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The Construction of an exhibition within architecture culture deconstructivist architecture, The Museum of Modern Art, 1988

Di Carlo, Tina
Doctoral thesis, Peer reviewed
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URI
http://hdl.handle.net/11250/2384380
Date
2016
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  • Doktoravhandlinger / Doctoral theses [62]
Abstract
The 1988 Deconstructivist Architecture exhibition at the Museum of

Modern Art, New York, curated by Philip Johnson and Mark Wigley, was

a minor exhibition that forced architecture to change directions. The tenweek

exhibition showed ten projects by seven architects, staged in three

galleries. Polemics surrounded the exhibition. These polemics, coupled

with Johnson’s reputation and the extreme formal reduction of the show,

fueled interest within the press. The exhibition received more than double

the press of any previous architecture exhibition at MoMA and up to five

times that of the other four exhibitions within the Gerald D. Hines Interests

Program in Architecture. The timing of the exhibition was integral to its

effect. It coincided with the proliferation of architecture exhibitions and

museums across America and Europe. They reflected pluralistic and historical

positions in architecture. New technologies and the media as the message

reflected a broader cultural conditions. They entered into the production and

circulation of architecture and the exhibition. Deconstructivist Architecture

is often thought to have dealt a death knell to postmodern architecture,

despite that “there has never been a consensus as to what Post-modern

architecture is.”1 Yet beyond the beginning or end of a style or movement,

could Deconstructivist Architecture be considered instead, as Sylvia Lavin

suggests in her 1988 review of the exhibition, “as a critical methodology and

analytical strategy?
Publisher
Oslo School of Architecture and Design
Series
CON-TEXT / Thesis;79

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