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Cooper Hewitt, Smithsonian Design Museum

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@cooperhewitt on Instagram have full name is Cooper Hewitt, Smithsonian Design Museum. Here you can discover all stories, photos, videos posted by cooperhewitt on Instagram. Read More...

“Making Home—Smithsonian Design Triennial” opens tomorrow, November 2. 🏡

Featuring 25 debut commissions installed throughout the Andrew and Louise Carnegie Mansion, the exhibition illustrates the ways design is embedded in contemporary life, and considers home as an expansive framework with varying cultural and environmental contexts, and “making home” as a universal design practice. Organized in collaboration with Smithsonian’s National Museum of African American History and Culture (@nmaahc), the seventh iteration of Cooper Hewitt’s Triennial series will be on view through Aug. 10, 2025.

Tickets are available now. Tap the link in our bio to plan your visit.
“Making Home—Smithsonian Design Triennial” opens tomorrow, November 2. 🏡 Featuring 25 debut commissions installed throughout the Andrew and Louise Carnegie Mansion, the exhibition illustrates the ways design is embedded in contemporary life, and considers home as an expansive framework with varying cultural and environmental contexts, and “making home” as a universal design practice. Organized in collaboration with Smithsonian’s National Museum of African American History and Culture (@nmaahc), the seventh iteration of Cooper Hewitt’s Triennial series will be on view through Aug. 10, 2025. Tickets are available now. Tap the link in our bio to plan your visit.
337 7 2 months ago
Now open ➡️ “Making Home—Smithsonian Design Triennial” explores design’s role in shaping the physical and emotional realities of home across the United States, U.S. territories, and Tribal Nations. Installed throughout Cooper Hewitt’s Andrew and Louise Carnegie Mansion, the exhibition’s 25 debut commissions reflect perspectives influenced by a range of geographical, cultural, and social conditions. Together, these interventions draw attention to a variety of experiences under U.S. sovereignty and influence, while resisting a singular notion of America or what it means to be American.

Experience "Making Home" in real life, through August 10, 2025—tap the link in our bio to plan your visit.

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1. Davóne Tines, Hugh Hayden, and Zack Winokur: "Living Room, Orlean, Virginia"
2. Nicole Crowder and Hadiya Williams: "The Offering"
3. Ronald Rael: "Casa Desenterrada/Exhuming Home"
4. Liam Lee and Tommy Mishima: "Game Room"
5. (On right) Robert Earl Paige: "Fahara: Chicago in View"
6. Curry J. Hackett, Wayside Studio: "So That You All Won't Forget: Speculations on a Black Home in Rural Virgina"
7. Lenape Center and Joe Baker: "Welcome to Territory"
8. Terrol Dew Johnson and Aranda\Lasch: "We:sic 'em ki: (Everybody's Home)"

All photos by Elliot Goldstein © The Smithsonian Institution.
Now open ➡️ “Making Home—Smithsonian Design Triennial” explores design’s role in shaping the physical and emotional realities of home across the United States, U.S. territories, and Tribal Nations. Installed throughout Cooper Hewitt’s Andrew and Louise Carnegie Mansion, the exhibition’s 25 debut commissions reflect perspectives influenced by a range of geographical, cultural, and social conditions. Together, these interventions draw attention to a variety of experiences under U.S. sovereignty and influence, while resisting a singular notion of America or what it means to be American. Experience "Making Home" in real life, through August 10, 2025—tap the link in our bio to plan your visit. __ 1. Davóne Tines, Hugh Hayden, and Zack Winokur: "Living Room, Orlean, Virginia" 2. Nicole Crowder and Hadiya Williams: "The Offering" 3. Ronald Rael: "Casa Desenterrada/Exhuming Home" 4. Liam Lee and Tommy Mishima: "Game Room" 5. (On right) Robert Earl Paige: "Fahara: Chicago in View" 6. Curry J. Hackett, Wayside Studio: "So That You All Won't Forget: Speculations on a Black Home in Rural Virgina" 7. Lenape Center and Joe Baker: "Welcome to Territory" 8. Terrol Dew Johnson and Aranda\Lasch: "We:sic 'em ki: (Everybody's Home)" All photos by Elliot Goldstein © The Smithsonian Institution.
520 5 2 months ago
“Making Home—Smithsonian Design Triennial” opens November 2, 2024.
 
Featuring 25 site-specific, newly commissioned installations, the exhibition explores design’s role in shaping the physical and emotional realities of home across the United States, US Territories, and Tribal Nations. The exhibition is the seventh offering in the museum’s Design Triennial series, which was established in 2000 to address the most urgent topics of the time through the lens of design.
 
The participants are:
 
–After Oceanic Built Environments Lab and Leong Leong
–Artists in Residence in Everglades (AIRIE)
–La Vaughn Belle
–Black Artists + Designers Guild
–Lori A. Brown, Trish Cafferky, and Dr. Yashica Robinson
–CFGNY
–Mona Chalabi and SITU Research
–Nicole Crowder and Hadiya Williams
–Designing Justice + Designing Spaces
–Heather Dewey-Hagborg
–East Jordan Middle & High Schools
–Curry J. Hackett, Wayside Studio
–Hugh Hayden, Davóne Tines, and Zack Winokur
–Hord Coplan Macht
–Terrol Dew Johnson and Aranda\Lasch
–Liam Lee and Tommy Mishima
–Lenape Center with Joe Baker
–Joiri Minaya
–Sofía Gallisá Muriente, Natalia Lassalle-Morillo, and Carlos Soto
–Robert Earl Paige
–PIN–UP
–Ronald Rael
–William Scott
–Amie Siegel
–Renée Stout

The exhibition is organized by Alexandra Cunningham Cameron, Cooper Hewitt’s curator of contemporary design and Hintz Secretarial Scholar; Christina L. De León, Cooper Hewitt’s acting deputy director of curatorial and associate curator of Latino design; and Michelle Joan Wilkinson, curator of architecture and design at the National Museum of African American History and Culture; with curatorial assistants Sophia Gebara, Caroline O’Connell, Julie Pastor, and Isabel Strauss.
 
Tap the link in our bio to learn more.
“Making Home—Smithsonian Design Triennial” opens November 2, 2024. Featuring 25 site-specific, newly commissioned installations, the exhibition explores design’s role in shaping the physical and emotional realities of home across the United States, US Territories, and Tribal Nations. The exhibition is the seventh offering in the museum’s Design Triennial series, which was established in 2000 to address the most urgent topics of the time through the lens of design. The participants are: –After Oceanic Built Environments Lab and Leong Leong –Artists in Residence in Everglades (AIRIE) –La Vaughn Belle –Black Artists + Designers Guild –Lori A. Brown, Trish Cafferky, and Dr. Yashica Robinson –CFGNY –Mona Chalabi and SITU Research –Nicole Crowder and Hadiya Williams –Designing Justice + Designing Spaces –Heather Dewey-Hagborg –East Jordan Middle & High Schools –Curry J. Hackett, Wayside Studio –Hugh Hayden, Davóne Tines, and Zack Winokur –Hord Coplan Macht –Terrol Dew Johnson and Aranda\Lasch –Liam Lee and Tommy Mishima –Lenape Center with Joe Baker –Joiri Minaya –Sofía Gallisá Muriente, Natalia Lassalle-Morillo, and Carlos Soto –Robert Earl Paige –PIN–UP –Ronald Rael –William Scott –Amie Siegel –Renée Stout The exhibition is organized by Alexandra Cunningham Cameron, Cooper Hewitt’s curator of contemporary design and Hintz Secretarial Scholar; Christina L. De León, Cooper Hewitt’s acting deputy director of curatorial and associate curator of Latino design; and Michelle Joan Wilkinson, curator of architecture and design at the National Museum of African American History and Culture; with curatorial assistants Sophia Gebara, Caroline O’Connell, Julie Pastor, and Isabel Strauss. Tap the link in our bio to learn more.
791 17 4 months ago
Robert Earl Paige is a Chicago-based artist, educator, and member of the Chicago Black Arts Movement whose textile designs have helped to popularize pan-African aesthetics in US homes. For "Making Home—Smithsonian Design Triennial," Paige created “Fahara: Chicago in View," an architectural intervention upon the historic Carnegie Mansion’s staircase that recalls the tradition of Chicago’s Black artists using buildings as canvases to manifest the interconnectedness of art, life, and community.

Since the 1960s, Paige has been collecting images of architecture, artworks, historical figures, and designs from across the city—a visual archive that constitutes an imprint of Chicago. The artist has drawn from this sourcebook throughout his career, referencing shapes, patterns, and messages in his interior and textile designs, sculptures, and mixed-media works. Fahara—a word Paige associates with joy—honors his home city as a creative resource and celebrates its influences, such as founding father Jean Baptiste Point du Sable. Draping architects Babb, Cook, and Willard’s dark 1902 oak woodwork with patterns influenced by West African textile traditions and Chicago monuments, Paige converges the influences that formed his unique aesthetic eye and shares what home means to him.

Don't miss Paige's installation—tap the link in our bio to plan your visit to "Making Home—Smithsonian Design Triennial."

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Photos by Nikola Bradonjic Photography © The Smithsonian Institution
Robert Earl Paige is a Chicago-based artist, educator, and member of the Chicago Black Arts Movement whose textile designs have helped to popularize pan-African aesthetics in US homes. For "Making Home—Smithsonian Design Triennial," Paige created “Fahara: Chicago in View," an architectural intervention upon the historic Carnegie Mansion’s staircase that recalls the tradition of Chicago’s Black artists using buildings as canvases to manifest the interconnectedness of art, life, and community. Since the 1960s, Paige has been collecting images of architecture, artworks, historical figures, and designs from across the city—a visual archive that constitutes an imprint of Chicago. The artist has drawn from this sourcebook throughout his career, referencing shapes, patterns, and messages in his interior and textile designs, sculptures, and mixed-media works. Fahara—a word Paige associates with joy—honors his home city as a creative resource and celebrates its influences, such as founding father Jean Baptiste Point du Sable. Draping architects Babb, Cook, and Willard’s dark 1902 oak woodwork with patterns influenced by West African textile traditions and Chicago monuments, Paige converges the influences that formed his unique aesthetic eye and shares what home means to him. Don't miss Paige's installation—tap the link in our bio to plan your visit to "Making Home—Smithsonian Design Triennial." __ Photos by Nikola Bradonjic Photography © The Smithsonian Institution
195 0 18 hours ago
This drawing is by Adelgunde “Gunta” Stölzl, a prolific German weaver who was instrumental in shifting the focus of the Bauhaus weaving workshops from pictorial works to industrial-ready designs, as well as the only woman at the Bauhaus to achieve the title of Young Master. Her textiles are renowned for their color, their abstract and asymmetrical compositions, and their incorporation of new materials.

Completed in 1926, the drawing is a design for a double woven cloth, using watercolor, pen, and black ink. ✍️ #TextileTuesday

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Drawing, Design for Double Woven Cloth, ca. 1926; Designed by Adelgunde (Gunta) Stölzl; Germany. This object is part of Cooper Hewitt’s permanent collection and is not currently on view.
This drawing is by Adelgunde “Gunta” Stölzl, a prolific German weaver who was instrumental in shifting the focus of the Bauhaus weaving workshops from pictorial works to industrial-ready designs, as well as the only woman at the Bauhaus to achieve the title of Young Master. Her textiles are renowned for their color, their abstract and asymmetrical compositions, and their incorporation of new materials. Completed in 1926, the drawing is a design for a double woven cloth, using watercolor, pen, and black ink. ✍️ #TextileTuesday __ Drawing, Design for Double Woven Cloth, ca. 1926; Designed by Adelgunde (Gunta) Stölzl; Germany. This object is part of Cooper Hewitt’s permanent collection and is not currently on view.
1.2K 12 2 days ago
Frames four ways for this #MondayMoodboard. 🖼️

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1. Sidewall, Frames, 2004; Designed by Craig Wood and Chris Taylor; Manufactured by Graham & Brown Inc.; England
2. Sidewall, Country Life, 1865–70; possibly England
3. Textile, Staccato, 1951; Designed by Angelo Testa; USA
4. Sidewall, Edo, 1967; Designed by William Justema; USA

These objects are part of Cooper Hewitt’s permanent collection and are not currently on view.
Frames four ways for this #MondayMoodboard. 🖼️ __ 1. Sidewall, Frames, 2004; Designed by Craig Wood and Chris Taylor; Manufactured by Graham & Brown Inc.; England 2. Sidewall, Country Life, 1865–70; possibly England 3. Textile, Staccato, 1951; Designed by Angelo Testa; USA 4. Sidewall, Edo, 1967; Designed by William Justema; USA These objects are part of Cooper Hewitt’s permanent collection and are not currently on view.
196 1 3 days ago
Today, we’re diving into the work of Hungarian-American designer Ilonka Karasz. A sophisticated, prolific, and mutable artist, Karasz’s graphic style evolved to suit the medium and the commission, but always retained the spirit of playfulness and a lyrical line.

After immigrating to the United States in 1913, she became an active member of the New York art scene. Karasz was known for experimenting with different methods of transferring and layering images when designing wallcoverings. She also designed furniture, created 186 covers for the New Yorker magazine, illustrated children’s books, and designed book covers.

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1. Textile, Calico Cow, 1952; Designed by Ilonka Karasz; Produced by Associated American Artists
2. Plate, 1935; Designed by Ilonka Karasz; Manufactured by Buffalo Pottery
3. Drawing, Textile Design, 1931; Designed by Ilonka Karasz; Office of Donald Deskey; Client: Lesher-Whitman & Company; USA
4. Saltcellar, 1928; Designed by Ilonka Karasz; Manufactured by Paye & Baker Manufacturing Company; USA

All objects are part of Cooper Hewitt's permanent collection and are not currently on view.
Today, we’re diving into the work of Hungarian-American designer Ilonka Karasz. A sophisticated, prolific, and mutable artist, Karasz’s graphic style evolved to suit the medium and the commission, but always retained the spirit of playfulness and a lyrical line. After immigrating to the United States in 1913, she became an active member of the New York art scene. Karasz was known for experimenting with different methods of transferring and layering images when designing wallcoverings. She also designed furniture, created 186 covers for the New Yorker magazine, illustrated children’s books, and designed book covers. __ 1. Textile, Calico Cow, 1952; Designed by Ilonka Karasz; Produced by Associated American Artists 2. Plate, 1935; Designed by Ilonka Karasz; Manufactured by Buffalo Pottery 3. Drawing, Textile Design, 1931; Designed by Ilonka Karasz; Office of Donald Deskey; Client: Lesher-Whitman & Company; USA 4. Saltcellar, 1928; Designed by Ilonka Karasz; Manufactured by Paye & Baker Manufacturing Company; USA All objects are part of Cooper Hewitt's permanent collection and are not currently on view.
702 3 7 days ago
Have you ever taken a “shelfie”? A “shelfie” is a photograph of a bookshelf in which the bookshelf’s contents reflect a portrait of the person to whom the contents belong. 📚 Join Black Artists + Designers Guild (@badguild) for an interactive workshop to think about the power of home libraries, in conjunction with their installation “The Underground Library” in “Making Home—Smithsonian Design Triennial.” BADG will offer a verbal description of the items on various shelves in the installation to share stories about what the objects, books, and artifacts are and why they have been selected.

Then, BADG will lead you through a creative workshop to imagine and design a plan for one of your own home shelves, empowering you to archive personal histories and reveal what possibilities may exist in your own settings.

Head to our story to get your tickets! 🎟️
Have you ever taken a “shelfie”? A “shelfie” is a photograph of a bookshelf in which the bookshelf’s contents reflect a portrait of the person to whom the contents belong. 📚 Join Black Artists + Designers Guild (@badguild) for an interactive workshop to think about the power of home libraries, in conjunction with their installation “The Underground Library” in “Making Home—Smithsonian Design Triennial.” BADG will offer a verbal description of the items on various shelves in the installation to share stories about what the objects, books, and artifacts are and why they have been selected. Then, BADG will lead you through a creative workshop to imagine and design a plan for one of your own home shelves, empowering you to archive personal histories and reveal what possibilities may exist in your own settings. Head to our story to get your tickets! 🎟️
125 3 8 days ago
A French sidewall, from us to you for #WallpaperWednesday. 💝

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Sidewall, 1928–29; Manufactured by J. Grantil Company; France. This object is part of Cooper Hewitt’s permanent collection and is not currently on view.
A French sidewall, from us to you for #WallpaperWednesday. 💝 __ Sidewall, 1928–29; Manufactured by J. Grantil Company; France. This object is part of Cooper Hewitt’s permanent collection and is not currently on view.
145 2 8 days ago
“Heirlooms” (pictured here) was created by romantic cubist painter Albert John Pucci and was an early Associated American Artists textile designed released by Riverdale Fabrics in 1953, as part of the Country Fragrance collection. The design features a nostalgic assortment of antiques, from oil lamps, to porcelain figurines, to elaborately framed mirrors on a red background.🪞 #TextileTuesday

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Textile, Heirlooms, 1952; Designed by Albert John Pucci; Produced by Associated American Artists; Cotton; USA. This object is part of Cooper Hewitt’s permanent collection and is not currently on view.
“Heirlooms” (pictured here) was created by romantic cubist painter Albert John Pucci and was an early Associated American Artists textile designed released by Riverdale Fabrics in 1953, as part of the Country Fragrance collection. The design features a nostalgic assortment of antiques, from oil lamps, to porcelain figurines, to elaborately framed mirrors on a red background.🪞 #TextileTuesday __ Textile, Heirlooms, 1952; Designed by Albert John Pucci; Produced by Associated American Artists; Cotton; USA. This object is part of Cooper Hewitt’s permanent collection and is not currently on view.
494 2 9 days ago
The Black Artists + Designers Guild (@badguild) is a community of independent Black makers working in a range of creative industries. For "Making Home—Smithsonian Design Triennial," they created the Underground Library. Inspired by the Underground Railroad—the clandestine network established in the early 19th century through which many enslaved African Americans traveled in their search for freedom—this interactive space is a 21st-century sanctuary brimming with books, art, and artifacts relating to Black history and culture.

In reimagining and repurposing Andrew Carnegie’s personal library, BADG invites visitors to think about the power of home libraries and the significance of literacy, remembering that African Americans were denied the right to read under slavery. Complementing the custom-designed seating, textiles, and carpeting by the BADG collective is an abundance of objects that honor African diaspora ancestral legacies in art and design. Adorning the library with these heirlooms of cultural heritage, BADG creates a space to protect futures that are still under threat of erasure.

On Friday, December 13, join BADG for an interactive workshop at Cooper Hewitt—tap the link in our bio for more info! 🔗

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Photos: Elliot Goldstein © The Smithsonian Institution
The Black Artists + Designers Guild (@badguild) is a community of independent Black makers working in a range of creative industries. For "Making Home—Smithsonian Design Triennial," they created the Underground Library. Inspired by the Underground Railroad—the clandestine network established in the early 19th century through which many enslaved African Americans traveled in their search for freedom—this interactive space is a 21st-century sanctuary brimming with books, art, and artifacts relating to Black history and culture. In reimagining and repurposing Andrew Carnegie’s personal library, BADG invites visitors to think about the power of home libraries and the significance of literacy, remembering that African Americans were denied the right to read under slavery. Complementing the custom-designed seating, textiles, and carpeting by the BADG collective is an abundance of objects that honor African diaspora ancestral legacies in art and design. Adorning the library with these heirlooms of cultural heritage, BADG creates a space to protect futures that are still under threat of erasure. On Friday, December 13, join BADG for an interactive workshop at Cooper Hewitt—tap the link in our bio for more info! 🔗 __ Photos: Elliot Goldstein © The Smithsonian Institution
201 0 10 days ago
Sue Thatcher Palmer’s textile “Space Walk” is a psychedelic trip through zero gravity far removed from the black and white solemnity of Neil Armstrong’s “one small step for man.” Palmer’s kaleidoscopic design—the full repeat visible only once two lengths of the fabric are sewn together—features a cascade of astronauts emerging from a pulsating lunar module, their weightless, bounding movements made visible as undulating waves. Behind them, the blackness of space is depicted as a rippling curtain, an unearthly backdrop for an unearthly place. 🚀

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Textile, Space Walk, 1969; Designed by Sue Thatcher Palmer; Produced by Warner Fabrics; England. This object is part of Cooper Hewitt’s permanent collection and is not currently on view.
Sue Thatcher Palmer’s textile “Space Walk” is a psychedelic trip through zero gravity far removed from the black and white solemnity of Neil Armstrong’s “one small step for man.” Palmer’s kaleidoscopic design—the full repeat visible only once two lengths of the fabric are sewn together—features a cascade of astronauts emerging from a pulsating lunar module, their weightless, bounding movements made visible as undulating waves. Behind them, the blackness of space is depicted as a rippling curtain, an unearthly backdrop for an unearthly place. 🚀 __ Textile, Space Walk, 1969; Designed by Sue Thatcher Palmer; Produced by Warner Fabrics; England. This object is part of Cooper Hewitt’s permanent collection and is not currently on view.
181 2 13 days ago