Deconstructing Power : W. E. B. Du Bois at the 1900 World's Fair
https://www-4.collection.cooperhewitt.org/objects/18169581/
- Manufactured by Sèvres Porcelain Manufactory
- biscuit porcelain
- Gift of Mr. and Mrs. John W. Alexander
Deconstructing Power revisits the 1900 Paris World’s Fair to explore the meaning of "progress" and to expose hidden prejudices in design. It places decorative arts from Cooper Hewitt’s permanent collection in dialogue with original diagrams created for the fair by the Harvard-educated sociologist and political activist W. E. B. Du Bois to trace ideas of progress and power across history, culture, and geography. The World’s Fair was a grand contest to prove national superiority on a global stage. Forty-seven countries competed to demonstrate their cultural and economic advancement through carefully crafted installations of the latest in art, imported materials, and cutting-edge innovations. Many of these displays were born out of European violence against and exploitation of Indigenous peoples in Africa and Asia. Although suppressed, Indigenous knowledge, labor, and resources—ever present within European conquest—influenced all aspects of this image of progress. Du Bois seized the fair as an opportunity to place a bold narrative of Black American progress on the world stage. He collaborated in the Exhibit of American Negroes with support from his Atlanta University students. The exhibit included 63 hand-drawn diagrams that used shape, line, and color to showcase Black success—despite pervasive racism in the United States and the global community. The diagrams offer an alternative vision for interpreting progress. They capture and reflect an appeal to measure progress in terms of human equality. In the spirit of Du Bois, Deconstructing Power challenges us to look deeper at design and to deploy it toward greater humanity and justice. It prompts us to ask: do our ideas of beauty and betterment inadvertently perpetuate bias?
At his Corona, New York factory, Tiffany encouraged continuous experimentation in glass color and surface effects. On the top shelf is an example of agateware [1979-84-1] in which a colorful mix of opaque glass simulates the laminated pattern and ridged texture of stone. A wide-mouthed vessel [1966-55-29] shows flame-like decoration and a goblet and vase [1966-55-9-a and 1977-83-1] are covered with plant-like patterning.
Dominated by a large opal in its sinuous curvilinear gold mounting, this belt buckle was designed by Colonna, one of the originators of the art nouveau style, for dealer Siegfried “Samuel” Bing’s display at the 1900 Paris World’s Fair.
This vase exhibits the brilliant blue tones that Tiffany’s workshop achieved in favrile glass. The “Peacock” vase celebrates Tiffany’s revival of the decorative technique of feathering that had been in use since Roman times. Thin filaments of differently colored batches of glass form long, sinuous lines that were fashionable in the art nouveau style.
This early Tiffany vase is notable for its impressive stature and delicate feathering technique. Since the decoration was added as the form developed, it stretches across the surface where the gaffer expanded the glass. The striations make a swirling pattern complimentary to de Forest’s woodwork and stenciled wallpaper in this room.
At his Corona, New York factory, Tiffany encouraged continuous experimentation in glass color and surface effects. On the top shelf is an example of agateware [1979-84-1] in which a colorful mix of opaque glass simulates the laminated pattern and ridged texture of stone. A wide-mouthed vessel [1966-55-29] shows flame-like decoration and a goblet and vase [1966-55-9-a and 1977-83-1] are covered with plant-like patterning.
This Jugendstil art nouveau advertisement for Tropon, manufacturers of a nutritional supplement developed from egg whites, shows broken eggs from which the whites swirl down and around the tag line “L’Aliment le plus Concentré.” The abstract composition illustrates Van de Velde’s belief in line as a creative force.
At least four Tiffany lamps as well as a Turtleback tile chandelier originally lit the Teak Room, as can be seen in the photo to the left. Turtleback was the name of Tiffany Studios’ rectangular glass tiles featured on the chandelier and the inkwell box nearby. The chandelier’s Moorish-inspired cap lent a note of exoticism that complemented the overall scheme of the room.
This object is currently on display in room 213 in Carnegie Mansion.
