Stickley died in in Syracuse, New York. The exhibition is supported by a generous grant from the Henry Luce Foundation and the National Endowment for the Arts. Additional support is provided by DMA patrons and supporters with funds raised through Silver Supper and from the Donor Circle membership program through leadership gifts by the Gay and Lesbian Fund for Dallas.
Air transportation in Dallas is provided by American Airlines. Promotional support provided by Stacy Furniture. Located in the vibrant Arts District of downtown Dallas, Texas, the Dallas Museum of Art DMA ranks among the leading art institutions in the country and is distinguished by its innovative exhibitions and groundbreaking educational programs. At the heart of the Museum and its programs are its encyclopedic collections, which encompass more than 24, works and span 5, years of history, representing a full range of world cultures.
Established in , the Museum welcomes more than , visitors annually and acts as a catalyst for community creativity, engaging people of all ages and backgrounds with a diverse spectrum of programming, from exhibitions and lectures to concerts, literary readings and dramatic and dance presentations. Separate email addresses with commas. You may provide up to 30 emails at a time. You can provide a custom message that will preface the content in the email.
Your first email will be delivered to your inbox shortly. Subscribe to our daily newsletter. Gustav Stickley, Five Light Electrolier, no , c. Gustav Stickley, Reclining Chair No.
Gustav Stickley, Linen Chest, c. Other highlights in the show include: An armoire , c. For information, or www. The Social Hub. Gustav Stickley, five light electrolier, No. It is disturbing to find an essay on this topic that so blithely ignores such a deep vein of research. An even larger subject, on which much has been written by feminist and material culture scholars, is that of reform in domestic culture during the early twentieth century. They have published on the restoration of the Log House there already, and some of this work appears in their essay for this catalogue.
Moreover, no references to the voluminous scholarship on Progressive-era ideas about domestic interiors and their symbolism are found either in the body of the essay or in the footnotes. Without such a background, the authors cannot hope to support their suppositions. Moreover, as in the Brandt essay, the material covered is quite tangential to the interior designs shown in the Newark exhibition—a few photos of Craftsman Farms, illustrations from the Craftsman , and the model dining room.
The final essay in the catalogue, by Joseph Cunningham, offers little that is new about Irene Sargent. The unhappy dichotomy between the exemplary quality of an important exhibition and the uneven scholarship in its companion book is not a new problem in the museum world.
Moreover, in the search for new revenue following this punishing recession, and with changes in the business models of major public museums, other exhibition organizers have cut corners while making extravagant claims for their shows. Following trends that will reliably draw the public, museums such as the Art Institute of Chicago have also produced arts and crafts exhibitions that help to build credibility for their collections.
The catalogue for Apostles of Beauty: Arts and Crafts from Britain to Chicago on view from November 7, , through January 31, , also published by Yale University Press, contains five essays by staff curators at the host museum. The two senior curators are historians of American painting whose writing does not suggest deep reading on the decorative arts or architecture.
Their three assistants, whose research is solid, are less secure as writers. The result is a book that looks beautiful, provides helpful information on individual artifacts, and makes extravagant claims for the importance of Chicago as the center of the arts and crafts movement in America with little to back them up.
The Art Institute book conveniently excludes scholarship that does not support its point of view. Though expectedly more academic in tone, the lovely book places the achievements of Boston artists, architects, tradespersons, and writers in an international context. The team of scholars who contributed chapters is impressive, including Beverly K. Brandt, whose essay is superb and amply footnoted.
The Dallas Museum of Art called the DMA in the art world currently has a major exhibit of Stickley artifacts, including furniture, lighting, textiles and some intriguing extras. I plan to go back for a third visit — the first was for fun, the second to get photos for this article, and the third will be for closer study. The show closes on May 8, The exhibit has its own internal logic, but for a blog like this it might be more fun to start with a look at Stickley furniture the way Gustav himself thought it should be used.
The Craftsman dining room pictured here is the whole deal, furniture, carpet, walls and all. It was laid out by Stickley as a display at a sales promotional event. That dining room was a glimpse of Stickley as we think of him now. His beginnings were far from that point. Originally he made heavy, ornate late-Victorian factory furniture like most other makers at the time.
Mercifully none of that is on display at the DMA. First of all he needed to come up with a product line that would give his company a commercial advantage. Perhaps wary of the shock of the new, and especially of a shock to his business, Stickley eased into the change.
Early designs were simplified by Victorian standards, but had a rather art nouveau look to them.
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