Juliana Rowen Barton, a Ph.D. apprentice in the History of Art Department, discusses her interest in mid-century archetypal kitchens and the exhibit “Design in Revolution: A 1960s Odyssey,” which she co-curated at the Philadelphia Building of Art.
Homes and the altar that ample them absorb Juliana Rowen Barton, a doctoral apprentice in the History of Art Administration at Penn.
The babe of architects and academics, she’s been cerebration about calm spaces all her life. Now in the fifth year of her Ph.D. studies, she is abysmal into autograph her argument about mid-century archetypal kitchens.
Barton is additionally in the bosom of an Andrew W. Mellon Foundation acquaintance at the Philadelphia Building of Art, absorption on avant-garde and abreast design. She co-curated a new exhibition at the museum, “Design in Revolution: A 1960s Odyssey.”
“I grew up cerebration about the spaces we alive in and the altar we alive with, and how they appearance ideas,” she says. “That is basal for me.”
Barton grew up in Charlottesville, Va., and becoming her undergraduate amount in art history and American studies at the University of Virginia, area her ancestor was an architectonics professor. He is currently a provost at the Academy of the Art Institute of Chicago, area her artist mother is additionally a lecturer.
“I was aloft by architects who were aloft by educators,” Barton says. “The accent was teaching and learning, and architectonics and space.”
While in academy and aerial school, Barton was a apprentice adviser at the Fralin Building of Art at the University of Virginia.
“I started cerebration about museums as spaces we can allocution about or anticipate about added broadly,” she says. “Giving tours showed me how impactful museums, and galleries, and calm spaces can be in compassionate altar that we alive with.”
Her absorption in kitchens was affronted back she was a curatorial intern in the architectonics and architectonics administration at the Building of Avant-garde Art (MoMA) in New York, area she formed on the exhibition “Counter Space: Architectonics in the Avant-garde Kitchen.”
“That’s the moment that I able I capital to be a building curator,” she says. “That’s back I able these accustomed altar that beleaguer us are admired for research.”
Graduate academy was a analytic abutting step. While alive as the exhibitions coordinator at the Center for Architectonics in New York City, Barton met Renata Holod, a history of art assistant at Penn, again on the center’s advising board.
“I thought, ‘I appetite to be like her,’” Barton says. “I appetite to apperceive so abundant and allocution with such ascendancy about what I’m absorbed in.”
In accession to Penn history of art professors, Barton says she was admiring to the department’s synergy with PennDesign, which includes an architectonics program. She generally finds herself at the circle of art, architecture, and design. Her master’s amount activity was on Purist movement and Le Corbusier, a avant-garde in avant-garde architectonics and design, who was additionally a painter. Barton completed her master’s amount at Penn in December.
“What actually stands out about Juliana is how she combines abundant braininess and astronomic activity and personality,” says David Brownlee, a history of art assistant at Penn. “She’s a abundant academician and will accomplish a abundant curator. She is a adult and able being in the acreage of interpreting and presenting architectonics to the world.”
Barton’s focus on architectonics and architectonics is abrupt in art history.
“It’s cerebration about ability through altar rather than added way around,” she says. “Domestic spaces and calm altar and how we collaborate with both, that’s area I’m allurement questions.”
Barton’s doctoral argument focuses on archetypal kitchens in the aeon amid 1933 and 1963. She declared her analysis in a contempo History of Art colloquium, “Built to Fit Your Wife: Imagining Autonomous Architectonics in the American Kitchen at Mid-Century.”
“Exhibition kitchens are altered case studies, advised to archetypal taste, or space, or movement, or accord to country or family,” Barton says. “All of those behaviors are distilled in these designs.”
One aspect of her analysis is the Frankfurt Kitchen, which she abstruse about during her MoMA internship. The archetypal was advised as allotment of the architectonics of affordable accessible apartment with avant-garde amenities in Germany and Russia in the backward 1920s and aboriginal 1930s.
Also axial to Barton’s argument is the Cornell Kitchen, which was advised in the 1950s through all-encompassing analysis on the boilerplate American housewife in a archetypal farmhouse. Counter and chiffonier height, drawer design, apparatus placement, and countless added appearance were bent by the abstraction of behavior and movement of women in the kitchen.
“My affirmation is that the cause of the amplitude of the kitchen, and the bodies of women, represented not alone a aesthetics of kitchen labor, but additionally a autonomous credo that formed to aftermath a avant-garde delicacy anchored amid democracy, consumption, and gender, which took appearance in the United States in the 1940s and ’50s,” she said during the colloquium.
Funded by grants, aftermost summer she conducted primary analysis for her dissertation. Barton says she had a “lightbulb” moment while attractive through pamphlets created in the 1940s by Cornell’s home economics department. One fabricated it accessible to architectonics a home based on a agreed arrangement with options for allowance configuration, acrylic colors, and furniture.
“It was about like cardboard dolls for your house,” Barton says. “For me, at that moment it seemed aloof like a architectonics or affairs blog, abounding tips about how to optimize your life.”
It is accustomed for Barton to arch a mid-century abstraction to today. The exhibition on the 1960s she helped abbey at the Philadelphia Building of Art includes iconic altar from the collection, including clothing, furniture, paintings, posters, videos, photographs, and accustomed altar like typewriters and televisions from the period.
“Juliana was actually well-prepared, bigger able than about any added apprentice or alum apprentice could be to booty on this project,” says Kathryn Hiesinger, a chief babysitter who led the exhibition team. “Her accurateness and activity were actually miraculous.”
The building acquaintance is allotment of a affiliation with Penn, adjourned by the Mellon Foundation, accurately for object-based learning.
“I enjoyed the architectonics and exhibition process, planning out area things go, how you can acquaint stories, with the paintings or the architectonics altar in a vignette, or on a wall,” Barton says. “Placing things abutting to anniversary added can put the altar in altered contexts.”
One of her admired items in the exhibition is a affiche by Seymour Chwast, “End Bad Breath,” a booty on the angel of Uncle Sam. “It’s evocative,” she says. “My analysis is additionally on how art, design, and architectonics can acquaint account of bellicism and civic identity.”
Barton’s dream is to assignment as a building babysitter back she completes her Ph.D.
“I’m actual invested in the museum,” she says. “As a woman of color, I see building and curatorial assignment as a way to advance the boundaries of education, and admission to art and ability for the accessory of assorted audiences.”
Originally appear on Thursday, March 1, 2018.
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