The Show To End All Shows

Discussion and documents relating to an exhibition called "Frank Lloyd Wright, American Architect", held at the Museum of Modern Art from Nov. 12, 1940 to Jan. 5, 1941.

Sullivan is still trapped with the Melville’s Medicine Show, along with Frederick, Esmeralda and Clarence, travelling around the country. But his family has not given up hope. His parents got in touch with the parents of the other children, and his sister, Jinny, is determined to get back on the road with Manny in order to pick up the trail of the mysterious medicine show. And they are helped by a very real clue: a decades-old newspaper article about a travelling medicine show that mysteriously bears the same name … Back at the show, the Melvilles are becoming unhappy with the children’s performances. Sullivan drops some eggs, and worse, Clarence is finding it a tighter and tighter squeeze inside the “automaton,” the chess-playing Napoleon. They are soon going to need a new child to join the show, and the Melvilles know just the right one. Despite the children’s best efforts to prevent another child from being kidnapped, a new girl joins the show. But the Melvilles may have underestimated the new girl, whose feisty nature is inspirational to Sullivan. The Melvilles certainly seem preoccupied with something—at every new site, Master Melville can be seen carefully examining the grounds. With their families ever closer, the children of the travelling medicine show band together to solve the mystery of who the Melvilles really are and just what they are looking for.

The first history of Frank Lloyd Wright's exhibitions of his own work—a practice central to his career More than one hundred exhibitions of Frank Lloyd Wright's work were mounted between 1894 and his death in 1959. Wright organized the majority of these exhibitions himself and viewed them as crucial to his self-presentation as his extensive writings. He used them to promote his designs, appeal to new viewers, and persuade his detractors. Wright on Exhibit presents the first history of this neglected aspect of the architect’s influential career. Drawing extensively from Wright’s unpublished correspondence, Kathryn Smith challenges the preconceived notion of Wright as a self-promoter who displayed his work in search of money, clients, and fame. She shows how he was an artist-architect projecting an avant-garde program, an innovator who expanded the palette of installation design as technology evolved, and a social activist driven to revolutionize society through design. While Wright’s earliest exhibitions were largely for other architects, by the 1930s he was creating public installations intended to inspire debate and change public perceptions about architecture. The nature of his exhibitions expanded with the times beyond models, drawings, and photographs to include more immersive tools such as slides, film, and even a full-scale structure built especially for his 1953 retrospective at the Guggenheim Museum. Placing Wright’s exhibitions side by side with his writings, Smith shows how integral these exhibitions were to his vision and sheds light on the broader discourse concerning architecture and modernism during the first half of the twentieth century. Wright on Exhibit features color renderings, photos, and plans, as well as a checklist of exhibitions and an illustrated catalog of extant and lost models made under Wright’s supervision.

John McAndrew's Modernist Vision tells the compelling story of the architect, scholar, and curator John McAndrew, who played a key role in redefining modernism in the United States from the 1930s onward. The designer of the Vassar College Art Library—arguably the first modern interior on a college campus—and the curator of architecture at the Museum of Modern Art in New York from 1937 to 1941, McAndrew was instrumental in creating a distinct and innovative aesthetic that bridged the European modernist lineage and American regional vernacular. Providing a fascinating glimpse into McAndrew's life, his associations with important architects and artists, and the historical context that shaped his work, this book is a thoroughly researched testament to a man who left a powerful mark on the evolution of American architecture.

A comprehensive and fascinating look at the history of the Museum of Modern Art’s Architecture and Design Department under the leadership of the influential curator Arthur Drexler. Arthur Drexler (1921-1987) served as the curator and director of the Architecture and Design Department at the Museum of Modern Art (MOMA) from 1951 until 1986—the longest curatorship in the museum’s history. Over four decades he conceived and oversaw trailblazing exhibitions that not only reflected but also anticipated major stylistic developments. Although several books cover the roles of MoMA’s founding director, Alfred Barr, and the department’s first curator, Philip Johnson, this is the only in-depth study of Drexler, who gave the department its overall shape and direction. During Drexler’s tenure, MoMA played a pivotal role in examining the work and confirming the reputations of twentieth-century architects, among them Frank Lloyd Wright, Le Corbusier, Richard Neutra, Marcel Breuer, and Ludwig Mies van der Rohe. Exploring unexpected subjects—from the design of automobiles and industrial objects to a reconstruction of a Japanese house and garden—Drexler’s boundary-pushing shows promoted new ideas about architecture and design as modern arts in contemporary society. The department’s public and educational programs projected a culture of popular accessibility, offsetting MoMA’s reputation as an elitist institution. Drawing on rigorous archival research as well as author Thomas S. Hines’s firsthand experience working with Drexler, Architecture and Design at the Museum of Modern Art analyzes how MoMA became a touchstone for the practice and study of midcentury architecture.

Though it lasted just two seasons, Twin Peaks (1990-1991) raised the bar for television and is now considered one of the great dramas in TV history. Its complex plots and sensational visuals both inspired and alienated audiences. After 25 years, the cult classic is being revived. This collection of new essays explores its filmic influences, its genre-bending innovations and its use of horror and science fiction conventions, from the original series through the earlier film prequel Twin Peaks: Fire Walk with Me and subsequent video releases.

An amazing story-even more so because it's all true. City-born and country-raised, Ken developed a need to fly and found a way to do it. While recalling his career as a USAF navigator, he relates to the history of the '60s, '70s and '80s-linking people, places, aircraft and adventures that circled the globe. In an early chapter, Ken describes in detail crossing the Atlantic, southern Europe and the Middle East to ferry a rare jet bomber to Peshawar, Pakistan. Later, the decorated aviator recollects a dangerous flight to the South Pacific, through a hurricane, becoming lost overwater with only a sextant to find a tiny island and procure the safety of his crew. After that, following three years in the C-130 aircraft in Europe, he transitioned to the F-4 Phantom II fighter for the rest of his career. He details missions and the use of smart weapons during his year in combat in Southeast Asia. During the '70s, he returned to Germany for six more years in the F-4, which involved sitting nuclear alert and training for all other missions.Twenty-one years in the USAF with more than 5,600 hours of flying provides for many intriguing war stories from the backseat....

Modern Architecture is a landmark text--the first book in which America's greatest architect put forth the principles of a fundamentally new, organic architecture that would reject the trappings of historical styles while avoiding the geometric abstraction of the machine aesthetic advocated by contemporary European modernists. One of the most important documents in the development of modern architecture and the career of Frank Lloyd Wright, Modern Architecture is a provocative and profound polemic against America's architectural eclecticism, commercial skyscrapers, and misguided urban planning. The book is also a work of savvy self-promotion, in which Wright not only advanced his own concept of an organic architecture but also framed it as having anticipated by decades--and bettered--what he saw as the reductive modernism of his European counterparts. Based on the 1931 original, for which Wright supplied the cover illustration, this beautiful edition includes a new introduction that puts Modern Architecture in its broader architectural, historical, and intellectual context for the first time. The subjects of these lively lectures--from "Machinery, Materials and Men" to "The Tyranny of the Skyscraper" and "The City"--move from a general statement of the conditions of modern culture to particular applications in the fields of architecture and urbanism at ever broadening scales. Wright's vision in Modern Architecture is ultimately to equate the truly modern with romanticism, imagination, beauty, and nature--all of which he connects with an underlying sense of American democratic freedom and individualism.