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Glenn Adamson is a curator and writer who works at the intersection of craft, design history and contemporary art. Former director of the Museum of Arts and Design in New York and head of research at the Victoria & Albert Museum, London, he is currently a senior scholar at the Yale Center for British Art. He is the author of numerous publications including Fewer Better Things: The Hidden Wisdom of Objects, 2018, The Invention of Craft, 2013, The Craft Reader, 2010, all published by Bloomsbury. He contributes regularly to Art in America, Crafts, Disegno, Frieze, Antiques magazine and other publications.
Glenn Adamson is a curator and writer who works at the intersection of craft, design history and contemporary art. Former director of the Museum of Arts and Design in New York and head of research at the Victoria & Albert Museum, London, he is currently a senior scholar at the Yale Center for British Art. He is the author of numerous publications including Fewer Better Things: The Hidden Wisdom of Objects, 2018, The Invention of Craft, 2013, The Craft Reader, 2010, all published by Bloomsbury. He contributes regularly to Art in America, Crafts, Disegno, Frieze, Antiques magazine and other publications.
Shape must still follow the function, as taught by the Bauhaus, Le Corbusier, or his disciples. By confronting the work of seventeen international artists and designers with the Renaissance architecture of the Ca 'd'Oro palace in Venice,' Dys-functional ', an exhibition organized by the Carpenters Workshop Gallery, questions this command which has lastingly marked the history of architecture and design in the twentieth century. The lamps or furniture-sculpture by Nacho Carbonell, Studio Drift, Vincent Dubourg and Virgil Abloh, the organic benches of Wendell Castle or Mathieu Lehanneur, the inhabited clocks of Maarten Baas are as many contemporary challenges to the boundaries between beauty and beauty. arts, architecture and design. Between crafts and art, each of these creators challenges the notion of functionalism in the light of his artistic gesture, confronting the masterpieces of the Ca 'd'Oro, Mantegna to Van Eyck, gathered by the collector Giorgio Franchetti.
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