Word: exhibitable
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Dates: during 1980-1989
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Some of the shapes, materials and images that resulted are currently on display in an exhibition at New York City's Whitney Museum, "High Styles: Twentieth-Century American Design." The show, which includes 300 pieces of furniture, craftworks, tableware and household appliances, was assembled by six different curators and seems more the rough outline of a museum exhibit than a finished show. Indeed, in a gallery that is like the vast attic of some anonymous and impossibly trendy old American family--interesting, to be sure, but incoherent--the recurrent evocation of the future is one of the few themes reaffirmed...
...giddiness suffused design; the leading and trailing edges were marked by the 1939 and 1964 New York world's fairs. The '39 fair was the work of the country's first and last great generation of designer-promoters. The son et lumiere theatrics were unabashed. Raymond Loewy designed an exhibit called "Rocketport of the Future," and Norman Bel Geddes' "Futurama," the most popular exhibit, was a scale model of a perfect, antiseptic cityscape. "Strange? Fantastic? Unbelievable?" asked the Futurama narrator. "Remember--this is the world...
...their nature, most museum costume shows are retrospectives, evocations of some bygone era or long-spent style. "Royal India" may be the longest shadow of the imperial sunset, but the techniques this show celebrates--like tie-dying, brocading, hand embroidering and intricate weaving--are still practiced. The exhibit, which opens to the public on Dec. 20, contains some 150 separate costumes, but as Indian Curator Martand Singh points out, "there is not a piece of textile here that is not produced today." The costumes come from 16 former royal families, and a few had to be returned for use during...
...exhibit's extraordinary range of colors, from the full lush tangerine to white that shines with the intensity of the noon sun on Himalayan snow, comes partly from Persia (where shades of muted pistachio and oleander pink originated), partly from the British raj (all those brown and khaki earth tones) and partly too from what Curator Singh calls "the fugitive color palette"--the homespun miracle that would occur when a villager, out of necessity, dyed and redyed the same piece of cloth. Serendipity and splendor then: fashion as tradition. Fashion, indeed, as the warp of the social fabric...
...realize that belonging to a finals club entails more than just hanging out with a group of male friends. By accepting an offer of membership, students are accepting a status quo that runs counter to fundamental American values. It is hard to understand how these clubs can continue to exhibit their moral backwardness while the college continues to open doors on many issues. It is hard to see the justice in the clubs' harbor cruises and estate outings while other students are working to improve conditions at public housing projects or battered women shelters...