BGuthrie Photos: NY -- NYC -- Museum of Arts and Design

BGuthrie Photos: NY -- NYC -- Museum of Arts and Design NY -- NYC -- Museum of Arts and Design:

Bruce Guthrie Photos Home Page: [Click here] to go to Bruce Guthrie Photos home page.

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Slide Show: Want to see the pictures as a slide show? [Click here for Slideshow]

Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

Help? The Medium (Email) links are for screen viewing and emailing. You'll want bigger sizes for printing. [Click here for additional help]

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[309] MADJST_221006_162.JPG Medium (Email) (Bigger?)	[310] MADJST_221006_165.JPG Medium (Email) (Bigger?)
[311] MADJST_221006_170.JPG Medium (Email) (Bigger?)	[312] MADJST_221006_172.JPG Medium (Email) (Bigger?)
[313] MADJST_221006_176.JPG Medium (Email) (Bigger?)	[314] MADJST_221006_181.JPG Medium (Email) (Bigger?)
[315] MADJST_221006_182.JPG Medium (Email) (Bigger?)	[316] MADJST_221006_184.JPG Medium (Email) (Bigger?)
[317] MADJST_221006_185.JPG Medium (Email) (Bigger?)	[318] MADJST_221006_186.JPG Medium (Email) (Bigger?)
[319] MADJST_221006_187.JPG Medium (Email) (Bigger?)	[320] MADJST_221006_189.JPG Medium (Email) (Bigger?)
[321] MADJST_221006_192.JPG Medium (Email) (Bigger?)	[322] MADJST_221006_196.JPG Medium (Email) (Bigger?)
[323] MADJST_221006_201.JPG Medium (Email) (Bigger?)	[324] MADJST_221006_205.JPG Medium (Email) (Bigger?)
[325] MADJST_221006_209.JPG Medium (Email) (Bigger?)	[326] MADJST_221006_213.JPG Medium (Email) (Bigger?)
[327] MADJST_221006_215.JPG Medium (Email) (Bigger?)	[328] MADJST_221006_217.JPG Medium (Email) (Bigger?)
[329] MADJST_221006_221.JPG Medium (Email) (Bigger?)	[330] MADJST_221006_225.JPG Medium (Email) (Bigger?)
[331] MADJST_221006_228.JPG Medium (Email) (Bigger?)	[332] MADJST_221006_231.JPG Medium (Email) (Bigger?)
[333] MADJST_221006_236.JPG Medium (Email) (Bigger?)	[334] MADJST_221006_242.JPG Medium (Email) (Bigger?)
[335] MADJST_221006_244.JPG Medium (Email) (Bigger?)	[336] MADJST_221006_248.JPG Medium (Email) (Bigger?)
[337] MADJST_221006_252.JPG Medium (Email) (Bigger?)	[338] MADJST_221006_256.JPG Medium (Email) (Bigger?)
[339] MADJST_221006_258.JPG Medium (Email) (Bigger?)	[340] MADJST_221006_264.JPG Medium (Email) (Bigger?)
[341] MADJST_221006_268.JPG Medium (Email) (Bigger?)	[342] MADJST_221006_278.JPG Medium (Email) (Bigger?)
[343] MADJST_221006_281.JPG Medium (Email) (Bigger?)	[344] MADJST_221006_286.JPG Medium (Email) (Bigger?)
[345] MADJST_221006_288.JPG Medium (Email) (Bigger?)	[346] MADJST_221006_294.JPG Medium (Email) (Bigger?)
[347] MADJST_221006_300.JPG Medium (Email) (Bigger?)	[348] MADJST_221006_302.JPG Medium (Email) (Bigger?)
[349] MADJST_221006_308.JPG Medium (Email) (Bigger?)	[350] MADJST_221006_311.JPG Medium (Email) (Bigger?)
[351] MADJST_221006_314.JPG Medium (Email) (Bigger?)	[352] MADJST_221006_317.JPG Medium (Email) (Bigger?)
[353] MADJST_221006_323.JPG Medium (Email) (Bigger?)	[354] MADJST_221006_325.JPG Medium (Email) (Bigger?)
[355] MADJST_221006_328.JPG Medium (Email) (Bigger?)	[356] MADJST_221006_334.JPG Medium (Email) (Bigger?)
[357] MADJST_221006_341.JPG Medium (Email) (Bigger?)	[358] MADJST_221006_347.JPG Medium (Email) (Bigger?)
[359] MADJST_221006_352.JPG Medium (Email) (Bigger?)	[360] MADJST_221006_355.JPG Medium (Email) (Bigger?)
[361] MADJST_221006_357.JPG Medium (Email) (Bigger?)	[362] MADJST_221006_358.JPG Medium (Email) (Bigger?)
[363] MADJST_221006_364.JPG Medium (Email) (Bigger?)	[364] MADJST_221006_369.JPG Medium (Email) (Bigger?)
[365] MADJST_221006_373.JPG Medium (Email) (Bigger?)	[366] MADJST_221006_376.JPG Medium (Email) (Bigger?)
[367] MADQUE_221006_001.JPG Medium (Email) (Bigger?)	[368] MADQUE_221006_005.JPG Medium (Email) (Bigger?)
[369] MADQUE_221006_010.JPG Medium (Email) (Bigger?)	[370] MADQUE_221006_011.JPG Medium (Email) (Bigger?)
[371] MADQUE_221006_013.JPG Medium (Email) (Bigger?)	[372] MADQUE_221006_016.JPG Medium (Email) (Bigger?)
[373] MADQUE_221006_020.JPG Medium (Email) (Bigger?)	[374] MADQUE_221006_024.JPG Medium (Email) (Bigger?)
[375] MADQUE_221006_026.JPG Medium (Email) (Bigger?)	[376] MADQUE_221006_031.JPG Medium (Email) (Bigger?)
[377] MADQUE_221006_032.JPG Medium (Email) (Bigger?)	[378] MADQUE_221006_034.JPG Medium (Email) (Bigger?)
[379] MADQUE_221006_035.JPG Medium (Email) (Bigger?)	[380] MADQUE_221006_038.JPG Medium (Email) (Bigger?)
[381] MADQUE_221006_040.JPG Medium (Email) (Bigger?)	[382] MADQUE_221006_043.JPG Medium (Email) (Bigger?)
[383] MADQUE_221006_045.JPG Medium (Email) (Bigger?)	[384] MADQUE_221006_047.JPG Medium (Email) (Bigger?)
[385] MADQUE_221006_053.JPG Medium (Email) (Bigger?)	[386] MADQUE_221006_056.JPG Medium (Email) (Bigger?)
[387] MADQUE_221006_059.JPG Medium (Email) (Bigger?)	[388] MADQUE_221006_061.JPG Medium (Email) (Bigger?)
[389] MADQUE_221006_064.JPG Medium (Email) (Bigger?)	[390] MADQUE_221006_067.JPG Medium (Email) (Bigger?)
[391] MADQUE_221006_070.JPG Medium (Email) (Bigger?)	[392] MADQUE_221006_073.JPG Medium (Email) (Bigger?)
[393] MADQUE_221006_075.JPG Medium (Email) (Bigger?)	[394] MADQUE_221006_077.JPG Medium (Email) (Bigger?)
[395] MADQUE_221006_080.JPG Medium (Email) (Bigger?)	[396] MADQUE_221006_085.JPG Medium (Email) (Bigger?)
[397] MADQUE_221006_086.JPG Medium (Email) (Bigger?)	[398] MADQUE_221006_088.JPG Medium (Email) (Bigger?)
[399] MADQUE_221006_091.JPG Medium (Email) (Bigger?)	[400] MADQUE_221006_093.JPG Medium (Email) (Bigger?)
[401] MADQUE_221006_099.JPG Medium (Email) (Bigger?)	[402] MADQUE_221006_102.JPG Medium (Email) (Bigger?)
[403] MADQUE_221006_105.JPG Medium (Email) (Bigger?)	[404] MADQUE_221006_113.JPG Medium (Email) (Bigger?)
[405] MADQUE_221006_115.JPG Medium (Email) (Bigger?)	[406] MADQUE_221006_117.JPG Medium (Email) (Bigger?)
[407] MADQUE_221006_124.JPG Medium (Email) (Bigger?)	[408] MADQUE_221006_126.JPG Medium (Email) (Bigger?)
[409] MADQUE_221006_129.JPG Medium (Email) (Bigger?)	[410] MADQUE_221006_130.JPG Medium (Email) (Bigger?)
[411] MADQUE_221006_132.JPG Medium (Email) (Bigger?)	[412] MADQUE_221006_135.JPG Medium (Email) (Bigger?)
[413] MADQUE_221006_140.JPG Medium (Email) (Bigger?)	[414] MADQUE_221006_144.JPG Medium (Email) (Bigger?)
[415] MADQUE_221006_147.JPG Medium (Email) (Bigger?)	[416] MADQUE_221006_148.JPG Medium (Email) (Bigger?)
[417] MADQUE_221006_150.JPG Medium (Email) (Bigger?)	[418] MADQUE_221006_152.JPG Medium (Email) (Bigger?)
[419] MADQUE_221006_154.JPG Medium (Email) (Bigger?)	[420] MADQUE_221006_160.JPG Medium (Email) (Bigger?)
[421] MADQUE_221006_165.JPG Medium (Email) (Bigger?)	[422] MADQUE_221006_167.JPG Medium (Email) (Bigger?)
[423] MADSCH_221006_001.JPG Medium (Email) (Bigger?)	[424] MADSCH_221006_005.JPG Medium (Email) (Bigger?)
[425] MADSCH_221006_009.JPG Medium (Email) (Bigger?)	[426] MADSCH_221006_012.JPG Medium (Email) (Bigger?)
[427] MADSCH_221006_015.JPG Medium (Email) (Bigger?)	[428] MADSCH_221006_018.JPG Medium (Email) (Bigger?)
[429] MADSCH_221006_020.JPG Medium (Email) (Bigger?)	[430] MADSCH_221006_022.JPG Medium (Email) (Bigger?)
[431] MADSCH_221006_028.JPG Medium (Email) (Bigger?)	[432] MADSCH_221006_031.JPG Medium (Email) (Bigger?)
[433] MADSCH_221006_034.JPG Medium (Email) (Bigger?)	[434] MADSCH_221006_036.JPG Medium (Email) (Bigger?)
[435] MADSCH_221006_043.JPG Medium (Email) (Bigger?)	[436] MADSCH_221006_046.JPG Medium (Email) (Bigger?)
[437] MADSCH_221006_050.JPG Medium (Email) (Bigger?)	[438] MADSCH_221006_058.JPG Medium (Email) (Bigger?)
[439] MADSCH_221006_062.JPG Medium (Email) (Bigger?)	[440] MADSCH_221006_066.JPG Medium (Email) (Bigger?)
[441] MADSCH_221006_070.JPG Medium (Email) (Bigger?)	[442] MADSCH_221006_077.JPG Medium (Email) (Bigger?)
[443] MADSCH_221006_079.JPG Medium (Email) (Bigger?)	[444] MADSCH_221006_084.JPG Medium (Email) (Bigger?)
[445] MADSCH_221006_089.JPG Medium (Email) (Bigger?)	[446] MADSCH_221006_094.JPG Medium (Email) (Bigger?)
[447] MADSCH_221006_096.JPG Medium (Email) (Bigger?)	[448] MADSCH_221006_099.JPG Medium (Email) (Bigger?)
[449] MADSCH_221006_102.JPG Medium (Email) (Bigger?)	[450] MADSCH_221006_107.JPG Medium (Email) (Bigger?)
[451] MADSCH_221006_110.JPG Medium (Email) (Bigger?)	[452] MADSCH_221006_113.JPG Medium (Email) (Bigger?)
[453] MADSCH_221006_115.JPG Medium (Email) (Bigger?)	[454] MADSCH_221006_117.JPG Medium (Email) (Bigger?)
[455] MADSCH_221006_123.JPG Medium (Email) (Bigger?)	[456] MADSCH_221006_129.JPG Medium (Email) (Bigger?)
[457] MADSCH_221006_133.JPG Medium (Email) (Bigger?)	[458] MADBUR_191005_005.JPG Medium (Email) (Bigger?)
[459] MADBUR_191005_009.JPG Medium (Email) (Bigger?)	[460] MADBUR_191005_013.JPG Medium (Email) (Bigger?)
[461] MADBUR_191005_018.JPG Medium (Email) (Bigger?)	[462] MADBUR_191005_026.JPG Medium (Email) (Bigger?)
[463] MADBUR_191005_032.JPG Medium (Email) (Bigger?)	[464] MADBUR_191005_039.JPG Medium (Email) (Bigger?)
[465] MADBUR_191005_043.JPG Medium (Email) (Bigger?)	[466] MADBUR_191005_048.JPG Medium (Email) (Bigger?)
[467] MADBUR_191005_051.JPG Medium (Email) (Bigger?)	[468] MADBUR_191005_054.JPG Medium (Email) (Bigger?)
[469] MADBUR_191005_059.JPG Medium (Email) (Bigger?)	[470] MADBUR_191005_061.JPG Medium (Email) (Bigger?)
[471] MADBUR_191005_065.JPG Medium (Email) (Bigger?)	[472] MADBUR_191005_066.JPG Medium (Email) (Bigger?)
[473] MADBUR_191005_068.JPG Medium (Email) (Bigger?)	[474] MADBUR_191005_072.JPG Medium (Email) (Bigger?)
[475] MADBUR_191005_082.JPG Medium (Email) (Bigger?)	[476] MADBUR_191005_083.JPG Medium (Email) (Bigger?)
[477] MADBUR_191005_088.JPG Medium (Email) (Bigger?)	[478] MADBUR_191005_094.JPG Medium (Email) (Bigger?)
[479] MADBUR_191005_099.JPG Medium (Email) (Bigger?)	[480] MADBUR_191005_101.JPG Medium (Email) (Bigger?)
[481] MADBUR_191005_109.JPG Medium (Email) (Bigger?)	[482] MADBUR_191005_113.JPG Medium (Email) (Bigger?)
[483] MADBUR_191005_114.JPG Medium (Email) (Bigger?)	[484] MADBUR_191005_117.JPG Medium (Email) (Bigger?)
[485] MADBUR_191005_119.JPG Medium (Email) (Bigger?)	[486] MADBUR_191005_124.JPG Medium (Email) (Bigger?)
[487] MADBUR_191005_128.JPG Medium (Email) (Bigger?)	[488] MADBUR_191005_133.JPG Medium (Email) (Bigger?)
[489] MADBUR_191005_136.JPG Medium (Email) (Bigger?)	[490] MADBUR_191005_138.JPG Medium (Email) (Bigger?)
[491] MADBUR_191005_144.JPG Medium (Email) (Bigger?)	[492] MADBUR_191005_148.JPG Medium (Email) (Bigger?)
[493] MADBUR_191005_151.JPG Medium (Email) (Bigger?)

[494]

MADSUI_191005_001_STITCH.JPG

Medium (Email) (Bigger?)

[495] MADSUI_191005_002_STITCH.JPG

Medium (Email) (Bigger?)

[496] MADSUI_191005_003_STITCH.JPG

Medium (Email) (Bigger?)

[497] MADSUI_191005_004.JPG Medium (Email) (Bigger?)	[498] MADSUI_191005_011.JPG Medium (Email) (Bigger?)
[499] MADSUI_191005_018.JPG Medium (Email) (Bigger?)	[500] MADSUI_191005_021.JPG Medium (Email) (Bigger?)
[501] MADSUI_191005_026.JPG Medium (Email) (Bigger?)	[502] MADSUI_191005_029.JPG Medium (Email) (Bigger?)
[503] MADSUI_191005_033.JPG Medium (Email) (Bigger?)	[504] MADSUI_191005_036.JPG Medium (Email) (Bigger?)
[505] MADSUI_191005_039.JPG Medium (Email) (Bigger?)	[506] MADSUI_191005_042.JPG Medium (Email) (Bigger?)
[507] MADSUI_191005_045.JPG Medium (Email) (Bigger?)	[508] MADSUI_191005_051.JPG Medium (Email) (Bigger?)
[509] MADSUI_191005_054.JPG Medium (Email) (Bigger?)	[510] MADSUI_191005_056.JPG Medium (Email) (Bigger?)
[511] MADSUI_191005_058.JPG Medium (Email) (Bigger?)	[512] MADSUI_191005_065.JPG Medium (Email) (Bigger?)
[513] MADSUI_191005_070.JPG Medium (Email) (Bigger?)	[514] MADSUI_191005_073.JPG Medium (Email) (Bigger?)
[515] MADSUI_191005_075.JPG Medium (Email) (Bigger?)	[516] MADSUI_191005_076.JPG Medium (Email) (Bigger?)
[517] MADSUI_191005_079.JPG Medium (Email) (Bigger?)	[518] MADSUI_191005_086.JPG Medium (Email) (Bigger?)
[519] MADSUI_191005_094.JPG Medium (Email) (Bigger?)	[520] MADSUI_191005_100.JPG Medium (Email) (Bigger?)
[521] MADSUI_191005_103.JPG Medium (Email) (Bigger?)	[522] MADSUI_191005_107.JPG Medium (Email) (Bigger?)
[523] MADSUI_191005_110.JPG Medium (Email) (Bigger?)	[524] MADSUI_191005_113.JPG Medium (Email) (Bigger?)
[525] MADSUI_191005_116.JPG Medium (Email) (Bigger?)	[526] MADSUI_191005_118.JPG Medium (Email) (Bigger?)
[527] MADSUI_191005_119.JPG Medium (Email) (Bigger?)	[528] MADSUI_191005_122.JPG Medium (Email) (Bigger?)
[529] MADSUI_191005_126.JPG Medium (Email) (Bigger?)	[530] MADSUI_191005_130.JPG Medium (Email) (Bigger?)
[531] MADSUI_191005_131.JPG Medium (Email) (Bigger?)	[532] MADSUI_191005_136.JPG Medium (Email) (Bigger?)
[533] MADSUI_191005_141.JPG Medium (Email) (Bigger?)	[534] MADSUI_191005_142.JPG Medium (Email) (Bigger?)
[535] MADSUI_191005_145.JPG Medium (Email) (Bigger?)	[536] MADSUI_191005_147.JPG Medium (Email) (Bigger?)
[537] MADSUI_191005_149.JPG Medium (Email) (Bigger?)	[538] MADSUI_191005_152.JPG Medium (Email) (Bigger?)
[539] MADSUI_191005_158.JPG Medium (Email) (Bigger?)	[540] MADSUI_191005_163.JPG Medium (Email) (Bigger?)
[541] MADSUI_191005_165.JPG Medium (Email) (Bigger?)	[542] MADSUI_191005_169.JPG Medium (Email) (Bigger?)
[543] MADSUI_191005_173.JPG Medium (Email) (Bigger?)	[544] MADSUI_191005_177.JPG Medium (Email) (Bigger?)
[545] MADSUI_191005_183.JPG Medium (Email) (Bigger?)	[546] MADSUI_191005_184.JPG Medium (Email) (Bigger?)
[547] MADSUI_191005_185.JPG Medium (Email) (Bigger?)	[548] MADSUI_191005_191.JPG Medium (Email) (Bigger?)
[549] MADSUI_191005_193.JPG Medium (Email) (Bigger?)	[550] MADSUI_191005_195.JPG Medium (Email) (Bigger?)
[551] MADSUI_191005_196.JPG Medium (Email) (Bigger?)	[552] MADSUI_191005_202.JPG Medium (Email) (Bigger?)
[553] MADSUI_191005_204.JPG Medium (Email) (Bigger?)	[554] MADSUI_191005_206.JPG Medium (Email) (Bigger?)
[555] MADSUI_191005_208.JPG Medium (Email) (Bigger?)	[556] MADSUI_191005_210.JPG Medium (Email) (Bigger?)
[557] MADSUI_191005_213.JPG Medium (Email) (Bigger?)	[558] MADSUI_191005_214.JPG Medium (Email) (Bigger?)
[559] MADSUI_191005_216.JPG Medium (Email) (Bigger?)	[560] MADSUI_191005_218.JPG Medium (Email) (Bigger?)
[561] MADSUI_191005_219.JPG Medium (Email) (Bigger?)	[562] MADSUI_191005_221.JPG Medium (Email) (Bigger?)
[563] MADSUI_191005_222.JPG Medium (Email) (Bigger?)	[564] MADSUI_191005_226.JPG Medium (Email) (Bigger?)
[565] MADSUI_191005_229.JPG Medium (Email) (Bigger?)	[566] MADSUI_191005_232.JPG Medium (Email) (Bigger?)
[567] MADSUI_191005_240.JPG Medium (Email) (Bigger?)	[568] MADSUI_191005_242.JPG Medium (Email) (Bigger?)
[569] MADSUI_191005_245.JPG Medium (Email) (Bigger?)	[570] MADSUI_191005_249.JPG Medium (Email) (Bigger?)
[571] MADSUI_191005_251.JPG Medium (Email) (Bigger?)	[572] MADSUI_191005_253.JPG Medium (Email) (Bigger?)
[573] MADSUI_191005_256.JPG Medium (Email) (Bigger?)	[574] MADSUI_191005_258.JPG Medium (Email) (Bigger?)
[575] MADSUI_191005_259.JPG Medium (Email) (Bigger?)	[576] MADSUI_191005_262.JPG Medium (Email) (Bigger?)
[577] MADSUI_191005_267.JPG Medium (Email) (Bigger?)	[578] MADSUI_191005_272.JPG Medium (Email) (Bigger?)
[579] MADSUI_191005_275.JPG Medium (Email) (Bigger?)	[580] MADSUI_191005_279.JPG Medium (Email) (Bigger?)
[581] MADSUI_191005_283.JPG Medium (Email) (Bigger?)	[582] MADSUI_191005_286.JPG Medium (Email) (Bigger?)
[583] MADSUI_191005_287.JPG Medium (Email) (Bigger?)	[584] MADSUI_191005_290.JPG Medium (Email) (Bigger?)
[585] MADSUI_191005_291.JPG Medium (Email) (Bigger?)	[586] MADSUI_191005_294.JPG Medium (Email) (Bigger?)
[587] MADSUI_191005_297.JPG Medium (Email) (Bigger?)	[588] MADSUI_191005_298.JPG Medium (Email) (Bigger?)
[589] MADSUI_191005_301.JPG Medium (Email) (Bigger?)	[590] MADSUI_191005_304.JPG Medium (Email) (Bigger?)
[591] MADSUI_191005_307.JPG Medium (Email) (Bigger?)	[592] MADSUI_191005_310.JPG Medium (Email) (Bigger?)
[593] MADSUI_191005_313.JPG Medium (Email) (Bigger?)	[594] MADSUI_191005_315.JPG Medium (Email) (Bigger?)
[595] MADSUI_191005_316.JPG Medium (Email) (Bigger?)	[596] MADSUI_191005_319.JPG Medium (Email) (Bigger?)
[597] MADSUI_191005_320.JPG Medium (Email) (Bigger?)	[598] MADSUI_191005_321.JPG Medium (Email) (Bigger?)
[599] MADSUI_191005_323.JPG Medium (Email) (Bigger?)	[600] MADSUI_191005_324.JPG Medium (Email) (Bigger?)
[601] MADSUI_191005_325.JPG Medium (Email) (Bigger?)	[602] MADSUI_191005_328.JPG Medium (Email) (Bigger?)
[603] MADSUI_191005_331.JPG Medium (Email) (Bigger?)	[604] MADSUI_191005_334.JPG Medium (Email) (Bigger?)
[605] MADSUI_191005_338.JPG Medium (Email) (Bigger?)	[606] MADSUI_191005_340.JPG Medium (Email) (Bigger?)
[607] MADSUI_191005_341.JPG Medium (Email) (Bigger?)	[608] MADSUI_191005_344.JPG Medium (Email) (Bigger?)
[609] MADSUI_191005_346.JPG Medium (Email) (Bigger?)	[610] MADSUI_191005_347.JPG Medium (Email) (Bigger?)
[611] MADSUI_191005_350.JPG Medium (Email) (Bigger?)	[612] MADSUI_191005_357.JPG Medium (Email) (Bigger?)
[613] MADSUI_191005_358.JPG Medium (Email) (Bigger?)	[614] MADSUI_191005_361.JPG Medium (Email) (Bigger?)
[615] MADSUI_191005_362.JPG Medium (Email) (Bigger?)	[616] MADSUI_191005_365.JPG Medium (Email) (Bigger?)
[617] MADSUI_191005_366.JPG Medium (Email) (Bigger?)	[618] MADSUI_191005_372.JPG Medium (Email) (Bigger?)
[619] MADSUI_191005_374.JPG Medium (Email) (Bigger?)	[620] MADSUI_191005_383.JPG Medium (Email) (Bigger?)
[621] MADSUI_191005_385.JPG Medium (Email) (Bigger?)	[622] MADSUI_191005_386.JPG Medium (Email) (Bigger?)
[623] MADSUI_191005_387.JPG Medium (Email) (Bigger?)	[624] MADSUI_191005_390.JPG Medium (Email) (Bigger?)
[625] MADSUI_191005_396.JPG Medium (Email) (Bigger?)	[626] MADSUI_191005_399.JPG Medium (Email) (Bigger?)
[627] MADSUI_191005_402.JPG Medium (Email) (Bigger?)	[628] MADSUI_191005_406.JPG Medium (Email) (Bigger?)
[629] MADRB_190827_001.JPG Medium (Email) (Bigger?)	[630] MADRB_190827_005.JPG Medium (Email) (Bigger?)
[631] MADRB_190827_010.JPG Medium (Email) (Bigger?)	[632] MADRB_190827_015.JPG Medium (Email) (Bigger?)
[633] MADRB_190827_017.JPG Medium (Email) (Bigger?)	[634] MADRB_190827_021.JPG Medium (Email) (Bigger?)
[635] MADRB_190827_026.JPG Medium (Email) (Bigger?)	[636] MADRB_190827_029.JPG Medium (Email) (Bigger?)
[637] MADRB_190827_035.JPG Medium (Email) (Bigger?)	[638] MADRB_190827_041.JPG Medium (Email) (Bigger?)
[639] MADRB_190827_047.JPG Medium (Email) (Bigger?)	[640] MADRB_190827_051.JPG Medium (Email) (Bigger?)
[641] MADRB_190827_056.JPG Medium (Email) (Bigger?)	[642] MADRB_190827_061.JPG Medium (Email) (Bigger?)
[643] MADRB_190827_064.JPG Medium (Email) (Bigger?)	[644] MADRB_190827_069.JPG Medium (Email) (Bigger?)
[645] MADRB_190827_076.JPG Medium (Email) (Bigger?)	[646] MADRB_190827_080.JPG Medium (Email) (Bigger?)
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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. MADBOY_231220_001.JPG: The following pictures are from the page 2023_NY_NYC_MAD_Boyle NY -- NYC -- Museum of Arts and Design -- Exhibit: Shary Boyle, Outside the Palace of Me (78 photos from 2023)
  Shary Boyle Outside the Palace of Me
2. MADBOY_231220_015.JPG: Welcome to the Palace Welcome to the Palace, where you are invited to assume the role of performer-as yourself. This show explores the creative nature of identity and the ways we see each other through our lived realities of connection, invention, resistance, and injustice. Allow yourself to wonder at the characters you encounter and imagine their worlds. While each work presents a unique scene of experience, as a whole the exhibition embraces, with empathy and complexity, the urgency of social reckoning. Outside the Palace of Me asks us to both honor and challenge those parts of ourselves and each other that we present to the world, and those we keep hidden within. The exhibition includes no object labels. Please take one of the pamphlets nearby for further information and for use as a guide. Please do not touch the art. The artist trusts the viewer not to touch the fragile surfaces of her artworks. Several sculptures have moving parts and delicate textiles that can be easily damaged. Please follow instructions where posted to help us keep the artworks clean and safe.
3. MADBOY_231220_150.JPG: Silence In 2013, Boyle represented Canada at the 55th Venice Biennale with her project Music for Silence. Upon accepting the invitation, the artist wrote the text at right, defining to whom she would dedicate her participation. Boyle's text was translated into sign language and performed by the Deaf ASL interpreter Beth Hutchison in a 16mm film titled Silent Dedication. It was Boyle's intention that Hutchison represent the central "cosmic narrator" of her installation, which showcased a collection of nonverbal artworks that created shared human touchstones about birth, death, voicelessness, and the marvel of the cosmos. The two porcelain figures on rotating turntables supporting precariously balanced moons, Onus Opus and Bridge and Chorus, also formed part of the Venice Biennale installation.
4. MADBOY_231220_154.JPG: For the silenced the unspoken what we watch, witness, and can't name the pictures we see while sleeping that we cannot describe for the futile for the solitary the place we go when we orgasm all the events in the world we can do nothing to help for the creature who lies dying as her forests are shredded and burned for the Indigenous who watch powerlessly as the earth is sucked and torn for the losers and freaks and the ones who don't fit in and never will for those who have been violated and cannot complain for the ones who have been taught not to yell out their rage for all the women not listened to for the girls who get shot in the head for going to school for the activists for all the artists who are not invited to show, whose work is not welcome here for the old for the ugly for the mentally frail for the ones who cannot run as fast who cry too much who have never been properly loved for the lonely for the unproductive and ineffective for the gentle for the mute to the deepest realms of the ocean, the furthest height of the skies and the outer limits of our hearts let's hope we never reach them.
5. MADBOY_231220_160.JPG: Shary Boyle Outside the Palace of Me
6. MADBOY_231220_162.JPG: Foreshadows Outside the Palace of Me is an exhibition of the work of the multidisciplinary artist Shary Boyle installed across two floors. On the fifth floor the visitor enters a theater-like environment, where the exhibition unfolds across a series of scenes exploring the forces that create our private and public selves. Extending the metaphor of the exhibition as a staged play, this floor functions as an overture, presenting a survey of works that spotlight recurring themes and imagery central to the artist's visionary narratives, while further showcasing her exceptional handcraft. The exhibition includes no object labels. Please take one of the pamphlets nearby for further information and for use as a guide. Please do not touch the art. The artist trusts the viewer not to touch the fragile surfaces of her artworks. Several sculptures have moving parts and delicate textiles that can be easily damaged. Please follow instructions where posted to help us keep the artworks clean and safe.
7. MADBOY_231220_187.JPG: The Trampled Devil In 2021, Shary Boyle was commissioned to create a new artwork for the Kaunas Biennial, in Lithuania, to be installed at the Žmuidzinavičius Museum (known as the Devil Museum), which houses the world's largest collection of international folk art depicting the "Devil." Shot in a vertical format with the artist's shoes literally nailed to the floor, the resulting film was originally projected to scale, above the sawed-off legs of a wooden sculpture depicting Saint Michael the Archangel pinning a demon to the ground. Featuring handmade paper-and-textile costumes, masks, and overhead projector animations, The Trampled Devil presents a metamorphizing spectrum of selves to reimagine the absent wooden body of the Archangel. An archetypal cast of characters-the White Witch, the Bat, the Devil, the Crone, and "Warbanks,” a global financier who looks suspiciously like Andy Warhol-shape-shifts through negotiation, compromise, and transformative exchange. Identity slips as morality slides. Violence begets grief, but experience offers the chance at wisdom. Will the Archangel claim it? The Trampled Devil embodies the moral complexities and contradictions of our shared, global existence.
8. MADBOY_231220_232.JPG: The Overhead Projectionist Since 1998 Boyle has been innovating her own form of projected drawing performance, creating and choreographing in-the- moment, hand-manipulated animations in collaboration with live or pre-recorded music. Using an ordinary overhead projector, she manipulates her original artworks in tight sequence as shadow puppetry, telling visual stories through light synchronized to sound, with the artist in costume and often embedded in the audience. Championing the humble, Boyle has created over five hundred of these simple, acetate-based, ink-and-paper cell animations, with each artwork made to be projected only for a few seconds. Evolving from DIY improv collaborations with musicians at Toronto parties in the late 1990s, the live drawing performances grew ever more complex, rehearsed, and theatrical, incorporating multiple projectors, screens, sets, large-scale theaters, and international tours. Boyle presented her projections in rock clubs, art galleries, community centers, and theaters across North America and abroad, including the Olympia, Paris; the Hammer Museum, Los Angeles; and the Brooklyn Academy of Music, performing in the dark to evoke the collective wonder of early shadow puppet and magic lantern shows.
9. MADBUR_231220_08.JPG: The following pictures are from the page 2023_NY_NYC_MAD_Burke NY -- NYC -- Museum of Arts and Design -- Exhibit: Selva Aparicio -- 2023 Burke Prize Winner (10 photos from 2023)
10. MADBUR_231220_31.JPG: The Burke Prize is the Museum of Arts and Design's biannual contemporary art prize for a new generation of artists working in a world of expanded media with a foundation in glass, fiber, clay, metal, or wood. Selected by a diverse and distinguished jury of curators, artists, and scholars through an open-call application process, the Burke Prize winner receives an unrestricted award of $50,000. Inspired by the disciplines that shaped the American studio craft movement, the Burke Prize is named for Marian and Russell Burke, two longtime supporters of MAD and passionate collectors of craft. This year the Burke Prize was awarded to Selva Aparicio, whose work explores ideas of memory, loss, and the ephemerality of life through the amalgamation of natural materials and found objects. In the work on view, Absence Remains (2023), Aparicio painstakingly envelopes a discarded teddy bear with delicate dandelion seed heads. This series of works began by collecting teddy bears that were originally placed on children's graves and later salvaged by the artist from waste collection sites on the cemetery grounds. Her process is additive, patient, and contemplative, and the halo effect created by the downy seeds blanketing the stuffed toy is a poignant image of innocence, fragility, and the mourning of loved ones.
11. MADBUR_231220_32.JPG: Selva Aparicio b. 1987; lives and works in Chicago, IL Absence Remains, 2023 Reclaimed cemetery teddy bear and dandelion seeds Courtesy the artist
12. MADCFC_231220_001.JPG: The following pictures are from the page 2023_NY_NYC_MAD_CraftFC NY -- NYC -- Museum of Arts and Design -- Exhibit: Craft Front & Center (68 photos from 2023)
13. MADCFC_231220_008.JPG: Craft Front & Center This exhibition shines a spotlight on the Museum of Arts and Design's (MAD) unique permanent collection. MAD opened its doors in 1956 with the radical aim of placing craft and design at the center of its mission at a time when these fields were dismissed as lesser forms of creative practice. Originally nurtured by the vision of philanthropist and amateur ceramist Aileen Osborn Webb, the Museum continues to uphold its founding, egalitarian mission: to promote a view of the world unobstructed by traditional definitions of fine art through attention to skilled making. Accordingly, MAD's collection remains dedicated to this ideal. Craft Front & Center brings together a broad and diverse sampling of objects arranged in constellations. They address a variety of themes and issues, including craft and design histories; medium- specific techniques and traditions; craft and design as vehicles for the exploration of racial, gender, and sexual identities; and ways in which craftsmanship, art, and design intersect in the visual arts today. The works seen here represent a powerful, expansive vision of what counts as art, tapping into energies both individual and collective. Taken together, they testify to the continued relevance of the handmade object.
14. MADCFC_231220_011.JPG: MATERIAL TRANSFORMATIONS The amorphous quality of glass is the source of its many visual pleasures. Physically, glass exists in an intermediate state between molten liquid and cooled solid, and artists often try to capture this transitional moment in sculpture. The molecular structure that allows for its unusual changeability has also resulted in numerous industrial and commercial applications, some of which have been repurposed by artists to push the medium far beyond expectations. One such artist is Anna Mlasowsky, whose Chorus of One is the result of two years of experimentation with a "glass ceramic" material at the Corning Incorporated Research Laboratory. Part of the company's Rhino product line, the glass, which undergoes transformation into a ceramic body, was originally conceived for dental, architectural, and body armor applications because it is highly impact and shatter resistant. Whereas Rhino glass is typically press molded or formed in sheets, Mlasowsky developed a method for blowing it into forms that could be cut into thin plates, which she joined together to make a cloak-like, sound-producing sculpture. Chorus of One extends the reference to Rhino glass's application as body armor to encompass the protective scales of animals like the armadillo or pangolin. In addition, the scales replicate the sharp edges of the shale bedrock of upstate New York, where the piece was made, creating a relationship between a skin or a garment and the earth's surface. The cloak contains 175 individual Rhino glass elements, and the properties that make it shatter and impact resistant allow it to be worn. In 2018, the dancer Alethea Alexander worked with Mlasowsky to activate its visual and sound capacities through improvisational and choreographed gestures.
15. MADCFC_231220_016.JPG: Anna Mlasowsky Germany, b. 1984 Chorus of One, 2016-18 Rhino glass ceramic and fabric
16. MADCFC_231220_026.JPG: Armarinhos Teixeira Brazil, b. 1974 Taxonomia, 2020 Polyester and pigment with metal armature Museum of Arts and Design, New York; gift of instituto iad� de arte e design, 2022 Taxonomia is one in a continually evolving series of sculptures that mimic the form and structures of plants, marine animals, and other organisms, replicating the evolutionary variation of forms that humans have categorized into scientific taxonomies. Teixeira uses an industrially produced polyester textile to mimic the cytoskeleton of a jellyfish. The tension between the natural and human-made worlds is at the heart of Brazilian culture, which has evolved in response to (and unfortunately also threatens) the most biodiverse environment on the planet.
17. MADCFC_231220_037.JPG: Sarah Zapata United States, b. 1988 A little domestic waste IV, 2017 Natural and synthetic fiber, fabric, steel, cement, and coiled rope Museum of Arts and Design, New York; purchase with funds provided by the Collections Committee, 2021 To make A little domestic waste IV, Sarah Zapata used Peruvian hand-weaving and American rug- making techniques to manipulate Technicolor yarns and coiled rope, which she supported with a steel armature in the shape of a curved cross. The blend of materials and techniques reflects the artist's layered identity as a queer Peruvian American with an evangelical Christian background. The work is part of a group of anthropomorphic sculptures referencing the pre- Columbian burial bundles of Paracas, Peru, where people were buried (or mummified) with textiles of personal significance.
18. MADCFC_231220_041.JPG: Teri Greeves Kiowa, b. 1970 Khoiye-Goo Mah, 2004 Cut beads, silver-lined seed beads, and Converse high tops Museum of Arts and Design, New York; purchase with funds provided by the Collections Committee, 2004 Museum of Arts and Design, New York; purchase with funds provided by the Horace W. Goldsmith Foundation, 2004 Native American artists Teri Greeves and Marcus Amerman learned the art of beading from their families and elders. Greeves, who is of Native American and Italian descent, frequently beads contemporary objects to remind viewers that Native American culture is ever-present and evolving. Here, she pays homage to the Kiowa women who shaped her life, incorporating traditional techniques and Plains Indian iconography-including the red hand, which symbolizes battle-to express her determination to fight for Kiowa women's rights. Amerman meticulously beads photographs to create detailed pictorial works. Half Choctaw and half Irish American, he incorporates humor and Pop references to confront Native American stereotypes and explore his biracial identity. In this bracelet, Amerman replicates an image of the Lone Ranger standing in front of Tonto, a concise satire of the everyday racism experienced by Native Americans.
19. MADCFC_231220_043.JPG: Marcus Amerman Choctaw Nation, b. 1959 Untitled (Lone Ranger and Tonto bracelet), 2004 Glass seed beads, leather, thread, rubberized cotton, and brass blank
20. MADCFC_231220_050.JPG: Mitsuko Asakura Japan, b. 1950 Waltz, 2016 Silk and bamboo Museum of Arts and Design, New York; purchase with funds provided by Michele and Marty Cohen, 2022 Mitsuko Asakura learned weaving and dyeing during her upbringing in Kyoto, Japan, and continued her studies in the Netherlands and Italy. Although her process is rooted in Japanese textile traditions, Waltz reflects her diverse background. Here, the structure of her weaving can be compared to Western pointillism in painting, as the colors never truly mix but maintain their distinct hues.
21. MADCFC_231220_056.JPG: Dylan Poblano Zuni, b. 1974 From top: 21st Century Neckpiece, 2001 Sterling silver and quartz Museum of Arts and Design, New York; gift of the artist, 2004 Knuckle Ring, 1999 Silver and rubies Museum of Arts and Design, New York; gift of Natalie and Greg Fitz-Gerald, 2008 The son of noted jeweler Veronica Poblano (b. 1951) and grandson of legendary Zuni mosaicist and carver Leo Poblano (1905-1958), Dylan Poblano began making his own jewelry as a child, learning traditional techniques and styles. Today he is known for his unorthodox forms and constructions. Poblano's 21st Century Neckpiece consists of many removable parts, including three rings, an inlay pendant, a pin, and earrings, which can be worn individually or together. Knuckle Ring, reflects the effects of Spanish colonialism on the Zuni people. The artist states: "This for me is a remembrance, a tribute of sorts to rebirth-life after death. The center of the knuckle ring symbolizes water/life. This is one of the many very old symbols that were used among the Zunis (in every aspect of their lives). The constructed flexible styling is reminiscent of the armored metal once worn by such people as the Spaniards, conquistadors, a sort of protection, medieval in a sense. The rubies represent 'a new' energy."
22. MADCFC_231220_063.JPG: Charles Loloma Hopi, 1921-1991 Untitled (bracelet), c. 1980 Sterling silver, fossil ivory, jade, coral, and gold accents Museum of Arts and Design, New York; gift of Marcia and Alan Docter, 2010 An accomplished artist in many media, Charles Loloma is best known for his jewelry, which combines Native American and Modernist design principles. From his jewelry studio and gallery in Hotevilla, Third Mesa, Arizona, he created innovative designs incorporating ideas and materials from other cultures while preserving the fundamentals of the Hopi aesthetic. Loloma's willingness to experiment influenced other contemporary southwestern Native silver and goldsmiths. Stacking materials into landscape compositions, as seen here, is typical of his style.
23. MADCFC_231220_066.JPG: Alexandra Agudelo Colombia, b. 1959 From left: Cinerario Esmeralda, 2018 Fine silver and raw emerald Cuya Citrino Amarillo, 2018 Fine silver and citrine Museum of Arts and Design, New York; gift of the artist and Cristina Grajales Gallery, 2021 Artisan tradition, ritual, and the natural environment in her native Colombia influence Alexandra Agudelo. Working with malleable fine silver, she mimics and abstracts manmade and organic forms in her work. The star-shaped Cinerario Esmeralda references funerary urns that hold ancestral ashes. It is topped with an emerald, a symbol of Colombian mineral wealth. The rounded shape of Cuya Citrino Amarillo is inspired by serving vessels, cuyas, that are traditionally made from woody gourds by the Indigenous community of Puerto Colombia in the Amazon region of Vaup�s.
24. MADCFC_231220_077.JPG: Anthony Olubunmi Akinbola United States, b. 1991 CAMOUFLAGE (Count Basie at Carnegie Hall), 2021 Durags on canvas Museum of Arts and Design, New York; purchase with funds provided by the Collections Committee, 2022 Nigerian-American artist Anthony Olubunmi Akinbola creates "paintings" by stretching, stitching, and stapling durags on canvas. The durag, a head covering mainly worn by Black American men to enhance and protect wavy hair texture, is both fetishized for its pop- culture credibility and criminalized for its proximity to Blackness. Akinbola explores it as an art-making material and a vehicle to contemplate larger issues of identity, global consumption, and commodification of Black American culture. He says, "There's a subversion of power that I'm interested in. By positioning these as paintings, I'm able to upset the conversation around painting, which in the past has been elitist." Nearby works by artists N�dia Taquary and Tiff Massey also investigate hair styling, a critical aspect of identity in the African Diaspora.
25. MADCFC_231220_089.JPG: IDENTITY Hand skills are markers of identity and indications of culture. Craft is the embodiment of what has been passed down, the knowledge and technologies that our ancestors perfected. At the same time, craft can be used expressively, as a means to speak clearly about ourselves as individuals. Craftspeople respond to the world around them in unique ways, charged with perception and emotion. Their work speaks of relationships, nostalgia, and memories; and through all of these connections, the quotidian can become profound. Craft can also serve as a means of expressing the political side of the personal: to stand up for Black lives, advocate for queer identity, and raise awareness of the disruption, assimilation, and genocide experienced by Native Americans. In these ways-and in the right hands-craft communicates directly, appealing to our better selves and, ultimately, contributing to change.
26. MADCFC_231220_104.JPG: Designer: Ruth Clement Bond United States, 1904-2005 Maker: Rose Marie Thomas United States, 1902-Unknown From left: Tennessee Valley Authority Appliqu� Quilt Design of Man w/ Musical Instrument, 1934 Tennessee Valley Authority Appliqu� Quilt Design of Man with Crane, 1934 Tennessee Valley Authority Appliqu� Quilt Design of a Black Fist, 1934 Cotton Museum of Arts and Design, New York; gifts of Mrs. Rosa Philips Thomas, 1994 Ruth Clement Bond had no background in quilting or design when she moved to rural Alabama in 1933, the result of her husband's position with the Tennessee Valley Authority (TVA) overseeing Black workers in the construction of Wheeler Dam. The Bonds, who were also Black, lived in segregated housing with the workers and their families, many of whom were former sharecroppers. Lacking local academic resources to complete her PhD, Bond shifted her focus to empowering the workers' wives through a home beautification program. She designed patterns for a series of quilts, which the women constructed. They made about six large quilts altogether, along with samples like those seen here. The TVA quilts celebrate Black Americans' contributions to modern society through stylized silhouettes recalling the work of Harlem Renaissance painter Aaron Douglas. They document the achievements of Black people who built important infrastructure in the South and were integral to the region's economic development. The sample to the right, Design of Man w/ Musical Instrument, depicts a man divided between African-American culture, represented by the instrument and the face at the upper right corner, and government support in the form of a TVA job, embodied by the star-spangled arm reaching out to touch his shoulder. "It has a hopeful message," Bond said of the work. "Things were getting better, and the Black worker had a part in it." Design of Man with Crane, in the center, shows a Black man supervising the development of the Shoals area surrounding Wheeler Dam for uses such as energy production, soil conservation, and environmental preservation. The design reinforces the power of Black people in the TVA. Bond said, "We were coming up out of the Depression, and we were going to live a better life through our efforts. The opposition was not going to stop us." The far right sample, Design of a Black Fist, shows a bolt of lightening held in the hand of a Black worker. Bond said, "We called [it] 'Black Power.' That was a pun, of course, the Wheeler Dam being about electric power, distinguished from 'Black Power' of the 1960s."
27. MADCFC_231220_118.JPG: Faith Ringgold United States, b. 1930 Shades of Alice, 1988/93 Canvas, fabric, and acrylic paint Museum of Arts and Design, New York; purchase with funds provided by the Horace W. Goldsmith Foundation, 1993 Faith Ringgold is from a family of women who sew, including her mother's great-grandmother Susie Shannon, who was a quilter enslaved in antebellum Florida. Ringgold trained as a painter in the Western European tradition, and in the 1960s, as she became increasingly involved in civil rights activism, her artwork tackled the subjects of racial exclusion and violence in the US. Desiring her art to reflect her background, in the 1970s she began painting on unstretched canvases framed in sewn textiles inspired by Tibetan thangkas. In 1980, in collaboration with her mother, she made her first story quilt, combining text, canvas, and figurative painting to portray the human experience, primarily through the lens of Black American history. Representative of the children's stories Ringgold writes and paints, the quilt seen here is a revision of Alice in Wonderland, in which Alice is Black and Wonderland is an inner city populated by mice who are "wild about Michael Jackson." The story's text appears in rectangular blocks at the top and bottom of the quilt.
28. MADCFC_231220_130.JPG: Bisa Butler United States, b. 1973 Lyric with a Lollipop, 2017 Cotton, silk, lace, and sequins Courtesy Eden and Dr. Suffiyah Webb Bisa Butler creates portraits in fiber, applying concepts she absorbed as a painting student at Howard University to make pieced quilts that celebrate Black life and history. Working from photographs, she layers brightly patterned cotton textiles associated with the African continent to illuminate the personalities of her subjects. Butler's father is from Ghana and her mother is from New Orleans, where early forebears were enslaved people. She learned to sew from her mother and grandmother. Lyric with a Lollipop is one of three portraits made from photographic contact sheets showing the daughter of music teacher Keresse Dorcely, Butler's former colleague and dear friend. Butler purchased many of the fabrics seen here in Johannesburg, South Africa, including the shweshwe cloth of Lyric's vest. To make the skirt, she used a Dutch wax pattern known as "Sugar Cane," a reference to the lollipop Lyric is enjoying, the sugar cane industry's reliance on slave labor, and the ancestors who harvested the product. The contrasting contour lines on Lyric's face acknowledge Butler's Ghanaian grandmother's facial scarification, an identifier of familial affiliation, while the choice of black velvet and lace flowers celebrates the beauty of natural African hair.
29. MADCFC_231220_145.JPG: FROM THE PERIPHERY TO THE CENTER The historical distinction between art and craft subordinated the latter as a lesser form of creative activity and contributed to the exclusion of women and people of color from the Western European canon of art. In the late 1960s, artists began to dismantle this hierarchy. They included Faith Ringgold, who fused the "high" art of painting and the "low" art of craft in a distinctive, hybrid style that embraced the whole of her identity as a Black female artist. The radical migration of the quilt from the bed to the wall that she helped set in motion contributed to a reconsideration of the art/craft divide. As the art world continues to expand, encompassing a greater diversity of voices and backgrounds, the definition of art has accordingly broadened. In this section, functional objects such as quilts, durags, buttons, and hair adornments are reframed for their power as art, rethinking presumptions about the cultural value of everyday or humble materials.
30. MADCFC_231220_149.JPG: N�dia Taquary Brazil, b. 1967 From left: Or�ki Maasai (from the "Oriki" series), 2018 Centenary ip� wood, Czech Republic glass beads, and Nigerian lagidib�s (palm nuts) Or�ki Oxum (from the "Oriki" series), 2019 Centenary ip� wood, Czech Republic glass beads, Nigerian lagidib�s (palm nuts), and Ivory Coast shells Or�ki Wynwood Child (from the "Oriki" series), 2019 Centenary ip� wood, Czech Republic glass beads, and Nigerian lagidib�s (palm nuts) Museum of Arts and Design, New York; gift of The55project Art Foundation, 2021 In the Yoruba culture of West Africa, or�kis are song- poems in praise of a person and their ancestry. N�dia Taquary's "Oriki" series is representative of her larger oeuvre, which can be understood as a personal investigation of the artist's Afro-Brazilian identity. Oriki Maasai is a tribute to the Maasai women of Tanzania and Kenya, whose colorful beadwork adornments communicate personal details including age, social status, sexuality, and spirituality. Or�ki Oxum references the West African deity of sweet water, rivers, gold, beauty, and fertility; she is associated with the color yellow. The work includes cowrie shells, once used as currency in Yoruba culture and still employed in divination rituals throughout the transatlantic African Diaspora. Or�ki Wynwood Child pays homage to a popular hairstyle Taquary saw on children in the Little Haiti neighborhood of Miami, where she was an artist- in-residence.
31. MADCFC_231220_154.JPG: Tiff Massey United States, b. 1982 I Remember Way Back When, 2019 Painted wood and glass knobs Courtesy the artist The role adornment plays in identity formation is central to Tiff Massey's multimedia artistic practice. I Remember Way Back When was included in her 2019 exhibition Proud Lady, which explored Black women's lives through artworks centered on hair. This work features Goody Snap-Tight Kiddie Barrettes, worn in various ways by children of all backgrounds, particularly in the 1980s. Reimagined as large wooden wall hangings, they occupy a space on par with their importance in a child's imagination. Familial care, friendship, love, and joy are embodied in these simple hair decorations. Nearby works by artists N�dia Taquary and Anthony Olubunmi Akinbola also investigate Blackness through the subject of hair. Likewise, works by Faith Ringgold, Bisa Butler, and Carolyn Mazloomi convey the innocence of childhood and the importance of family and community, venerated subjects throughout the African Diaspora.
32. MADCFC_231220_164.JPG: CONTEMPLATIVE MIND The concept of craft as a vehicle for the integration of body, mind, and spirit was embraced by many artists coming of age in the 1960s and 1970s. Each of the artists exhibited here variously expressed this concept, through works that reflect a deep sensitivity to materials, the dignity of hand making, or the creative process as a form of centering or self-discovery. Craft conceived in these ways could be aligned with a back-to-nature counterculture lifestyle, as highlighted in the video footage of the ceramist Toshiko Takaezu. For others, such as Lenore Tawney, who was a follower of Siddha Yoga meditation founder Swami Muktananda, weaving reflected a mindful or spiritual path. Ferne Jacobs' finely coiled basket and Diane Itter's meticulously knotted containers suggest another approach to mindfulness, rooted in the cultivation of patience and a slower way of being in the world.
33. MADCFC_231220_166.JPG: Diane Itter United States, 1946-1989 Front, left: Pouch and Lid, 1973 Linen Museum of Arts and Design, New York; gift of Gary Trentham, 1992 Front, right: Painted Basket #2, 1979 Linen thread and flax Museum of Arts and Design, New York; gift of Nancy and Richard Bloch, 1991 Ferne Jacobs United States, b. 1942 Rear, center: Light Wave, 1989 Linen thread, twine, and wax Museum of Arts and Design, New York; gift of Mr. and Mrs. Charles Diker, 2004
34. MADCFC_231220_175.JPG: River: Nature Bridging, 1973 Rayon, straw, goat hair, and porcupine quills Museum of Arts and Design, New York; gift of the estate of Warren Hadler and Nicholas Rodriguez, through the American Craft Council, 1987
35. MADCFC_231220_178.JPG: Lenore Tawney United States, 1907-2007 Little River II, c. 1969 Linen Museum of Arts and Design, New York; gift of the Dreyfus Corporation, through the American Craft Council, 1989 The fluidity of water inspired many of Lenore Tawney's free-hanging weavings, including Little River II. The work is an example of Tawney's intuitive sculptural experimentations, which she called "woven forms," made with a loom she invented that enabled her to expand and contract the shape of the weavings. Her instinctual process resulted in flowing shapes that delicately balance solid and voided areas.
36. MADCFC_231220_209.JPG: WORLD WIDE WOOD "World Wide Wood" is a deep dive into one of the most overlooked yet indispensable materials from which we construct our world. Wood offers unparalleled material potential: structural and massive or ornamental and veneered; hard as stone or soft as foam; with colors, grain, burls, and knots to exploit aesthetically. But lumber industries and consumer demand have been ravenous and careless about their impact on our forests, rendering some tree species extinct. This section of the exhibition presents artworks organized by geographic region or continent where each tree species is found. Each label displays information about the tree: whether it is endangered, threatened, or sustainable; where it is native; and its uses. In cases in which the tree is threatened, we list the regulation article from the Convention on International Trade in Endangered Species (CITES), or if it is included on the International Union for Conservation of Nature (IUCN) Red List. Selected from MAD's collection, these artworks reveal the material properties that attracted their respective artists to work with the trees in question. They give us insight into the beauty and value of wood as a material that should be prized and understood within a larger ecosystem of human-nature relationships.
37. MADCFC_231220_213.JPG: Darren Appiagyei United Kingdom, b. 1993 Pyrographic Vessel 6, 2022 Museum of Arts and Design, New York; gift of the artist, 2022 London-based artist Darren Appiagyei begins his work by sorting through raw scrap wood, looking for characteristics that suggest potential for what might emerge. He uses a wood-burning technique, pyrography, to create the tonal transitions of the wood grain. Influenced by his heritage, he is drawn to the textural qualities of Ghanaian wood carving. "Making with wood is a collaboration between me and the material.... [I]t's all about allowing the wood to speak for itself rather than refining and polishing it into something it's not."
38. MADDAN_231220_01.JPG: The following pictures are from the page 2023_NY_NYC_MAD_Dandelion NY -- NYC -- Museum of Arts and Design -- Exhibit: Dandelion Cluster #3 (Patrick Jacobs) (3 photos from 2023)
  Enter Other Worlds Here Patrick Jacobs United States, b. 1971 Dandelion Cluster #3, 2011 Vellum, cast wax, cast neoprene, extruded styrene, acrylic, gel medium, polyurethane, ash, talc, starch, cat hair, wood, copper, tin, steel, vinyl film, acrylite, lighting, BK7 glass Gift of Marcia Docter
39. MADGOB_231220_01.JPG: The following pictures are from the page 2023_NY_NYC_MAD_Goblets NY -- NYC -- Museum of Arts and Design -- Exhibit: Goblets from the Permanent Collection (5 photos from 2023)
  Goblets from the MAD Collection MAD's collection of works in glass includes a large number of goblets. The breadth of examples illustrates the capacity of this vessel form to showcase an artist's skill, compositional ingenuity, and wit. The story of how the goblet became such a popular form is intertwined with the origins of glass as an artistic medium. Prior to the studio glass movement of the 1960s, glass in the United States was primarily isolated to industrial production. While artists began working with glass as a medium for personal expression or small-scale production through warm techniques, like casting or slumping, glassblowing required specialized skills and tools that were rarely found outside of the factory setting. In 1962, the artist Harvey Littleton organized a series of experimental glass workshops at the Toledo Museum of Art, which led to an exploration of glass as an artistic medium. These workshops spurred technical investigation by American artists, craftspeople, and scientists and resulted in a period of immense creativity. At this time, Italy's long and illustrious history as an epicenter for glass production was unrivaled, and much of the expertise gained by American artists throughout the 1960s and 1970s was the result of artistic exchanges with Venetian glass maestri, including Lino Tagliapietra, Pino Signoretto, and Francesco Ongaro. These relationships gave American artists unprecedented access to the previously closed world of Venetian glassmaking and gave Venetian maestros a chance to experience an openness and freedom of expression unique to the United States. It was through these experiences that the goblet-an important form in Venice - became a useful teaching tool in the United States. The goblet-making tradition subsequently established itself as a fixture in glass education, providing a form through which numerous complex glass techniques - such as the use of long, thin rods of glass, called canes, to create intricate patterns, as well as flameworking, casting, and carving - could be perfected. Goblets from the MAD Collection was curated by Curator of Collections Samantha De Tillio.
40. MADSEE_231220_01.JPG: The following pictures are from the page 2023_NY_NYC_MAD_Seeing NY -- NYC -- Museum of Arts and Design -- Exhibit: Seeing is Believing (Judith Schaechter) (4 photos from 2023)
  Seeing is Believing Judith Schaechter's stained glass windows feature icons of contemporary life. Most commonly her work centers on the figure, yet rather than the saints of traditional stained glass she focuses on images of waifish women with large, sad, sunken eyes in various states of conflict and transcendence. She taps into subconscious fears, dreams, and longing through her iconography. Schaechter sets these protagonists against patterned backgrounds, featuring natural imagery, fantastical animals, and geometric designs. Such elements add a seductive aspect of beauty to her work that facilitates engagement with difficult subject matters. The patterned ground is a storytelling tool that creates context for the figural protagonist through the use of symbolism and supporting characters, and acts as a metaphor for the context of life. The artist has said that her backgrounds often imply the possible psychological state of the central figure. Schaechter's early career paralleled the high point of the Pattern and Decoration movement, which championed the use of ornamentation and female-driven subject matter in order to fight the legacy of male-dominated Modernist austerity. Her commission for the Museum of Arts and Design, Seeing is Believing, which was installed in 2008 when the museum opened the doors to its new home at 2 Columbus Circle, exploits the power of such patterning in the form of 200 unique, geometric images that inspire thoughts of infinitely variable snowflakes, and brings, what would usually be reserved for background design to the fore. Schaechter's work taps in to the longstanding connection between stained glass and light that manifests itself in a sense of spirituality or holiness. Seeing is Believing is a contemporary reimagining of the medieval rose window, which becomes evident when observing the kaleidoscopic arrangement of color and pattern.
41. MADSWI_231220_002.JPG: The following pictures are from the page 2023_NY_NYC_MAD_Swift NY -- NYC -- Museum of Arts and Design -- Exhibit: Taylor Swift: Storyteller (79 photos from 2023)
42. MADSWI_231220_004.JPG: TAYLOR SWIFT: STORYTELLER Taylor Swift: Storyteller is a career-spanning look at the artistic reinventions of one of today's most popular and prolific songwriters. Since the beginning of her career, Swift has built distinctive worlds through both her songwriting and her meticulously crafted videos and live performances. By turns soulful, whimsical, and dystopian, the stories Swift tells are at once wondrously entertaining and eminently relatable to her legions of fans. In tandem with her extraordinarily imaginative storytelling, Swift has discussed the pressures that women musicians feel to constantly transform their public images. Her shape-shifting the broad array of characters she plays in her music videos and performances- may also be seen as a commentary on female archetypes and gender norms. This exhibition highlights the exquisite costumes and elaborate scenic design that are integral to Swift's world-building. It presents nearly thirty iconic ensembles, together with props, jewelry, ephemera, and archival materials, and is rounded out by projections of music videos and concert footage. Encompassing every era of her career, it explores how Swift has consistently conjured fantastical worlds, and subverted societal expectations, through storytelling. #TaylorSwiftStorytellerMAD/ @madmuseum Funding for Taylor Swift: Storyteller is made possible by three ladies with a common thread in honor of Marian Burke. All obiects courtesy Taylor Swift.
43. MADSWI_231220_008.JPG: Lyrics to "Tim McGraw," written by Taylor Swift, 2006
44. MADSWI_231220_013.JPG: Red (2012) Custom Costume designed by Marina Toybina, Piano, and Keyboard From "All Too Well" performances during The RED Tour, 2013-14 Red (2012) Embellished Les Paul 6 String Electric Guitar by Gibson From "Red" performances during The RED Tour, 2013-14, and the Country Music Association Awards, June 5, 2013
45. MADSWI_231220_019.JPG: Red (Taylor's Version) (2021) Jacket by Coofandy, Shoes by Christian Louboutin, Custom Pants, and Hat From the "I Bet You Think About Me (Taylor's Version) (From The Vault)" music video, 2021 Red (Taylor's Version) (2021) Custom Gown with Hoop Skirt by Nicole + Felicia Couture and Red Microphone From the "I Bet You Think About Me (Taylor's Version) (From The Vault)" music video, 2021
46. MADSWI_231220_027.JPG: Lover (2019) Robe by Agent Provocateur, Brassiere by Simone P�r�le, and Shorts by Morgan Lane From the "You Need to Calm Down" music video, 2019
47. MADSWI_231220_031.JPG: "Lover" Neon Sign From the "ME!" music video, 2019
48. MADSWI_231220_033.JPG: Lover (2019) Blazer, Top, and Shorts by Versace and Boots by Christian Louboutin From the MTV Video Music Awards in Newark, New Jersey, August 26, 2019
49. MADSWI_231220_041.JPG: Speak Now (2010) Gown by Marchesa From "Back to December" performances during the North American portion of the Speak Now World Tour, 2011-12 Speak Now (2010) 12 String Acoustic Custom JU Guitar by Taylor Guitars From "Fifteen" performances during the Speak Now World Tour, 2011-2
50. MADSWI_231220_048.JPG: evermore (2020) Dress by Magnolia Pearl, Belt, and Golden String Prop From the "willow" music video, 2020
51. MADSWI_231220_052.JPG: Midnights (2022) Custom Ensemble by Michael Schmidt Studios From the "Bejeweled" music video, 2022
52. MADSWI_231220_065.JPG: Taylor Swift (2006) Dress by BCBG Max Azria and Custom Boots by Liberty From the Soul2Soul Tour performance on November 7, 2007
53. MADSWI_231220_072.JPG: Speak Now (2010) Dress by Roberto Cavalli From "Sparks Fly," "Mine," and "The Story of Us" performances during the Speak Now World Tour, 2011-12, and "Back to December" and "Better Than Revenge" performances during the Asian and European portions of the tour
54. MADSWI_231220_080.JPG: Fearless (Taylor's Version) (2021) Re-recorded from Fearless (2008) Shirt by Ulla Johnson From the Fearless (Taylor's Version) album photo shoot, 2021
55. MADSWI_231220_085.JPG: Red (2012) Top by Ashish, Jazz Shoes by Bloch, Shorts, and Hat From the "22" music video, 2013
56. MADSWI_231220_089.JPG: 1989 (2014) Custom Costume by Jessica Jones and Boots by Stuart Weitzman From "Shake It Off" performances during the 1989 World Tour, 2015
57. MADSWI_231220_097.JPG: reputation (2017) Custom Jacket and Bodysuit by Jessica Jones and Boots by Christian Louboutin From "Ready for It?," "I Did Something Bad," "Gorgeous," and "Style / Love Story / You Belong With Me" medley performances during the reputation Stadium Tour, 2018
58. MADSWI_231220_101.JPG: Lover (2019) Jacket, Top, and Shorts by Versace and Boots by Christian Louboutin From "You Need to Calm Down" and "Lover" performances at the MTV Video Music Awards in Newark, New Jersey, August 26, 2019
59. MADSWI_231220_105.JPG: Midnights (2022) Jacket by Free People From the "Lavender Haze" music video, 2023
60. MADSWI_231220_110.JPG: evermore (2020) Coat by Stella McCartney From the evermore album photo shoot, 2020
61. MADSWI_231220_112.JPG: folklore (2020) Shirt by Lou & Grey From the folklore album photo shoot, 2020
62. MADSWI_231220_120.JPG: Painting of Benjamin Button From Taylor Swift's music video for "Lover," 2019 Wallpaper painted by Rebecca Graves, R Graves and Company
63. MADSWI_231220_135.JPG: "I started writing songs when I was twelve and since then, it's been the compass guiding my life, and in turn, my life guided my writing. Everything I do is just an extension of my writing, whether it's directing videos or a short film, creating the visuals for a tour, or standing on stage performing. Everything is connected by my love of the craft, the thrill of working through ideas and narrowing them down and polishing it all up in the end." -- Taylor Swift
64. MADSWI_231220_137.JPG: Speak Now (2010) G56 Sparkle Guitar #3 by Taylor Guitars From performances during the Speak Now World Tour, 2011-12
65. MADSWI_231220_142.JPG: Lyrics to "All Too Well (10 Minute Version), (Taylor's Version) (From the Vault)," written by Taylor Swift, 2012
66. MADSWI_231220_148.JPG: Midnights (2022) Necklaces by Rosantica, Earrings by Ninon, and Hair Pins From the "Bejeweled" ensemble in the "Bejeweled" music video, 2022
67. MADSWI_231220_162.JPG: evermore (2020) Lute by Pasquale D'Isanto, Napoli From the "willow" music video, 2020
68. MADSWI_231220_172.JPG: Lover (2019) Bracelets and Necklaces by Versace From "You Need to Calm Down" and "Lover" performances during the MTV Video Music Awards in Newark, New Jersey, August 26, 2019
69. MADSWI_231220_201.JPG: reputation (201 Sweatshirt by Gucc Louboutin, Cat Mas From the Look Who music video, 2017
70. MADSWI_231220_205.JPG: reputation (2017) Custom Dress by Jessica Jones and Boots by Christian Louboutin From "Delicate" and "Shake It Off" performances during the reputation Stadium Tour, 2018
71. MADSWI_231220_215.JPG: reputation (2017) Sweatshirt by Gucci, Boots by Christian Louboutin, Cat Mask, and Gold Baseball Bat From the "Look What You Made Me Do music video, 2017
72. MADSWI_231220_223.JPG: 1989 (2014) Custom Blazer by KaufmanFranco, Boots by Stuart Weitzman, and Wedge Golf Club From "Blank Space" performances during the 1989 World Tour, 2015
73. MADSWI_231220_229.JPG: 1989 (2014) Custom Ballerina Ensemble From the "Shake It Off" music video, 2014
74. MADSWI_231220_237.JPG: 1989 (2014) Custom Bodysuit by Zuhair Murad and Boots by Stuart Weitzman From "Out of the Woods" performances during the 1989 World Tour, 2015
75. MADSWI_231220_240.JPG: 1989 (2014) Custom Ensemble by Jessica Jones From "Dick Clark's New Year's Rockin' Eve with Ryan Seacrest" performance, 2015
76. MADSWI_231220_255.JPG: J-180 Guitar by Gibson and "TAYLOR SWIFT" Neon Sign Guitar from "Cornelia Street" and "The Man" performances during the "City of Lover" concert in Paris, France, September 9, 2019 Sign from the "Taylor Swift Experience" exhibit by the Grammy Museum, 2014
77. MAD_231220_01.JPG: The following pictures are from the page 2023_NY_NYC_MAD NY -- NYC -- Museum of Arts and Design (2 photos from 2023)
78. MAD_231220_04.JPG: FLAVOR PAPER �lan Vital Wallpaper, 2016 designed by Ovando x Flavor Paper �lan Vital is a modern interpretation of still life. Utilizing the incomparable floral arranging skills of noted, New York based flower studio Ovando, this atmospheric take on the classic work of art evokes a similar reproduction of inanimate blooms, but at a level of photographic detail captured by Skot Yobauje Photography that is stunning. Flavor Paper worked closely with Ovando to create and capture dynamically shaped floral arrangements featuring a global selection of flora. While traditional still life artists used to be limited to what was available locally, today we have access to an incredibly broad range of species, many of which are represented and resulted in an assortment of �lan Vital varieties, including: �lan Vital Rose mural (elevator exterior) + �lan Vital Tropical pattern (elevator interior). To learn more, visit FlavorPaper.com. This wallpaper was produced and donated by Flavor Paper.
79. MADDWE_221006_01.JPG: The following pictures are from the page 2022_NY_NYC_MAD_Dwelling NY -- NYC -- Museum of Arts and Design -- Exhibit: Dwelling (Charles Simonds) (2 photos from 2022)
  Dwelling: Charles Simonds Charles Simonds first created his Dwellings in the early 1970s as tiny, impermanent constructions in the crevices and vacant lots of New York neighborhoods, and later developed them into semipermanent works situated in museums. Constructed from miniature bricks cut from flat sheets of clay and assembled with tweezers, the Dwellings resemble the archaeological remains of indigenous communities of the American Southwest, such as the cliff dwellings at Mesa Verde, and are imagined as architectural environments for fictional civilizations of “Little People” who roam the streets of neighborhoods in cities throughout the world. Each Dwelling encapsulates a different time and place in the history of the people, who are always absent from the structures, and marks their migration over time. Some are ruins; some are ruins in the process of rehabitation; and some are more recent settlements. The Dwellings are made with unfired clay and therefore impermanent, left to the vagaries of life around them. At the Museum of Arts and Design, Simonds’ Dwelling occupies a discreet corner of the lobby, visible from the exterior, northwest corner of the building at the junction of Columbus Circle and Broadway. The artist’s works are often in dialogue with one another, and the counterpart to this piece (since removed) was once found across the street in a window at 1790 Broadway. By placing clusters of these installations in visual proximity, Simonds slyly reminds viewers to look beyond museum walls. Dwelling was installed as part of the exhibition Otherworldly: Optical Delusions and Small Realities in 2011.
80. MADGOB_221006_04.JPG: The following pictures are from the page 2022_NY_NYC_MAD_Goblets NY -- NYC -- Museum of Arts and Design -- Exhibit: Goblets from the Permanent Collection (12 photos from 2022)
  Goblets from the MAD Collection
81. MADJST_221006_001.JPG: The following pictures are from the page 2022_NY_NYC_MAD_JStories NY -- NYC -- Museum of Arts and Design -- Exhibit: Jewelry Stories (103 photos from 2022)
82. MADJST_221006_007.JPG: Jewelry Stories Highlights from the Collection 1947-Now
83. MADJST_221006_013.JPG: What is Art Jewelry?
84. MADJST_221006_016.JPG: 1930s
85. MADJST_221006_017.JPG: 1940s
86. MADJST_221006_024.JPG: 1950s
87. MADJST_221006_026.JPG: 1960s
88. MADJST_221006_030.JPG: 1970s
89. MADJST_221006_034.JPG: 1980s
90. MADJST_221006_037.JPG: 1990s
91. MADJST_221006_040.JPG: 2000s
92. MADJST_221006_043.JPG: 2010s
93. MADJST_221006_051.JPG: Adam Grinovich Julia Maria Kunnap
94. MADJST_221006_058.JPG: Esther Knobel
95. MADJST_221006_069.JPG: David Bielander Otto Kunzli
96. MADJST_221006_076.JPG: Thomas Gentille
97. MADJST_221006_081.JPG: John Paul Miller
98. MADJST_221006_090.JPG: William Harper
99. MADJST_221006_098.JPG: Joyce J. Scott
100. MADJST_221006_103.JPG: Peter Chang
101. MADJST_221006_114.JPG: Wendy Ramshaw David Watkins
102. MADJST_221006_118.JPG: Harriete Estel Berman Gesine Hackenberg
103. MADJST_221006_122.JPG: Cecile et Jeanne Vivian Shimoyama
104. MADJST_221006_132.JPG: Madelyn Albright's pins
105. MADJST_221006_135.JPG: Lola Brooks Myra Mimlitsch-Gray
106. MADJST_221006_142.JPG: Ramona Solberg
107. MADJST_221006_149.JPG: Irena Brynner Margret Craver
108. MADJST_221006_170.JPG: Arline Fisch Body Ornament, 1966
109. MADJST_221006_172.JPG: Mallory Weston
110. MADJST_221006_176.JPG: Kiff Slemmons
111. MADJST_221006_181.JPG: Sigurd Bronger Giovanni Corvaja Sergey Jivetin Stefano Marchetti
112. MADJST_221006_189.JPG: Stanley Lechtzin
113. MADJST_221006_201.JPG: Eunmi Chun Mari Ishikawa
114. MADJST_221006_205.JPG: Bruno Martinazzi
115. MADJST_221006_213.JPG: Manfred Bischoff
116. MADJST_221006_215.JPG: Charles Loloma
117. MADJST_221006_225.JPG: Margaret De Patta
118. MADJST_221006_236.JPG: Eleanor Moty
119. MADJST_221006_244.JPG: J. Fred Woell
120. MADJST_221006_248.JPG: Art Smith
121. MADJST_221006_252.JPG: Henning Koppel Ronald Hayes Pearson Ed Wiener
122. MADJST_221006_256.JPG: Tone Vigeland
123. MADJST_221006_264.JPG: Otto Kunzli
124. MADJST_221006_268.JPG: Melanie Bilenker Iris Nieuwenburg Bettina Speckner
125. MADJST_221006_286.JPG: Helen Britton Sondra Sherman
126. MADJST_221006_294.JPG: Lauren Kalman
127. MADJST_221006_302.JPG: William Clark Donald Paul Tompkins
128. MADJST_221006_308.JPG: Aline Berdichevsky Julia Turner
129. MADJST_221006_311.JPG: Sharon Church
130. MADJST_221006_314.JPG: Hanna Hedman Marta Mattson
131. MADJST_221006_325.JPG: Zachery Lechtenberg
132. MADJST_221006_334.JPG: MJ Tyson
133. MADJST_221006_341.JPG: Gijs Bakker Emmy van Leersum
134. MADJST_221006_347.JPG: Mary Ann Scherr
135. MADJST_221006_355.JPG: Sakurako Shimizu
136. MADJST_221006_364.JPG: Karl Fritsch Sam Kramer
137. MADQUE_221006_001.JPG: The following pictures are from the page 2022_NY_NYC_MAD_Queer NY -- NYC -- Museum of Arts and Design -- Exhibit: Queer Maximalism x Machine Dazzle (56 photos from 2022)
  Queer Maximalism
138. MADQUE_221006_016.JPG: Kindred Spirits
139. MADQUE_221006_032.JPG: Living Sculpture
140. MADQUE_221006_045.JPG: A 24-decade History of Popular Music, 2016-Present
141. MADQUE_221006_056.JPG: Companion Costumes
142. MADQUE_221006_073.JPG: Heliotropisms, 2019 Moody Center for the Arts, Houston
143. MADQUE_221006_093.JPG: An Archive of Maximalism
144. MADQUE_221006_124.JPG: Dazzle Dancers
145. MADQUE_221006_132.JPG: "Special" Occasions ;)
146. MADQUE_221006_148.JPG: Treasure, 2019 Solomon R. Guggenheim Museum, New York
147. MADSCH_221006_001.JPG: The following pictures are from the page 2022_NY_NYC_MAD_Schanck NY -- NYC -- Museum of Arts and Design -- Exhibit: Chris Schanck: Off-World (35 photos from 2022)
  Chris Schanck Cryo, 2018
148. MADSCH_221006_084.JPG: Chris Schanck: Off-World
149. MADBUR_191005_005.JPG: The following pictures are from the page 2019_NY_NYC_MAD_Burke NY -- NYC -- Museum of Arts and Design -- Exhibit: Burke Prize 2019 (36 photos from 2019)
  Burke Prize 2019
150. MADBUR_191005_009.JPG: Helen Lee 1/f, 2018
151. MADBUR_191005_026.JPG: Tanda Francis Paula, 2016
152. MADBUR_191005_032.JPG: Tanda Francis Altar Ego, 2018
153. MADBUR_191005_039.JPG: Amber Cowan Dance of the Pacific Coast Highway at Sunset, 2019
154. MADBUR_191005_043.JPG: Amber Cowan Snail Passing Through the Garden of Inanna, 2019
155. MADBUR_191005_048.JPG: Salvador Jimenez-Flores
156. MADBUR_191005_068.JPG: Linda Lopez Pink Furry, 2018 Jade Dust Furry with Gold Rocks, 2018 Asphalt Dust Furry with Gold Rocks, 2017
157. MADBUR_191005_072.JPG: Bisa Butler Les Sapeurs, 2018
158. MADBUR_191005_083.JPG: Sophia Narrett Wishes, 2019
159. MADBUR_191005_088.JPG: Bojana Ginn Praising Softness / Pink Gluons of the Small of the Back, 2017/19
160. MADBUR_191005_101.JPG: Julie Schenkelberg Homage to Finding, 2017
161. MADBUR_191005_109.JPG: Lauren Kalman Flourish, 2019
162. MADBUR_191005_119.JPG: Raven Halfmoon Still Here, 2019
163. MADBUR_191005_128.JPG: Jaydan Moore Platter / Chatter, 2018
164. MADBUR_191005_133.JPG: Indira Allergra
165. MADSUI_191005_001_STITCH.JPG: The following pictures are from the page 2019_NY_NYC_MAD_Anna_Sui NY -- NYC -- Museum of Arts and Design -- Exhibit: The World of Anna Sui (135 photos from 2019)
166. MADSUI_191005_004.JPG: The World of Anna Sui
167. MADSUI_191005_011.JPG: Mod
168. MADSUI_191005_021.JPG: Androgyny
169. MADSUI_191005_045.JPG: Invitations to Anna Sui Fashion Shows
170. MADSUI_191005_065.JPG: Retro
171. MADSUI_191005_100.JPG: Americana
172. MADSUI_191005_103.JPG: Schoolgirl
173. MADSUI_191005_107.JPG: The Fashion Show
174. MADSUI_191005_169.JPG: Sofia Coppola wearing Anna Sui Fall 1997
175. MADSUI_191005_173.JPG: Kirsty Hume wearing Anna Sui Fall 1998
176. MADSUI_191005_177.JPG: Nomad
177. MADSUI_191005_196.JPG: Fairytale
178. MADSUI_191005_240.JPG: The World of Anna Sui
179. MADSUI_191005_245.JPG: Inspiration
180. MADSUI_191005_249.JPG: The World of Anna Sui
181. MADSUI_191005_253.JPG: Posters
182. MADSUI_191005_262.JPG: Zandra Rhodes
183. MADSUI_191005_267.JPG: Betsey Johnson for Alley Cat
184. MADSUI_191005_272.JPG: Norma Kamali
185. MADSUI_191005_279.JPG: Greer Lankton
186. MADSUI_191005_283.JPG: Georges Kaplan
187. MADSUI_191005_287.JPG: Barbara Hulanicki for Biba
188. MADSUI_191005_301.JPG: Timeline
189. MADSUI_191005_325.JPG: Hippie & Rockstar
190. MADSUI_191005_344.JPG: Victorian
191. MADSUI_191005_350.JPG: Grunge
192. MADSUI_191005_374.JPG: Punk
193. MADRB_190827_001.JPG: The following pictures are from the page 2019_NY_NYC_MAD_RBrown NY -- NYC -- Museum of Arts and Design -- Exhibit: Roger Brown: Virtual Still Lifes (69 photos from 2019)
  Roger Brown: Virtual Still Lifes Born in Hamilton, Alabama, in 1941, Roger Brown (nee James Roger Brown, d. 1997) was an American artist known for his atmospheric paintings of architecture, landscapes, and stylized social dramas. He conceived of an American "ambiance" influenced by the visual language of postwar advertising, frequent road trips, and film noir. His practice investigated the tension between illusionistic and "real" space, aestheticizing the national mood as one of artificiality and theatricality. Throughout his life, Brown was a voracious collector; he amassed hundreds of thrift store and yard sale finds, from vernacular ceramics and kitsch objects to exceptional works of folk and visionary art, which he meticulously arranged and displayed in his studio and homes. His virtual still-life paintings eventually became a studio expression of his collecting and curating of found objects, moving from the tableaux he created in his surroundings to discrete works of art that married his passion for collecting with his groundbreaking approach to painting. To create the twenty-seven works in the "Virtual Still Life" series, Brown selected from nearly five hundred objects, primarily ceramic, and curated distinct arrangements on display shelves that extended from the frames of his moody land and skyscapes. In these "virtual" still lifes, the concrete and the pictorial blur to enshrine and celebrate real experience. In addition to examples from this last, important series, Roger Brown: Virtual Still Lifes presents early paintings that set the stage for the artist's dramatic landscapes made midcareer; painted objects that unite his collecting with his studio work; and curated arrangements from his live-work homes in La Conchita, California, and Chicago, Illinois. As such, it examines how collecting practices and theatrical concepts permeated and shaped Brown's artistic process, culminating in the "Virtual Still Life" series.
194. MADRB_190827_005.JPG: Roger Brown Untitled (Central Arch, Profile, Hair Form, Halo), 1968
195. MADRB_190827_010.JPG: Roger Brown Hearse Panels, c 1920s-40s
196. MADRB_190827_017.JPG: Unknown artist Clifford Boyd, Manager, 1943-71, date unknown
197. MADRB_190827_035.JPG: Roger Brown Untitled (Movie House with Father's Dream), c 1967-68
198. MADRB_190827_041.JPG: Roger Brown Theater, 1968
199. MADRB_190827_047.JPG: Roger Brown Untitled (Theater, Man in Chair), c 1967-68
200. MADRB_190827_051.JPG: Roger Brown Untitled (Theater with Bird, Rain, Nude Figures), c 1967-68
201. MADRB_190827_056.JPG: Roger Brown Untitled (Movie House with Nude Female), c 1968-69
202. MADRB_190827_061.JPG: Theater Paintings
203. MADRB_190827_064.JPG: Roger Brown Runaway, 1968
204. MADRB_190827_069.JPG: Roger Brown Untitled (Crawling, Flagellated Building), 1975
205. MADRB_190827_080.JPG: Roger Brown Fishing Expedition Chair, 1975
206. MADRB_190827_082.JPG: Roger Brown View from Marble Head, 1975
207. MADRB_190827_087.JPG: Roger Brown Furniture Factory Footboard Billboard, 1975
208. MADRB_190827_090.JPG: Painted Objects
209. MADRB_190827_093.JPG: Roger Brown Chair Head II, 1975
210. MADRB_190827_097.JPG: Roger Brown Foothills Footstool, 1975
211. MADRB_190827_100.JPG: Roger Brown Cutting the Rug, c 1968
212. MADRB_190827_109.JPG: Roger Brown Jacknife, 1975
213. MADRB_190827_126.JPG: Home(s)
214. MADRB_190827_128.JPG: "The things in [my] collection are of universal appeal to all artists and people with a sense of the spiritual and mystical nature that material things can evoke." -- Roger Brown
215. MADRB_190827_139.JPG: Aldo Piacenza Untitled sculptures, c 1950-70
216. MADRB_190827_156.JPG: Ceramics
217. MADRB_190827_169.JPG: Roger Brown Virtual Still Life #16 3 Sake Cups and 4 Big Sur Communion Chalices with Oral Roberts' Vision of a Two Mile High Jesus, 1995
218. MADRB_190827_173.JPG: Roger Brown Virtual Still Life #12 Modernistic Planter with Half a Desert Painting, 1995
219. MADRB_190827_178.JPG: Roger Brown Virtual Still Life #11 Mugs and Mountains, 1995
220. MADRB_190827_183.JPG: Virtual Still Lifes
221. MADRB_190827_186.JPG: Roger Brown Vase Noir, 1996
222. MADRB_190827_194.JPG: Roger Brown Virtual Still Life #5 Elegant Pot with Gold Sky, 1995
223. MADRB_190827_199.JPG: Roger Brown Pronghorn Diorama, 1987
224. MADRB_190827_203.JPG: Roger Brown A Painting for a Sofa: A Sofa for a Painting, 1995
225. MADRB_190827_207.JPG: Patty Carroll Portrait of Roger Brown, 1990
226. MADRB_190827_212.JPG: Roger Brown Virtual Still Life #14 Pots and Piedmont and Piru, 1995
227. MADRB_190827_217.JPG: Roger Brown Virtual Still Life #15 Waterfalls and Pitchers, 1995
228. MADRB_190827_220.JPG: Roger Brown Virtual Stiff Life #7 Flexible Blue Madonna with Orange Salt and Pepper Shakers, 1995
229. MADRB_190827_228.JPG: "The mainstream art world hierarchy -- a system of dealers, writers, artists, critics, and pundits, presumes to define what art is for the rest of us... Whatever category one chooses -- folk, naive, outsider, or so-called regionalist, it is very evident that real artists exist and continue to be nurtured inside the mainstream hierarchy. In fact, I would venture to say that the only real artists are nurtured there... on the outside." -- Roger Brown
230. MADRB_190827_231.JPG: Roger Brown Funeral for Real Experience, 1988
231. MADVER_190827_002.JPG: The following pictures are from the page 2019_NY_NYC_MAD_Vera NY -- NYC -- Museum of Arts and Design -- Exhibit: Vera Paints a Scarf (56 photos from 2019)
  Vera Paints a Scarf The Art and Design of Vera Neumann
232. MADVER_190827_008.JPG: Vera Paints...
233. MADVER_190827_028.JPG: The Vera Scarf
234. MADVER_190827_041.JPG: The Fine Art of Design
235. MADVER_190827_059.JPG: Wearing Vera
236. MADVER_190827_065.JPG: Who Was Vera?
237. MADVER_190827_093.JPG: What Knot Start with open napkin. Fold napkin into triangle -- with point at bottom. Roll up from bottom. Knot in center. This is perfect napkin fold for buffer supper; takes little room at table. Excellent for placing on plate.
238. MADVER_190827_096.JPG: Silver Buffet Fold napkin twice to form a square. Hold this in diamond shape. Take two top flaps and roll halfway down napkin. Fold the right and left points at sides under. Now you have a pocket in which to place silver: knife, fork, spoon.
239. MADVER_190827_100.JPG: The Candle Start with triangle. Make a one and a half inch hem at bottom of triangle. Turn napkin over to match position sketched. Begin rolling from bottom point. Leave one inch at end and stuck it into hem at bottom to secure fold. Stand up candle. Great idea for a crowded table.
240. MADVER_190827_106.JPG: Butterfly Fold open napkin to triangle. Take left corner and fold up to center. Take right corner up to center, creating diamond. Turn over, keeping loose points at top (not sketched), then fold upward leaving margin at top to make triangle. Tuck the left corner into the right. Stand up. Turn around. Then turn petals down. It's a butterfly.
241. MADVER_190827_110.JPG: Cardinal's Hat Fold napkin in half with open edge at top. Fold upper left corner down, lower right corner up. Turn over to match shape sketched. Fold downward in half, leaving small triangle at left. Pull hidden point at right down. Fold left corner towards center, dividing left triangle in half. Fold lower triangle up. Turn over (not sketched). Tuck left corner into right pocket. Stand up.
242. MADVER_190827_114.JPG: Fan-Fare Fold napkin in half. Start accordion folding in three quarter inch folds from bottom to about one third from top. Fold in half with accordion pleats on outside. Fold right corners into triangle overlapping at side by one inch. Fold one inch overlap under to create a base. Stand up and napkin will fan out.
243. MADVER_190827_120.JPG: Rose Petals Fold all four points to center of opened napkin. Then fold all four points to center again. Repeat a third time. Turn over (not sketched). Fold points to center one more time. Holding finger firmly at center, unfold four petals from underneath each corner. Then pull out four more from between petals. Then pull out next four under petals. Flower should have twelve points.
244. MADVER_190827_123.JPG: The Art of Table Setting
245. MAD_190827_02.JPG: The following pictures are from the page 2019_NY_NYC_MAD NY -- NYC -- Museum of Arts and Design (9 photos from 2019)
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Wikipedia Description: Museum of Arts and Design
From Wikipedia, the free encyclopedia

The Museum of Arts and Design (MAD), based in Manhattan, New York City, collects, displays, and interprets objects that document contemporary and historic innovation in craft, art, and design. In its exhibitions and educational programs, the Museum celebrates the creative process through which materials are crafted into works that enhance contemporary life.

History

The Museum first opened its doors in 1956 as the Museum of Contemporary Crafts, with an original mission of recognizing the craftsmanship of contemporary American artists. Nurtured by the vision of philanthropist and craft patron Aileen Osborn Webb, the Museum mounted exhibitions that focused on the materials and techniques associated with craft disciplines. From its earliest years, the Museum celebrated the changing roles of craftsmanship in society, served as an important advocate for emerging artists, and linked art to industry.

From 1963 to 1987, under the directorship of Paul J. Smith, the Museum presented dynamic and often participatory exhibitions that reflected the social currents of the era and broke down hierarchies in the arts with the celebration of popular culture and mundane materials. In 1979, the Museum reopened as the American Craft Museum in an expanded location at 44 West 53rd Street. To accommodate its ever-growing programming, the Museum relocated again in 1986 to its 18,000-square-foot home at 40 West 53rd Street, where it would remain until 2008.

The next ten years were a period of rapid growth and change, as the American Craft Council was restructured and the Museum and the Council were established as independent organizations. Holly Hotchner was appointed as director of the Museum in 1996, and served as director for 16 years until 2013. Hotchner initiated a comprehensive strategic planning process that expanded the Board of Trustees, curatorial staff, and exhibition and educational program. This proces ...More...
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