Beth Lipman: Collective Energy at Museum of Art & Design

 

 

 

Beth Lipman. Laid (Time-) Table with Cycads, 2015. Photo by Jenna Bascom

The Museum of Arts and Design (MAD) presents Beth Lipman: Collective Elegy, from September 25, 2020 to April 4, 2021, a major midcareer survey that is the first to assess the remarkable achievements of the renowned contemporary artist. From sumptuous displays of excess, including provocative installations comprising hundreds of individual glass elements, to poetic and contemplative works in glass, metal, clay, video, and photography, the works on view are ethereal meditations on time and mortality and simultaneously sobering indictments of our contemporary consumer culture and its impact on the planet.

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The Museum of Arts and Design to Reopen with Brian Clarke: The Art of Light at MAD

 

 

 

Flowers for Zaha, The Art of the Sainsbury Centre, supported and organized in association with HENi; Brian Clarke, Photo © Fraser Watson; Image courtesy MAD

The Museum of Arts and Design (MAD) will reopen on September 17, 2020 with a major exhibition of works by celebrated architectural artist and painter Brian Clarke (b. 1953, United Kingdom). The first museum exhibition in the U.S. of Clarke’s stained-glass screens, compositions in lead, and related drawings on paper, Brian Clarke: The Art of Light showcases the most considerable artistic and technical breakthrough in the thousand-year history of stained glass.

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Tanya Aguiñiga: Craft & Care at Museum of Arts and Design

 

 

Installation view of Tanya Aguiñiga: Craft & Care
Photo by Jenna Bascom. Courtesy of the Museum of Arts and Design

Positioning photographic documentation, radio broadcasts, ephemera, data, and an installation generated by the project, AMBOS, as well as seven other projects from Aguiñiga’s ongoing design and artistic practice, Tanya Aguiñiga: Craft & Care at MAD demonstrates the link that the artist is forging between design thinking and community work. “Design thinking,” which refers to the creative strategies for problem solving, is situated here as something inherent to craft—a vehicle utilized by Aguiñiga for self-care and community building.  And the work the artist has been doing near the Tijuana border crossing is timely, indeed.

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