Museum of Arts and Design
From The Art and Popular Culture Encyclopedia
The Museum of Arts and Design (MAD), based in Manhattan in New York, New York, is a center for the collection, preservation, study, and display of contemporary hand-made objects in a variety of media, including: clay, glass, metal, fiber, and wood. It accommodates 300,000 visitors per year, however, touring exhibitions, outreach efforts, and off-site programs effectively double that audience.
The museum was founded in 1956 by the American Craft Council together with philanthropist Aileen Osborn Webb, as the Museum of Contemporary Crafts. In 1986, it relocated to 40 West 53rd Street and was renamed the American Craft Museum. In 2002 it changed its name again to the Museum of Arts and Design. In 2008, the museum moved to 2 Columbus Circle.
2 Columbus Circle
The new location, with more than Template:Convert, more than tripled the size of the Museum’s former space. It includes: four floors of exhibition galleries for works by established and emerging artists; a 150-seat auditorium in which the museum plans to feature lectures, films, and performances; and a restaurant. It also includes a Center for the Study of Jewelry, and an Education Center that offers multi-media access to primary source material, hands-on classrooms for students, and three artists-in-residence studios.
However, the museum's plans to radically alter the building's original design by Edward Durell Stone touched off a preservation battle joined by Tom Wolfe, Chuck Close, Frank Stella, Robert A. M. Stern, Columbia art history department chairman Barry Bergdoll, New York Times' architecture critics Herbert Muschamp and Nicolai Ouroussoff, urbanist scholar Witold Rybczynski, among others. Mayor Michael Bloomberg, Ada Louise Huxtable, and others, however, supported the redevelopment of a long neglected site.
The museum's new location was developed by Brad Cloepfil and his Portland, Oregon-based firm Allied Works Architecture. The redesigned building replaced the original white Vermont Marble with a glazed terra-cotta and glass facade. Its nacreous ceramic exterior is said to change color at different viewing angles.
- It's as if Stone, his architecture muffled and disregarded by Cloepfil, MAD and the city of New York, managed to have the last word on the preservation controversy, popping up from beyond the grave to say hello. The fact that the word in question is unpretentious and loosely informal makes it deliciously Stone-like, and allows it to undermine the severity and cold perfectionism of Cloepfil's exterior all the more.
An article in the New York Times acknowledged that when Holly Hotchner first became the director of the institution ten years ago "few people seemed to have heard of it." That is hardly the case today. As Ada Louise Huxtable, the Wall Street Journal architecture critic, remarked in a December 22, 2011 review of MAD's exhibition Crafting Modernism: Midcentury American Art and Design: "This small building is an oasis of enchantment, a kind of Camelot on Columbus Circle. Its collections are instant eye candy (if the serious and erudite staff will forgive me), with magic in every imaginable material, leavened by irony and wit."