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Design Exhibition Pamphlet

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exhibition pamphlet for Behind-The-Scenes at Cooper Hewitt Design Camp 2019
Man's Hat part, written by Hannah Kim

Publicada em: Arte e fotografia
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Design Exhibition Pamphlet

  1. 1. DESIGN IN THE 20TH CENTURY:  AESTHETIC INNOVATIONS IN CRAFT     
  2. 2. DESIGN IN THE 20TH CENTURY:   AESTHETIC INNOVATIONS IN CRAFT      Top of their classes, these designers            paved the way for new and            innovative techniques in their fields.          Each object represents a great          example of the mastery of its craft.              The following four objects from          different time periods, cultures, and          aesthetic perspectives connect      through the theme of innovation. The            Man’s Hat ​from Cameroon, known as            an ​Ashetu ​hat, uses form and            technique known as “knotless        knitting,” one of the oldest textile            construction methods in Central        Africa. Glassmaker, Toots Zynsky,        made the unique Sculptural Vessel          using her own inventive design by            fusing and firing glass filaments.          Through its new visual vocabulary of            bold colors and minimal graphics, the            Adler Typewriter poster designed by          Lucian Bernhard was innovative in its            time to connect directly to viewers            and potential consumers of this          product. Sharp, vibrant, and striking-          Thorn Beads Necklace by Pier          Voulkos uses polymer clay to create            an unconventional complexity in its          final form. We invite you to immerse              yourself in our exhibition.    Curated by: Anna Mone, Hannah  Kim, Jesse Uppal, Madeline Poon, &  Trevor Sullivan Weinstein   
  3. 3. ADLER TYPEWRITER POSTER - 1909          Lucian Bernhard was one of the most              prominent designers of his era and his              importance to the history of graphic design              can’t be overestimated. Throughout        Bernhard’s career he developed a new            innovative printing technique called ​Plakatstil          that he used for this print. ​Plakatstil ​was                developed in the 1890s and was a style                associated with modern design, bold lettering            and distinctive eye catching colors. Ludwig            Hohlwein was another prominent figure in the              design industry, as he also used the plakatstil                technique along with Bernhard.           This poster is a lithograph, a print using oil and water on paper. The                            colors he uses in his posters are complementary, so in this case red,                          green, black and white are the main colors used. Bernhard also                      portrays texture wonderfully. A viewer can see and sense the                    professional gloss of the typewriter almost as if it had just been                        shined, and can hear the click of the keys as they type away.     This poster was made to be an advertisement, so the color and                        textures are made to draw the viewer in so they hopefully buy the                          typewriter or something else from the Adler company. Before his time,                      advertising was not a large franchise. Bernhard populuarized and                  paved the path for more innovative, mass produced ads.                      
  4. 4. SCULPTURAL VESSEL - 1985      Toots Zynsky is known for          her use of thin strand-like          threads of glass. It is created            by pulling hot glass into          strands, she then layers and          fuses them together to make          a thin glass fabric. The piece            of glass fabric is then heated            and slumped over to create a            shape like this one. The          Vessel is folded in such ways            that complement the rich        textures and patterns.                   “It’s really amazing, you can          do everything with it. (The          Glass) You can pour it and            cast it like metal. You can            stretch it, carve it, saw it, you              can stick it together. It’s the            only material that you can          melt and blow. It’s such a            strange and plastic thing, I          think that’s what keeps        drawing me back to it. ( The              Glass) “       Toots Zynsky working with glass in her studio     
  5. 5. THORN BEADS NECKLACE - 1992              Thorn Bead Necklace is comprised of metal wire strung with polymer clay beads. Designed by  Pier Voulkos in 1992 and created in 1993, its beads were made using Milli-Fiori glass techniques,  using layered colored clays to create its swirled effect. Voulkos explains that, “the beads start  with a soft matt finish and as they are worn, develop a polished sheen.” Already innovative and  creative, Voulkos expected the necklace to evolve as it was used.            “My work including the jewelry is big, colorful, fun,  and sometimes silly. ...The product possibilities are  endless.​”   
  6. 6. MAN’S HAT - 1957      In the Cameroon Grasslands, the human head            is considered an important subject of          appreciation, which makes hats an essential            tradition. Hats serve a religious and            ceremonial function and also indicate marital          status. This geographically distinctive hat,        known as an ​ashetu​, provides spiritual            protection. It is made with woven hemp fibers              and represents a unique 'knotless knitting’          technique. The crocheted burls reflect the            tufted hairstyle worn by high-ranking men, and            each of them contains a small wooden peg, an                original way to maintain its shape. Additional              traditional, aesthetic, and symbolic      decorations such as cowry shells, trade            beads, and feathers further emphasize the            massive wealth and high status of the wearer.   Man’s hat (ashetu), Cameroon, 1957                Bamum tribe hat (ashetu)  Kom tribe fon,   Jinabo II Bakilek  Bamileke tribe hats (ashetu)      The Cameroon Grasslands is organized into chiefdoms, which are ruled by a fon, or king. The                                Fon regulates the use and production of material possessions, such as the ​Ashetu. ​Ashetu​, or                              prestige hats, are only worn on special and ceremonial occasions; they are part of multiple                              Cameroon Grasslands cultures, such as the Bafo, Bamum, and Bamileke kingship societies. In                          addition to the hat, hairstyles, wooden masks, and body paint are essential parts of the                              Cameroon Grasslands cultures and their ideas of beauty. The tribes display their social and                            political ideals through the art of the body.   
  7. 7.       EXHIBITION CHECKLIST      Poster, Adler Typewriter, Lucian Bernhard, 1909–10; Germany; lithograph on  paper; H x W: 45.9 × 58.7 cm (18 1/16 × 23 1/8 in.); 2005-12-2        Sculptural Vessel , Toots Zynsky, 1985; fused and thermo-formed glass  threads (filet-de-verre technique); H x W x D: 14 x 29.2 x 31.8 cm (5 1/2 x 11 1/2  x 12 1/2 in.) 1986-20-1      Thorn Beads Necklace, Pier Voulkos, 1992; polymer clay, metal wire; H x W x  D (clasped): 20 x 18.5 x 4 cm (7 7/8 x 7 5/16 x 1 9/16 in.); 1993-82-1        Man's Hat (ashetu) (Cameroon), mid- to late 20th century; cotton, wood; H x  W: 19.1 x 35.6 cm (7 1/2 x 14 in.); 2003-3-1                                   
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