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Architects and Museums THE POLITICS OF DISPLAY—ARCHITECTS AND MUSEUMS: JOHN YEON, A. JAMES SPEYER, AND LINA BO BARDI by Melinda Roxanne McVay APPROVED BY SUPERVISORY COMMITTEE: __________________________________________ Dr. Richard Brettell, Chair __________________________________________ Dr. Mark Rosen __________________________________________ Dr. Nils Roemer __________________________________________ Dr. Matthew J. Brown Copyright 2017 Melinda Roxanne McVay All Rights Reserved THE POLITICS OF DISPLAY— ARCHITECTS AND MUSEUMS: JOHN YEON, A. JAMES SPEYER, AND LINA BO BARDI by MELINDA ROXANNE MCVAY, BA, MA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HUMANITIES - AESTHETIC STUDIES THE UNIVERSITY OF TEXAS AT DALLAS May 2017 ACKNOWLEDGMENTS Thank you, Edith O’Donnell, the fellowship has allowed me the time to focus on writing this dissertation and to attend workshops, tour museums, and share research and ideas with scholars from all around the world. Thank you to my committee: Dr. Matthew Brown and Dr. Nils Roemer, thank you for the input, and Dr. Mark Rosen, thank you for the close read and editing. I would especially like to thank my chair, Dr. Richard Brettell for your guidance and backing. I have had the time of my life and will forever be grateful. Steven Cochran, my rock, thank you for everything. Debra DeWitte and Monica Salazar, thank you for your input and encouragement. Thank you to my mother, Roxie Rogers McVay, for accompanying me to Brazil where you took the most beautiful notes in Portuguese, and thank you, Laura Givens, my model at the Nelson-Atkins. Finally, thank you to the Texas Curatorial Fund and The University of Texas at Dallas travel grants for the financial assistance and to the following people for helping me during my research trips: Mr. Richard Louis Brown, Keeper of the John Yeon’s personal archive, Portland; Rob Kendall and Tony Holmes, Dallas, Texas; Jessica Kuhn and Jonathan Bloom, Asian Art Museum, San Francisco; Debra Royer, Portland Art Museum; Hannah Bryant, John Yeon Fellow; Bart Ryckbosch, Art Institute of Chicago; Holly Wright, Nelson-Atkins Museum; Marc Wilson, former Director Nelson-Atkins Museum; Romeu Loreto, Museum of Art São Paulo; Julia from the Bo Bardi Institute; Roberto Tejada, University of Houston; Walter Orsadi, São Paulo; and Fernanda Cabrini, Salvador, Brazil. January 2017 iv THE POLITICS OF DISPLAY— ARCHITECTS AND MUSEUMS: JOHN YEON, A. JAMES SPEYER, AND LINA BO BARDI Melinda Roxanne McVay, PhD The University of Texas at Dallas, 2017 Supervising Professor: Dr. Richard Brettell The selection, placement, grouping, chromatic selection, and lighting of works of art have an effect on the transmission of art historical and critical knowledge that is, in certain ways, equal to that of labels and other forms of verbal information. Displays of art transform a culture's relationship to art, providing a lens through which interpretation can be evaluated. This study aims to understand installations in art museums by challenging the idea that they are neutral and by examining in a select group of case studies ways in which professionally trained architects have imparted new energy and ideas to art museums through museum displays that they designed and the cultural politics expressed through their installations. By examining three architects, each of whom had different training and cultural-architectural contexts, this dissertation will examine how their work is different than those from various other traditions of museum installation. The focus will be the installation practices of: John Yeon, A. James Speyer, and Lina Bo Bardi. These three figures were chosen because each produced a significant body of well-documented museum installations in their architectural careers. Although John Yeon's fascination with Asian Art and with nature is analogous with Frank Lloyd Wright's, he maintained a distinctive Pacific v Northwest style separate from the prairie style of Wright. A. James Speyer's aesthetics echoed Mies van der Rohe, his mentor. Like Mies, he worked with open spaces and unadulterated materials, but his style was inimitably his own. Bo Bardi, too, adhered to the modernist dictates and worked with vast open spaces, but with a didactic intent. Her anarcho-communist politics were embedded in her museum work. While Yeon and Speyer were wealthy architect-collectors who made installations that suggest private luxury, Bo Bardi's work was highly politicized. Her audience was not connoisseurs, but “the people.” Examining Yeon’s environomental interests, Speyer’s adherence to the International Style, and Bo Bardi’s Italian and Brazilian political interests, helps understand how the installation designer’s touch is apparent in his or her installation designs. vi TABLE OF CONTENTS Acknowledgments………………………………………………………………………………..iv Abstract……………………………………………………………………………………………v List of Figures…………………………………………………………………………………….ix Chapter 1. Introduction……………………………………………………………………………1 Chapter 2. Museum Designers…………………………………………………………..……….14 Frank Lloyd Wright…………………………………………………………………...…15 Le Corbusier……………………………………………………………………………...30 Ludwig Mies van der Rohe……………...………………………………………...……..40 Chapter 3. John Yeon: Northwestern Modernism………………………………………….……53 Background…………………………………………………………………………..…..53 Asian Aesthetics………………………………………………………………………….67 The Brundage Collection, San Francisco………………………………………………...70 Laurence Sickman and the Nelson Atkins Museum, Kansas City……………………….87 Chinese Decorative Arts Gallery (1966)………………………………….....……….…..90 Chinese Painting Gallery…………………………………………………………….…..95 Chinese Sculpture Gallery……………………………………………………………...101 The Amida Buddha Stair Hall………………………….…………………………….…103 Japanese Screen Gallery……………………………………………………………..…117 Chapter 4. A. James Speyer: International Style………………………………………...……..124 Background………………………………………………………………………..……124 Morton Wing, Art Institute of Chicago…………………………………………...…….148 vii The American Exhibition……………………………………………………...………..156 Mies van der Rohe Exhibition: A Tribute to the Master…………………………….....161 Chapter 5. Lina Bo Bardi: Liberating Rationalism….………………………………………….167 Background……………………………………………………………………..………167 The Museu de Arte de São Paulo…………………………………………………….…184 Italian Influences………………………………………………………………………..199 Architecture……………………………………………………………………………..206 Museum Installation………………………………………………………………….…211 Hands of the Brazilian People…………………………………………………………..229 Chapter 6. Conclusion…………………………………………………………………………..239 Appendix A. John Yeon: Museum Display……………………………...……………………..251 Appendix B. James Speyer: Museum Display………………………………………………….276 Appendix C. Lina Bo Bardi: Museum Display………………………………………………..287 Bibliography…………………………………………………………………………………....314 Biographical Sketch…………………………………………………………………………….323 Curriculum Vitae…………………………………………………………………………...…..324 viii LIST OF FIGURES 2.1. Frank Lloyd Wright, Twentieth Annual Exhibition………………………………….……18 2.2. AIC, Museum patrons in the Surimono galleries…………………………………….….....19 2.3. Japanese Color Prints, AIC (Mar. 5-Mar. 25, 1908)………………………………….…..19 2.4. Japanese Color Prints, AIC (Mar. 5-Mar. 25, 1908)…………………………………...…20 2.5. 1914 Exhibition of Wright’s work since 1911…………………………………………......22 2.6. Wright installation design, Arts Club, Fine Arts Building (1917)………………..…….….23 2.7. Wright installation, entrance to the Club Room at the Arts Club (1917)………….......…..24 2.8. Wright Installation of Japanese Prints at the Art Club (1917)…………………….......…...24 2.9. Guggenheim Museum, Opening Day…………..……………………………….....………25 2.10. View of central skylight, 1990…………………………………..…………………………26 2.11. View of ramp gallery……………………………………………...……………………….28 2.12. Installation of rods, Guggenheim…………………………………………………...……...29 2.13. Le Corbusier Preliminary drawings, World Museum 1929…………………………...…...33 2.14. Musée d'Art contemporain, Paris, 1931………………………………………………...….34 2.15. 1939 Le Corbusier Study for “Museum of Unlimited Expansion”……………………...…35 2.16. Museum of Unlimited Growth, plandiagram depicting the swastika shape…………….…36 2.17. Sketch, Le Corbusier, Museum of Unlimited Growth…………………………………......36 2.18. Installation design by Mies and Reich, Silk exhibit, Berlin, 1927……………………...….41 2.19. Mies van der Rohe, installation, Architecture by Ludwig Mies van der Rohe………...…….43 2.20. Ludwig Mies van der Rohe, Museum for a Small City Project…………………………...…..44 2.21. Mies van der Rohe The Architecture of Mies van der Rohe exhibition at MoMA……...…46 2.22. Mies van der Rohe The Architecture of Mies van der Rohe……………………………...……47 2.23. Installation by Mies, Six Master Paintings, Cullinan Hall, MFAH…………………...…...49 2.24. New National Gallery in Berlin…………………………………………………………....51 ix 2.25. Mondrian Installation, Mies van der Rohe………………………………………………...51 2.26. Suspended walls, New National Gallery in Berlin………………………………….......…52 3.1. Henry Frederick Wentz, Sand Dune, Neah-kah-nie,1914…………………………………63 3.2. "Wentz Studio S - Manzanita Oregon" by Ian Poellet………………………………..…....63 3.3. MoMA, Art in Progress 15th Anniversary Exhibitions: Built in the USA…………..……...65 3.4. Watzek House, Photo Credit: Jeremy Bittermann……………………………………..…..65 3.5. The Shire, University of Oregon………………………………………………………..….69 3.6. 100 objects from the Avery Brundage collection of Oriental Art, (1960)……………..…..73 3.7. M.H. de Young Memorial Museum, view of Japanese Tea Garden (1966)…………..…...75 3.8. Brundage Collection, view of installation by John Yeon
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