Exhibitions: Vital Forms: American Art and Design in the Atomic Age, 1940-1960

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    Luce Center for American Art

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    Vital Forms: American Art and Design in the Atomic Age, 1940-1960

    • Dates: October 12, 2001 through January 6, 2002
    • Collections: Decorative Arts
    Press Releases ?
    • April 2001: From the automobile and Tupperware to paintings by Willem de Kooning and Mark Rothko, Vital Forms: American Art in the Atomic Age, 1940–1960, an exhibition of some 200 objects, will explore how the use of organic forms crossed the boundaries between fine art and popular culture and was used by leading painters and sculptors of the day as well as by designers of industrial products. A decade in the planning, the exhibition was organized by the Brooklyn Museum of Art, where it will be on view October 12, 2001 through January 6, 2002.

      This presentation is the third in a Brooklyn Museum of Art series that has included The American Renaissance, 1876–1917 (1979) and The Machine Age in America, 1918–1941 (1986). Vital Forms has been organized by Brooke Kamin Rapaport, Associate Curator of Contemporary Art, and Kevin L. Stayton, Chair and Curator of Decorative Arts, at the Brooklyn Museum of Art. Consulting curators are Martin Filler, and Mildred Friedman. Dr. Paul Boyer served as the project’s cultural historian. A full color catalogue published by the BMA in association with Abrams will accompany the exhibition.

      This is the first exhibition to include all of the visual arts that made use of organic forms in the 1940s and 1950s and to examine their relationship to the period in which they were created. Among the historical events that influenced the art and design of these two decades were World War II, the Holocaust, the immigration from Europe of an extraordinary number of artists and designers, the dropping of the atomic bomb, followed by the Korean war, McCarthyism, and the prosperity and conformity of the 1950s. Much of this uniformity was the result of the creation of the interstate highway system, the spread of suburbia, the proliferation of the automobile, and the growing popularity of television, all of which helped break down regional barriers and begin the process of homogenizing American design.

      The war years had produced not only atomic energy, with its positive and negative potentials, but also new technologies such as plastics that were ideally suited for the expression of organic forms. Vital Forms will examine how the visual arts reflected the ambivalence between anxiety and optimism during these decades; how the use of organic form evolved from the purely functional into a style; and how the new technologies played a role in art and design.

      The creations of industrial designers provided some of the most memorable applications inspired by organic form, among them a Hobie surfboard (1958), Raymond Loewy’s ubiquitous boomerang design for Formica (before 1954), Tupperware, and Philco television’s Predicta model (1959).

      In addition to de Kooning’s large-scale backdrop for Labyrinth (1946), created as a backdrop for a Marie Marchowsky modern dance performance and Rothko’s Entombment#1/The Entombment, the exhibition includes paintings by Jackson Pollock, Barnett Newman, Ellsworth Kelly, Adolph Gottlieb, Lee Krasner, William Baziotes, Leon Golub, and Gordon Onslow Ford. Photography in the exhibition ranges from a U.S. Army Air Forces gelatin silver print of Nagasaki Under Atomic Bomb Attack (1945) to Berenice Abbott’s photographs Soap Bubbles (1946) and Penicillin Mold (1946).

      Among the objects representing the application of biomorphic design to the architecture of the era will be photographs of Miami Beach’s Fontainebleau Hotel, designed by Morris Lapidus (1954), Levittown in Nassau County, New York (1947), and Trans World Airlines Terminal (1956–62); and a cement, wire mesh, and Plexiglas model of Frederick J. Kiesler’s Endless House (1959).

      A number of important ceramics will also be on view, among them pieces by Russel Wright, Eva Zeisel, and Toshiko Takaezu. The impact of organic design on clothing will be represented by items ranging from examples of Rudi Gernreich’s now-famous bathing suits (1954-55); a spectacular Charles James Four-Leaf Clover ball gown (1953); an assortment of Sally Victor hats; and a U.S. Navy camouflage poncho. Among the variety of textiles included are examples by Jack Lenor Larsen and Ruth Adler Schnee. A wide range of furniture will also be included, among them several pieces by Charles and Ray Eames, including a folding screen and molded plywood chair based on wartime technology developed to create wood stretchers and leg splints, and examples of Isamu Noguchi’s sculptural furniture.

      The impact of organic form on graphic design will be seen through magazine and science-fiction paperback book covers, a U.S. Army package of K Rations, brochures, and advertising posters. Also included in Vital Forms is a wide assortment of jewelry, ranging from a necklace and bracelets designed by Alexander Calder to several pendants and a brooch created by Margaret De Patta. Among the sculptures on view are Calder’s mobile Red Lily Pads (1956), Louise Bourgeois’s Sleeping Figure II (1959), and Isamu Noguchi’s Figure (1945).

      The works in Vital Forms come from a variety of public and private collections, primarily in the United States. Approximately one quarter of the material has been drawn from the permanent collections of the Brooklyn Museum of Art.

      The exhibition was made possible, in part, by generous grants from the National Endowment for the Humanities and the National Endowment for the Arts. Additional support was provided by the Mary Jean and Frank P. Smeal Foundation, the Samuel I. Newhouse Foundation, and the Gramercy Park Foundation. Support for the catalogue was provided through the generosity of Furthermore, the Publication Program of The J. M. Kaplan Fund.

      In addition to the Brooklyn Museum of Art presentation, Vital Forms will travel to the Walker Art Center, Milwaukee[sic] (Spring 2002); the Frist Center for the Visual Arts, Nashville ([S]ummer 2002); the Los Angeles County Museum of Art (Fall 2002/Winter 2003); and to the Phoenix Art Museum (Winter/Spring 2003).

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    • June 2001: Continuing Exhibitions

      Arts of Africa
      Long-Term Installation

      Leon Golub: Paintings, 1950–2000
      Through August 19, 2001

      Digital: Printmaking Now
      June 22-September 2, 2001

      Upcoming Exhibitions

      My Reality: Contemporary Art and the Culture of Japanese Animation
      July 28-October 7, 2001

      American Identities: A Reinterpretation of American Art at the BMA
      Opens September 5, 2001 (Long-Term Installation)

      Wit and Wine: A New Look at Ancient Iranian Ceramics from the Arthur M. Sackler Foundation
      September 7-December 30, 2001

      Vital Forms: American Art and Design in the Atomic Age, 1940–1960
      October 12, 2001-January 6, 2002

      Eternal Egypt: Masterworks of Ancient Art from The British Museum
      November 23, 2001-February 24, 2002

      Star Wars: The Magic of Myth
      April 5-July, 7 2002

      Exposed: The Victorian Nude
      September 2, 2002-January 5, 2003

      The Last Expression: Art from Auschwitz
      February 28-May 11, 2003

      Great Expectations: John Singer Sargent Painting Children
      September 19-November 30, 2003


      Continuing Exhibitions

      Arts of Africa
      Long-Term Installation
      (African Galleries, 1st floor)
      More than twenty important objects, previously not on view, will be integrated into a major reinstallation of some 225 works from the Museum's exceptional holdings of African art. Although a wide selection from the hundreds of African cultures will be represented, the reinstallation is exceptionally strong in works from Central Africa, particularly those from the Kongo, Luba, and Kuba peoples of the Democratic Republic of the Congo. The majority of the items on display were created for religious or political ceremonial life, but the presentation will also include furniture, textiles, architectural fragments, household items, and objects of personal adornment.
      Organization: The reinstallation has been organized by William C. Siegmann, Chair of the Department of the Arts of Africa and the Pacific Islands at the Brooklyn Museum of Art.

      Leon Golub: Paintings, 1950-2000
      Through August 19, 2001
      (European Painting and Sculpture Galleries, 5th floor)
      This exhibition examines the career of Leon Golub (b. 1922), dean of American political art, whose intense, gritty paintings examine the complexities of power. The artist's raw and expressive canvases span the second half of the twentieth century and explore issues of race, violence, war, and the human condition. The exhibition of some fifty-five works, many of which are mural-sized, includes such monumental paintings as Gigantomachy Il (1966), Vietnam II (1973), and the BMA's own Riot IV (1983). A selection of Golub's lesser-known political portraits and his recent paintings that consider mortality will also be included.
      Organization: Leon Golub: Paintings, 1950-2000 was curated by Jon Bird, an independent, London-based curator, and organized by the Irish Museum of Modern Art in Dublin. Brooke Kamin Rapaport, Associate Curator in the Department of Contemporary Art, organized the presentation at the BMA.
      Support: The BMA presentation is supported, in part, by the BMA's Barbara and Richard Debs Exhibition Fund. Additional support is provided by The Broad Art Foundation and Dr. and Mrs. Philip J. Kozinn. Educational activities are made possible by the Third Millennium Foundation.
      Publication: Leon Golub: Echoes of the Real, with an essay by Jon Bird, includes more than 130 color plates and is published by Reaktion Books, Ltd., London.

      Digital: Printmaking Now
      June 22-September 2, 2001
      (Morris A. and Meyer Schapiro Wing, 4th floor)
      This installment of the Print National, a survey of important developments in the field of printmaking, will focus on the increasing use of computers in the printmaking process. The exhibition, one of the first to address this issue, will include traditionally printed works that have been manipulated digitally and works created entirely by computer.
      Organization: This exhibition was organized by Marilyn Kushner, Curator of Prints and Drawings at the Brooklyn Museum of Art. Support: Digital: Printmaking Now is organized by the Brooklyn Museum of Art. The exhibition is made possible, in part, by the Lily Auchincloss Foundation, Inc., and the BMA's Prints and Photographs Council. Additional support is provided by Marc A. Schwartz, Seymour and Laura Schweber, and Philip and Alma Kalb, and The Fund—created by a gift from the Elizabeth Firestone Graham Foundation. Educational activities are supported by the Third Millennium Foundation. Media sponsors are Artbyte Magazine and Art on Paper.
      Publication: A fully-illustrated color catalogue will be available.


      Upcoming Exhibitions

      My Reality: Contemporary Art and the Culture of Japanese Animation
      July 28-October 7, 2001
      Synergies between Japanese and American popular culture are explored in this showcase of photography, painting, sculpture, and video that investigates the influence of Japanese animation (anime) and techno-culture on art. Anime is incredibly versatile in its ability to comment on social and sexual mores, gender roles, and traditional values in the face of an increasingly alien future. The exhibition features work by Takashi Murakami, Mariko Mori, Paul McCarthy, and Charlie White, among others.
      Organization: My Reality: Contemporary Art and the Culture of Japanese Animation was originally curated by Jeff Fleming, Senior Curator, and Susan Lubowsky Talbott, Director of the Des Moines Art Center. The exhibition is coordinated at the Brooklyn Museum of Art by Charlotta Kotik, Department Chair of Contemporary Art.
      Support: Educational activities for the BMA's presentation are supported by the Third Millennium Foundation. Additional support provided by The Fund—created by a gift from the Elizabeth Firestone Graham Foundation.
      Publication: An illustrated catalogue co-published by the Des Moines Art Center and Independent Curators International accompanies My Reality.

      American Identities: A Reinterpretation of American Art at the BMA
      September 5, 2001-Long Term
      (Luce Center for American Art, 5th floor)
      This reinstallation of approximately 350 works from the permanent collections will present an innovative thematic survey of American paintings, sculpture, and decorative arts from the early eighteenth century to the present. An orientation gallery will introduce the visitor to the scope of the collections, showcasing a number of icons in a Brooklyn context. The galleries will be organized in a general chronological fashion with richly interpreted installations devoted to such themes as Dutch New Yorkers, Shaping American Landscapes, The Civil War Era, Women's Worlds, Urban Experiences, and The Drive toward Abstraction.
      Organization: This project is a collaboration among curators of American Paintings and Sculpture: Teresa A. Carbone, Project Director; Linda S. Ferber and Barbara Dayer Gallati; Decorative Arts: Kevin L. Stayton, Chair of Department of Decorative Arts, Barry R. Harwood; Contemporary Art: Charlotta Kotik; Arts of Americas: Susan Kennedy Zeller
      Support: American Identities: A Reinterpretation of American Art at the BMA is supported by a generous grant from the Independence Community Foundation for the Museum's project American Identities: Building Audiences for the Future, and by the National Endowment for the Arts.

      Wit and Wine: A New Look at Ancient Iranian Ceramics from the Arthur M. Sackler Foundation
      September 7-December 30, 2001
      (Robert E. Blum Gallery, 1st floor)
      This exhibition comprises forty-five pottery vessels—most for holding or pouring wine—from ancient Iran, ranging in date from the fifth millennium B.C. to the third century A.D. Demonstrating the extraordinary range of Iranian pottery, the exhibition includes such whimsical examples as a juglike vessel in the shape of human feet, and sculptural works in the shape of camels and bulls. Some containers clearly imitate early metal prototypes, with their unusually thin walls and long spouts, while others are painted with sophisticated ornamental designs depicting the animals of the Iranian highland. The Brooklyn Museum of Art is the last scheduled venue for this traveling exhibition.
      Organization: The exhibition has been organized by the Arthur M. Sackler Foundation and curated by Dr. Trudy S. Kawami. James F. Romano, Curator of Egyptian, Classical, and Ancient Middle Eastern Art at the BMA, will organize the presentation at the Brooklyn Museum of Art.

      Vital Forms: American Art and Design in the Atomic Age, 1940-1960
      October 5, 2001-January 6, 2002
      (Grand Lobby, 1st floor; Morris A. and Meyer Schapiro Wing, 4th floor)
      This interdisciplinary exhibition will present 250 of the most innovative works of the 1940s and 1950s that embraced a vocabulary of organic, or vital, forms. Through architecture, decorative and industrial arts, graphic design, painting, photography, and sculpture, Vital Forms will examine the use of nature-based imagery during the postwar era. The exhibition will show how this aesthetic development represented an affirmation of life in the face of the Cold War and at the dawn of the nuclear age. Exploring the organic visual language adopted by some of the era's most progressive creators, the exhibition will include works of art and design such as paintings by Willem de Kooning and Mark Rothko, the "Predicta" television set, images of Eero Saarinen's TWA Terminal at JFK International Airport, Tupperware, the "Slinky," and the Ford Thunderbird. Additionally, the exhibition will trace how that visual vocabulary was applied to objects of popular culture, such as Formica countertop laminate and paperback book covers. The exhibition is the third in a series organized by the BMA that began with The American Renaissance, 1876-1917 (1979) and continued with The Machine Age in America, 1918-1941 (1986).
      Organization: This exhibition will be organized by Brooke Kamin Rapaport, Associate Curator of Contemporary Art, and Kevin Stayton, Department Head and Curator of Decorative Arts at the Brooklyn Museum of Art. Martin Filler and Mildred Friedman are consulting co-curators, and Dr. Paul Boyer is the project's cultural historian.
      Publication: A full-color catalogue published by the Brooklyn Museum of Art and Harry N. Abrams, Inc., will accompany the exhibition.
      Tour:
      Brooklyn Museum
      of Art:
      October 12, 2001-January 6, 2002

      Walker Art Center:
      February 16-May 12, 2002

      Frist Center for the Visual Arts:
      June 21-September 15, 2002

      Los Angeles County Museum of Art:
      November 17, 2002-February 23, 2003

      Phoenix Art Museum:
      April 4-June 29, 2003

      Support: Vital Forms: American Art and Design in the Atomic Age, 1940-1960 was organized by the Brooklyn Museum of Art. The exhibition was made possible, in part, by generous grants from the National Endowment for the Humanities and the National Endowment for the Arts. Additional support was provided by the Mary Jean and Frank P. Smeal Foundation, The Samuel I. Newhouse Foundation, and the Gramercy Park Foundation. Support for the catalogue was provided through the generosity of Furthermore, the Publication Program of the J.M. Kaplan Fund, as well as a BMA publications endowment created by the Iris and B. Gerald Cantor Foundation and the Andrew W. Mellon Foundation.

      Eternal Egypt: Masterworks of Ancient Art from The British Museum
      November 23, 2001-February 24, 2002
      (Beatrice and Samuel A. Seaver Gallery, 5th floor)
      This exhibition will provide a unique opportunity to view more than 140 ancient Egyptian masterpieces from The British Museum in London, many of which have never before traveled to the United States. Many large-scale works will be presented, including the capital of a temple column with a monumental carving of the goddess Hathor, as well as a world-famous portrait statue of the great pharaoh Sesostris III, royal jewelry, and paintings on papyrus illustrating scenes from The Book of the Dead. The exhibition will span the entire pharaonic period, from Dynasty I (about 3100 B.C.) to the period of Roman rule (4th century A.D.).
      Organization: This exhibition was organized by the American Federation of Arts and the British Museum, with guest curator Edna R. Russmann, Curator of Egyptian, Classical, and Ancient Middle Eastern Art at the Brooklyn Museum of Art, and W. V. Davies, the British Museum's Keeper of Egyptian Antiquities.
      Support: This exhibition and its national tour are made possible by Ford Motor Company. The official hotel of the Brooklyn leg of exhibition is the New York Marriott Brooklyn. Promotional support for the BMA's presentation is provided by Bloomingdale's. Additional support has been provided by the Benefactors Circle of the AFA.
      Publication: A fully illustrated catalogue accompanies this exhibition.

      Star Wars: The Magic of Myth
      April 5-July 7, 2002
      (Morris A. and Meyer Schapiro Wing, 4th & 5th floors)
      The exhibition showcases original artwork, props, models, costumes, and characters used to create the original Star Wars trilogy—Star Wars: A New Hope, The Empire Strikes Back, and Return of the Jedi—as well as Episode I: The Phantom Menace. Included will be over 30 mannequins, 35 models, and 50 pieces of framed artworks. Among them will be R2-D2, C-3P0, Darth Vader, Yoda, Boba Fett, and Yoda as well as Princess Leia's Slave Girl Costume, Han Solo frozen in carbonite, the Millennium Falcon, and one of Queen Amidala's royal gowns. Interpretive panels throughout the exhibition trace the mythological and literary sources that transform Star Wars into a timeless epic. Drawing upon the work of Joseph Campbell in his book The Hero with a Thousand Faces, the exhibition shows how the themes of the young hero, the faithful companions, the endangered maiden, the wise guide, and others resonate through the Star Wars saga and give it an enduring universality. The exhibition will include a 26-minute documentary film, which will play continuously, on the making of the Star Wars saga.
      Organization:
      Star Wars: The Magic of Myth was developed by the Smithsonian's National Air and Space Museum. The exhibition was organized for travel by the Smithsonian Institution Traveling Exhibition Service (SITES). All artifacts in this exhibition are on loan from the archives of Lucasfilm Ltd. The Brooklyn Museum of Art will be the final stop of a national tour. Catalogue: An illustrated catalogue accompanies the exhibition, entitled Star Wars: The Magic of Myth, by Mary Henderson, exhibition curator from the National Air and Space Museum of the Smithsonian Institution.

      Exposed: The Victorian Nude
      September 2, 2002-January 5, 2003
      (Schapiro Galleries, 4th floor)
      The nude figure was one of the most controversial subjects in Victorian England. It fired the Victorian imagination as the central focus of arguments about aesthetics, morality, sexuality, and desire—issues that continue to provoke debate. Exposed: The Victorian Nude is the first exhibition to survey the full range of representations of the nude in Victorian art. While the exhibition concentrates mainly on the "high arts" of painting and sculpture, photography, popular illustrations, advertising, and caricature are included to demonstrate the prevalence of the nude in Victorian visual culture and the meaning it held.
      Organization: Exposed: The Victorian Nude has been organized by Tate Britain. Barbara Dayer Gallati, Curator of American Paintings and Sculpture, will coordinate the presentation at the Brooklyn Museum of Art.
      Publication: A fully illustrated catalogue will be available.
      Tour: The Brooklyn Museum of Art will be the only North American stop of this exhibition tour.

      The Adventures of Hamza
      November 1, 2002-January 26, 2003
      (Blum Gallery, 1st floor)
      The Adventures of Hamza (or Hamzanama) is a fantastic adventure story about the exploits of Hamza, uncle of the Prophet Muhammad, who traveled throughout the world spreading the doctrines of Islam. The narrative tells of encounters with giants, demons, and dragons; of abductions and hair - raising chases; and of believers, as well as those who resisted Islam. A favorite story for illustration, it was also recited in coffeehouses from Iran to northern India. The greatest illustrated manuscript of the Hamzanama was made in India for the Mughal Emperor Akbar (reigned 1556-1605) when he was still a teenager. It originally contained 1,400 enormous illustrations, about a tenth of which have survived today. This exhibition brings together some 70 of these illustrations from collections all over the world, and places them alongside new translations of the related text passages. Organization: The Adventures of Hamza has been curated by Dr. John W. Seyller and organized by the Freer Gallery of Art and the Arthur M. Sackler Gallery, at the Smithsonian Institution. Amy G. Poster, Chair of the Asian Art Department at the Brooklyn Museum of Art, will coordinate the exhibition at the BMA.
      Publication: A fully illustrated catalogue will accompany this exhibition.

      Great Expectations: John Singer Sargent Painting Children
      September 19-November 30, 2003
      (Schapiro Galleries, 4th floor)
      John Singer Sargent is best known for his portraits of society women. This exhibition will assemble some forty depictions of children by Sargent to present an unexpected and revealing examination of his art. Rather than presenting children in the saccharine, sentimentalized fashion of the day, Sargent often captured them in moments of sober contemplation. Portraying his young subjects as psychologically complex individuals, Sargent redefined children's portraiture, which typically treated childhood as a generic age of innocence.
      Organization: This exhibition will be organized by Barbara Dayer Gallati, Curator of American Paintings and Sculpture, at the Brooklyn Museum of Art.
      Publication: A fully illustrated color catalogue will accompany this exhibition.

      The Last Expression: Art from Auschwitz
      February 29-May 11, 2003
      The Last Expression: Art from Auschwitz will feature two- and three-dimensional art produced by interned victims of Auschwitz and other camps. Artwork served different functions in the camps—catharsis, documentation, resistance, decoration, and official commissions. This exhibition will present the role of visual arts in concentration camps. The works of Jewish inmates, as well as that of resistance fighters from throughout Europe, will be included in this show.
      Organization: The Last Expression: Art from Auschwitz will be organized by the Mary and Leigh Block Museum of Art at Northwestern University. Marilyn Kushner, Curator of Prints and Drawings, will be managing the project at the Brooklyn Museum of Art.

      Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1995 - 2003. 2001, 070-077 View Original 1 . View Original 2 . View Original 3 . View Original 4 . View Original 5 . View Original 6 . View Original 7 . View Original 8

    Press Coverage of this Exhibition ?

    • THE NEW SEASON/ART: THE ANNOTATED LIST; Traces of Sichuan in New York, Brooklyn in Palm BeachSeptember 9, 2001 By HOLLAND COTTERList of upcoming art season in New York; photos (M)
    • FootlightsOctober 9, 2001 By LAWRENCE VAN GELDERAmerican Symphony Orchestra, led by Leon Botstein, to open season with concert of memorial works by European composers; New York premiere of Chandler Carter's chamber opera No Easy Walk to Freedom is set; exhibition at Brooklyn Museum of Art to explore use of forms by leading mid-20th-century artists and designers; Australian Dance Theater plans United States premiere of Birdbrain, exploration of classic ballet Swan Lake; photos (M)
    • DESIGN NOTEBOOK; Forms That Trace a Previous Era's AngstOctober 11, 2001 By PHIL PATTONExhibition Vital Forms: American Art and Design in the Atomic Age is set to open at Brooklyn Museum of Art; photos (L)
    • PERSONAL SHOPPER: BOERUM HILL; A New Beachhead for Modern DesignOctober 18, 2001 By Marianne RohrlichAtlantic Avenue in Boerum Hill section of Brooklyn is new destinaton for moderately priced modern furniture; some shops noted; photos (L)
    • CALENDAROctober 25, 2001 List of upcoming design and architecture events in New York area
    • ART REVIEW; Form Followed Fission Through the Atomic AgeOctober 26, 2001 By GRACE GLUECKGrace Glueck reviews Brooklyn Museum show of American art from 1940 to 1960; photo (M)
    • ART GUIDENovember 2, 2001 "A selective listing by critics of The Times of new or noteworthy art, design and photography exhibitions at New York museums and art galleries this weekend. Addresses, unless otherwise noted, are in Manhattan. Most galleries are closed on Sundays and Mondays, but hours vary and should be checked by telephone. Gallery admission is free. * denotes a..."
    • Out of the Pantry and Partying OnNovember 8, 2001 By EVE M. KAHN and JULIE LASKYArticle on Tupperware gathering at Upper West Side apartment that was inspired by corporate achievement award that Tupperware will receive from Cooper-Hewitt National Design Museum; Tupperware's chief executive officer Rick Goings says tupperware parties generate 90 percent of company's $1 billion annual revenue; photos (M)
    • ART GUIDENovember 9, 2001 "A selective listing by critics of The Times of new or noteworthy art, design and photography exhibitions at New York museums and art galleries this weekend. Addresses, unless otherwise noted, are in Manhattan. Most galleries are closed on Sundays and Mondays, but hours vary and should be checked by telephone. Gallery admission is free. * denotes a..."
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    The Brooklyn Museum Archives maintains a collection of historical press releases. Many of these have been scanned and made available on our Web site. The releases range from brief announcements to extensive articles; images of the original releases have been included for your reference. Please note that all the original typographical elements, including occasional errors, have been retained. Releases may also contain errors as a result of the scanning process. We welcome your feedback about corrections.
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