Art Institutes In The Us

Art Institutes In The Us – The Art Institute of Chicago, one of the largest museums in the United States, is among the cultural institutions that are forging a new path of reckoning with the history of exclusion and exclusion, and of performance and social responsibility.

“The Arts Center is located on the site of the ancestral homes of three Fire Councils: the Ojibwe, Odawa and Potawatomi Nations. Many other tribes, such as the Miami, Ho-Chunk, Menominee, Sac and Fox, also called the area home. . this is their home .”

Art Institutes In The Us

On September 27, 2019, the Center held a groundbreaking ceremony with remarks by Heather Miller, then Executive Director of the American Indian Center (AIC), and James Rondeau, President and Director of the Institute. In his speech, Rondeau announced that the museum would create a public advisory board to guide the reinstallation and reinterpretation of the Arts of the Americas galleries. He stressed that the Center remains committed to supporting the work of Indian scientists without making any formal announcement about the land concessions.

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The Art Institute is one of the few Chicago-based institutions to incorporate recognition of the area into their websites and physical spaces. Recognition of a place or land is a formal statement that recognizes a place where indigenous people have historically lived and continue to live today. Territorial concessions are not new and have been practiced by Native peoples for centuries, but they have become the norm for non-Native American organizations. lately. In this regard, the U.S. lags behind its northern neighbor. In Canada, land recognition ceremonies are very common, especially since the 2015 call to action by the Truth and Reconciliation Commission (TRC). An important aspect of land recognition is that when we not only think about the past, but also reflect on the past. recognize the presence of contemporary indigenous peoples, drawing attention to the ongoing erasure and legacy of the settler colonial system. Finally, they aim at the future, which is the first step towards reconciliation and building an inclusive and equal society.

In the case of the Art Institute, the term “land” is used in a general sense, as the museum is located in the former basin of Lake Michigan, an area that has long been of great importance to Native Americans. The Art Institute was built on a site created in the 1870s with debris from the Great Chicago Fire. The museum was expanded during the twentieth century on the site of additional land laid by the Chicago Tunnel Company between 1897 and 1907 to create what is now Grant Park. Thus, the Center was tied to Chicago’s rapid growth and its economic ties to the “closing of the frontier” after a century of westward expansion of American immigrants. to enter Indian lands.

The Art Institute, founded in 1879 as the Chicago Academy of Fine Arts, was the result of a wave of cultural appropriation sweeping the United States. in the late 1900s and early 20th century. The institution, which included a museum and a fine arts school from the beginning, was founded and financed by a new generation of the wealthy elite. These were the sons and daughters of Chicago’s first tycoons, whose fortunes were built along with the city. In this regard, the Art Institute and other contemporary public projects benefited from the accumulation of wealth made possible by the forced displacement of Native Americans between the late eighteenth century and the 1840s. The Art Institute’s first board of directors consisted largely of members of the city’s Board of Trade, which was created in 1848 to create a booming grain and cattle market in the upper Midwest of the United States. Also the late president, Charles L. Hutchinson. Between 1882 and 1924 he was the president of the Institute of Arts, the development period of the museum’s history was characterized by the rapid growth of the collection. The Chicago Academy of Fine Arts was renamed the Art Institute of Chicago in 1882 and moved to its current home on Michigan Avenue in 1893. The Beaux-Arts building, designed by the Boston firm of Shepley, Rutan and Coolidge, was expanded. During Hutchinson’s reign. In 1916, an additional gallery was built atop the Illinois Central Railroad tracks, paving the way for further expansion of the Arts Center on the east side of Grand Park, which was expanded with new buildings in the 1970s and 1980s. .

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In 2009, the Art Center created the Modern Wing, which expanded the museum by 264,000 square feet, about 30 percent of its original size. The Modern Wing provides additional exhibition space and extensive academic center services, but also helps integrate the Art Center into the Chicago landscape. In addition to the basement entrance on East Monroe Street, the new structure also includes a pedestrian bridge that directly connects the museum to Millennium Park across the street.

The Modern Wing was designed by renowned architect Renzo Piano and offers state-of-the-art “green” technology. The facade of the building is double-glazed, which attracts outside air and increases energy efficiency. In the same way, the lighting system measured in the galleries makes it possible to maintain a stable light level, while increasing the use of natural light and reducing energy consumption. Most importantly, the building is capped by a floating canopy of shaped blades that Piano calls a “flying carpet,” designed specifically for the Art Institute to bring in light from the north while deflecting harsh light from other directions. These curved vanes capture natural light into the upper floor galleries through large skylights. As it echoes the straights and gentle waves of nearby Lake Michigan, atop its operations sits a surprisingly complex network of the city of Chicago. According to Piano, “all of this takes place in a city built on precise north-south and east-west axes that perfectly align with the solar cycle.” Knowing these facts, the choice of the name of the new building is evocative – according to the Center, it wants to celebrate the guided vision of the future instead of the name of the founders.

The Arts Center still has a long way to go in promoting sustainability and social responsibility. For example, in early 2019, the museum was criticized when it announced the exhibition “Worlds In: Mimbres Pottery of the Ancient Southwest”. The exhibit was supposed to feature more than 70 artifacts from 1100 AD that were made in what is now New Mexico. But expert discussions of the previous era revealed two things that were disappointing about the exhibition: the fact that it was created without the input of the natives, and that the works were funerary objects taken from burial sites. The museum responded by canceling the exhibition and has since reached out to Indigenous community leaders. The land distribution ceremony is an important part of these efforts for institutional change and greater reconciliation. These may be small steps, but they are new among cultural institutions in the United States. while confronting the country’s past and trying to create an inclusive and sustainable future.

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