Displaying items by tag: tables

The Philadelphia Museum of Art is reassembling, restoring and scrutinizing parlor furniture that scandalized some Philadelphians when it was new.

The suite of gilded chairs, tables and couches was produced in 1808 for the Philadelphia drawing rooms of the merchant William Waln and his wife, Mary Wilcocks Waln, who made fortunes partly in the Chinese opium trade. On the neo-Classical pieces, designed by the British émigré architect Benjamin Henry Latrobe, a fellow British immigrant, the artist George Bridport, painted petals and griffins.

Piece by piece, the furnishings of the last Hawaiian queen, Liliuokalani, are returning to Iolani Palace here, on a grassy square wedged between office buildings and populated by egrets. The royal property was dispersed through auctions and giveaways around 1900, but benefactors are retrieving it from antiques stores, thrift shops, backyards, storage units, museums and government offices worldwide.

During a recent tour of the palace, an Italianate 1880s building that became a museum in 1978, its curator, Heather Diamond, and its docent educator, the historian Zita Cup Choy, described how chairs, tables, dinnerware and cuff links had ended up scattered.

Beginning on July 12, Neutra VDL Studio and Residences, the former Los Angeles home of the Austrian-American architect Richard Neutra, will replace all mid-century furnishings with their Cold War-era counterparts from Eastern Europe. The objects, including chairs, tables, lamps, phones, pictures, books, and cooking utensils, will be provided by the nearby Wende Museum, which is devoted to preserving the Cold War artifacts of Eastern Europe and the Soviet Union. Although the two design cultures share aesthetic tendencies, they have often been examined separately. The provocative installation, titled “Competing Utopias,” will present modern design from the East and West in a unifying context.

According to the Neutra House, the installation is meant to raise more questions than it could possibly answer. For example, Why do design objects from the East fit so seamlessly, often invisibly, into a high design mid-century home from the West? The exhibition looks at the Cold War era from a broader perspective than the typical political lens, focusing on the global competition that took place to see who would define what modernity looked like and how it functioned.

Genre-defying painter, sculptor, and illustrator, Richard Artschwager (1923-2013), died February 9, 2013 in Albany, NY. He was 89.

Artschwager, who was often linked to the Pop Art movement, Conceptual Art, and Minimalism, resisted classification through his clever genre mixing. His most well known sculpture, Table with Pink Tablecloth (1964) is an amalgamation of Pop Art and Minimalism and consists of a box finished in colored Formica, creating the illusion of a wooden table draped in a pink tablecloth. Artschwager often used household forms in his work including chairs, tables, and doors. In his paintings, Artschwager often painted black and white copies of found photographs and then outfitted them with outlandish frames made of painted wood, Formica or polished metal.

Artschwager was born in 1926 in Washington, D.C. and went on to study at Cornell University. In 1944, before he could finish his degree, he was drafted into the Army and sent to Europe. Upon returning to the United States after World War II, Artschwager completed his degree and decided to pursue a career in art. He moved to New York City and began taking classes at the Studio School of the painter Amédée Ozenfant, one of the founders of Purism. With a growing family and bills to pay, Artschwager took a break from making art to start a furniture-making business. After a fire destroyed his workshop, Artschwager returned to making art, developed his defining style, and was taken on by the Leo Castelli Gallery, which represented him for 30 years.

A few days prior to Artschwager’s death, the Whitney Museum of American Art in Manhattan closed a major career retrospective of his work. It was the second of its kind to be organized by the museum.