Hippie Modernism: The Struggle for Utopia
Exhibition Dates: June 18 – October 9, 2016
This Walker Art Center-organized exhibition, assembled with the assistance of the Berkeley Art Museum/ Pacific Film Archive, examines the intersections of art, architecture, and design with the counterculture of the 1960s and early 1970s. Loosely organized around Timothy Leary’s famous mantra, “Turn On, Tune In, Drop Out,” the exhibition charts the evolution of the period, from pharmacological, technological, and spiritual means to expand consciousness and alter one’s perception of reality, to the foment of a publishing revolution that sought to create new networks of like-minded people and raise popular awareness to some of the era’s greatest social and political struggles, to new ways of refusing mainstream society in favor of ecological awareness, the democratization of tools and technologies, and a more communal survival.
Presenting a broad range of art forms and artifacts of the era, Hippie Modernism: The Struggle for Utopia features experimental furniture, alternative living structures, immersive and participatory media environments, alternative publishing and ephemera, and experimental film. Bringing into dramatic relief the limits of Western society’s progress, the exhibition explores one of the most vibrant and inventive periods of the not-too-distant past, one that still resonates within culture today.
Hippie Modernism: Panel Discussion
Saturday, October 1, 1:00-4:00 pm with cocktail reception following
Free with museum admission
A special one-day symposium on the exhibition’s themes will take place at the Cranbrook Art Museum on Saturday, October 1, with invited national scholars. Speakers will be announced later this summer. More details to come.
The catalogue Hippie Modernism: The Struggle for Utopia accompanying the exhibition examines forms of art, architecture, and design that emerged during the 1960s and early 1970s counterculture. In this publication scholars examine a range of practices, such as: radical architectural and anti-design movements emerging from Europe and its North American counterparts; the print revolution in the experimental graphic design of the era’s books, posters, and magazines; and new forms of cultural practice that merged street theater and radical politics. Through a profusion of illustrations, interviews with select artists, and new scholarly writings, this publication explores the hybrid conjunction of hippie ethos and the modernist desire to fuse art and life. Distributed by D.A.P./Distributed Art Publishers; 456 pages; $55.
John Glick: A Legacy in Clay
Exhibition Dates: June 18, 2016 – March 12, 2017
John Glick is a people’s potter. In a career spanning over five decades, the ceramist has remained committed to the art and craft of functional vessels and their incorporation into the rituals of daily life. John Glick: A Legacy in Clay is the first major exhibition and publication to survey the immense range of ceramic vessels, tableware, and sculpture that has made Glick one of today’s premier figures in American studio pottery. Mounted as the artist closes his historic Plum Tree Pottery in Farmington Hills, Michigan, the exhibition will include nearly 200 pieces representing all phases of his work, from the early vessels and tableware dating to Glick’s time as a student at Cranbrook Academy of Art (MFA in Ceramics, 1962), to his conceptual ceramic sculptures from the last decades. The exhibition and accompanying catalogue are part of the John Glick Legacy Project, which also encompasses the placement of the ceramist’s most important works in public museum collections around the world. The catalogue will include essays by Exhibition Curator Shelley Selim, Independent Curator Jo Lauria, and Ezra Shales, Associate Professor at the Massachusetts College of Art and Design. It will be available for purchase at the Museum front desk.
Simple Forms, Stunning Glazes: The Gerald W. McNeely Collection of Pewabic Pottery
Exhibition Dates: December 12, 2015 – August 28, 2016
ArtMembers’ Opening: Fri Dec 11, 2015 6:00pm–8:00pm
Organized by the Cranbrook Center for Collections and Research and Cranbrook Art Museum, this exhibition debuts the Gerald W. McNeely Collection, one of the largest private collections of Pewabic Pottery recently donated to Cranbrook Art Museum and never before seen in its entirety. The Collection includes over 117 works including a Revelation Pottery Vase, which pre-dates the founding of Pewabic, and includes works from throughout the career of Mary Chase Perry Stratton, founder of Pewabic Pottery. The exhibition will also highlight Cranbrook’s own collection of Pewabic Pottery from the Art Museum and campus, which George Gough Booth, founder of Cranbrook, actively collected over his lifetime.
Pewabic Exhibition Catalog Launch and Tours at Pewabic Pottery
February 14, 2016 12:00 pm– 4:00 pm
RADICAL GLAZES, MONUMENTAL FORMS, GHETTO POTS: MARY CHASE PERRY STRATTON, MAIJA GROTELL, AND ROBERTO LUGO
February 6, 2016 1:00pm
Stefanie Dlugosz-Acton, Collections Fellow, Cranbrook Center for Collections and Research
Shelley Selim, Jeanne and Ralph Graham Assistant Curator, Cranbrook Art Museum
Anders Ruhwald, Artist-in-Residence, Head of the Ceramics Department, Cranbrook Academy of Art
Roberto Lugo, Potter, Activist, Culture-maker, Rapper, Poet, and Educator
Exhibition Dates: Ongoing
Sol LeWitt’s Wall Drawings 790A and 790B: Irregular Alternating Color Bands(1995) fill the Hartmann Gallery with serpentine bands of bold color applied directly to the wall. A pioneer of Conceptual Art, LeWitt conceived his wall drawings as a medium through which he could explore the concept of serial permutation while mining the tension between art and architecture. Wall Drawings 790A and 790B, like most of LeWitt’s wall drawings, exist only for the duration of the exhibition before being destroyed, privileging the conception of the work over its physical manifestation and demonstrating the artist’s dictum that “The idea becomes a machine that makes the art.” Still, the physical form of the work retains an undeniable beauty: LeWitt’s sinuous line and fulsome color together serve as an arresting counterpoint to Eliel Saarinen’s airy interior space.