal living and personal expressions with clothing such as decorated jeans and t-shirts. Thinking back, I was inspired by that environment, and I think it had a big influence on museum program.
PS—The focus on paper became of interest by seeing some of the exciting new products that were coming on the market, like paper furniture and disposable clothing. As paper has its own rich tradition and has been an important part of almost every culture for many years, it seemed important to honor paper by organizing a major exhibition. We began by doing extensive international research on historical applications, as well as new products and individual one-of-a-kind expressions.
Competition: five copies of Unfolded to be won | Dezeen
Our research surfaced such a vast amount of material, we thought it would be great to bring a collection together portraying the broad range of applications. In fact, our final selection was so large that we worked out a relationship with the Time Life Building to host an extension of the exhibit. We brought in traditional paper works from around the world, including large festival figures from Mexico, traditional folk craft from many cultures, all displayed alongside contemporary products.
Some were prototypes, some were one-of-a-kind, and others were mass produced. It was a big undertaking. We also explored involving artists with ideas for the use of paper to create events. PS—The limitation of our space required that we explore outside areas. At the openings, we had performance events with paper, one being by the Fluxus group that took place at the Time Life Center.
Another was a street event by James Lee Byers, an early conceptual artist.
He was relatively unknown at the time, and later rose to great fame. James had a passion for paper, was extremely talented, and as a visionary, he thought anything was possible, which became a challenge.
As he had found a water dissolvable paper, he thought it would be great to illustrate use of dissolvable paper as a commentary on a new concept for removing discarded paper waste. He proposed creating a large figurative form that would stretch from 5th Avenue to 6th Avenue, the full length and width of street. Closing an active block in Manhattan required permission from the city.
To wash it away, he recommended we involve the Sanitation Department. For a small museum, these requests were not simple tasks. We got permission to close the street and got participation of the Sanitation Department, who sent two trucks. Unfortunately, it was a windy and cold day.
The wind began to lift the sculpture and when the sanitation workers were attempting to wash away the paper, the water was freezing resulting in the trucks beginning to slide. It was not a pleasant experience, but somehow it eventually washed away.
About This Item
Aumentar la imagen. Editorial: Birkhauser, Switzerland. InUnfolded-Paper in Design, Art, Architecture and Industry paper conquers the third dimension and demonstrates the undreamed-of possibilities it holds today for lightweight construction, product design, fashion and art. From "Paper", the collection of bags by Stefan Diez, to Konstantin Grcic's paper models and the scented paper garments of Issey Miyake, this book presents paper as ahigh-quality contemporaryand ecologicalmaterial.
Unfolding Origami Engineering
Anenormous selection of projects, the lavish design and numerous illustrations provide designers with invaluable inspiration for their work. The content core of the bookis a comprehensive list of state-of-the-art paper productsand innovative paper technologies,supporting designers in their everyday work with detailedinformation on the "high-tech" material paper. Simply link your Qantas Frequent Flyer membership number to your Booktopia account and earn points on eligible orders.
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