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David Bowie is @ Museum of Contemporary Art Chicago
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MessagePosté le: Mer 3 Sep - 20:35 (2014)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant











Watch an Exclusive Preview of Upcoming 'David Bowie Is' Documentary
Fashion-centric clip comes from new film about international art exhibit

WRITTEN BY Kyle McGovern
September 3 2014, 9:42 AM ET

On September 23, the international David Bowie Is exhibition — a retrospective celebrating the music icon's career, legacy, and style — will make its way to Chicago. Launched in 2013 at London's Victoria and Albert Museum, the collection features more than 300 items from the David Bowie Archive, including original costumes, photos, handwritten lyrics, and album artwork, all of which will be on display in Chi-Town's Museum of Contemporary Art through January 4. The same day that David Bowie Is opens in Chicago, 100 movie theaters across the U.S. will screen a documentary that offers a detailed tour of the exhibition.

Directed by BAFTA Award winner Hamish Hamilton, the movie was filmed during the closing night of the V&A installation and features appearances by Pulp leader Jarvis Cocker, fashion designer Kansai Yamamoto, and more, as well as insight from David Bowie Is curators Victoria Broackes and Geoffrey Marsh. For a glimpse at the upcoming doc, watch an exclusive preview clip above that focuses on the Thin White Duke's singular fashion sense.

To find a list of local theaters showing the film on September 23, head to the project's website. And to pick up tickets to the David Bowie Is exhibit in Chicago, check out the Museum of Contemporary Art's website.

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MessagePosté le: Jeu 4 Sep - 18:55 (2014)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant


Museum of Contemporary Art Chicago

Puck’s cafe


Every Tuesday, Thursday, and Friday, Puck’s Café transforms into a casual dining restaurant.

Bowie-inspired dishes, themed cocktails prepared by a mixologist, and a live DJ are some of the features that will make your MCA visit one to remember.

Reservations only needed for groups of 8 or more. Call 312.397.4034, or email.

Hours
4–8 pm Tue/Thu
4–10 pm Fri
(Kitchen closes a half hour before the museum)


Exhibition-inspired Provisions

Ziggy Stardust Schmaltz
$13
assortment of cheeses: drunken goat cheese, crispy parmesan reggiano, delice de bourginone, truffled cream cheese, pickled beech mushrooms, candied cashews, and grilled french baguette

Thin White Duke
$8
Wolfgang Puck flatbread, fontina and mozzarella cheese, confit garlic, roasted tomatoes, cracked black pepper, and arugula salad

Rebel Rebel Ruffage
$8
baby romaine and frisee salad, fried manchego, and crispy carrot nest tossed in a balsamic vinaigrette

Modern Love
$8
smoked tofu and grapefruit salad, avocado mousse, curried rice cakes, garnished with watercress tossed in a lime and soy vinaigrette

Starman Wings $11
boneless fried chicken, star anise, and szechuan spice, served with grilled pineapple

The Goblin King Favors $15
trio of sliders: beef slider with aged cheddar and remoulade chicken slider with bacon and onion jam roasted tomato slider with eggplant and basil pesto


Cat People $14
yellow fin tuna tartare, sesame chips, ponzu, and deviled quail egg

Under Pressure $16
grilled hanger steak, fingerling potato salad, charred scallions, truffle, and balsamic gastrique

Golden Years $17
seared diver scallops, crispy polenta cake, yellow tomato jam, and shellfish consommé

Vegetarian option
Vegan option


Exhibition-inspired Libations

Starman $12
citrus vodka, ruby red grapefruit juice, white cranberry juice, fresh lemon juice, and elderflower liquor

Modern Love $10
white rum, raspberry-infused simple syrup, rose petals, sparkling wine

Rock and Roll Suicide $12
red pop rocks, white rum, lemonade, raspberry purée, raspberry, and lemon wedge

Rebel Rebel $12
ginger sugar, honey-ginger syrup, sparkling wine, thyme sprig, and lemon wedge

China Girl $10
citrus vodka, iced green tea, Amoretti jasmine syrup, and jasmine flower sprig

Life on Mars $10
vodka, raspberry purée, basil simple syrup, and lemonade

Young American $10
vanilla vodka, Monin violet syrup, ginger ale, and candied violet


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MessagePosté le: Lun 8 Sep - 18:14 (2014)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant



David Bowie Is... Aladdin Sane. (Courtesy MCA Chicago)


David Bowie Is... in Chicago
By WhereTraveler ® on 09/02/14

If it had been seen or worn before, David Bowie likely wasn’t interested. Up for anything, Bowie has donned everything from the often imitated character pieces of Ziggy Stardust—red patent leather platform boots with red spiked hair to match—to the face painted bolt of lighting of Aladdin Sane, inventive looks a lady could certainly go gaga for. Now, thanks to the proactive efforts of Michael Darling, the MCA James Alsdorf Chief Curator’s efforts, Chicago is the three-month home and only U.S. stop of "David Bowie is…,"an international touring exhibition of album artwork, video installations of rare performances, photography, set designs, handwritten lyrics and of course, original fashion, organized by the Victoria and Albert Museum, London. Presented in Chicago with support from Louis Vuitton, the "David Bowie is…" retrospective shows how the artist utilized art, music, theater and technological muses to create his own unique images, which have made a lasting impact on culture, zig-zagging across genres for over four decades.

Bowie Bests

MCA curator Michael Darling handpicks six pieces that embody the musician’s influence on fashion, design and culture.

Starman outfit from “Top of the Pops” performance (aired July 6, 1972)

Quilted zip-front two-piece suits were the tour uniform of the “Starman” Ziggy Stardust and Bowie wore a colorful, patterned Freddie Burretti-designed one for a performance on the BBC’s pop music chart television show. Constructed of liberty fabric—floral, geometric, novelty—Darling said they were out there, but very much of the period.



(Courtesy MCA Chicago)


Asymmetrical knitted bodysuit (1973) designed by Kansai Yamamoto for Aladdin Sane tour

“So bold and crazy…I can see someone trying to revive this today,” said Darling. This piece is not your grandmother’s knitting project, but the brainchild of Japanese designer Kansai Yamamoto, a man whose fashions figured prominently in Bowie’s career. The one-armed, one-legged bodysuit features a mishmash of patterns and colors accented by stuffed fabric rings orbiting his bare left arm and right ankle.

Cobweb bodysuit (1973) designed by Natasha Korniloff for the “1980 Floor Show”

Bowie wore the black see-through bodysuit for his last appearance as Ziggy Stardust. Twenty years before Janet Jackson’s controversial 1993 Rolling Stone cover, the outfit included two gold hands strategically covering Ziggy’s “breasts” (a third hand placement was censored by NBC for American audiences) and a shimmery gold pant leg. “Feels shocking and transgressive,” noted Darling. This piece is coupled with the pre-MTV “Boys Keep Swinging,” a video that has the androgynous Bowie playing three different parts, all female.

Saturday Night Live performance of “The Man Who Sold the World” (December 15, 1979)

The man who famously sang “what you need you have to borrow” wore a costume inspired by Sonia Delaunay’s designs for Tristan Tzara’s Dadaist play "Le Coeur a Gaz" ("The Gas Heart," 1923), for a performance on SNL. The top consisted of an oversized striped bowtie and triangular black patent leather blazer, while the skirt bottom was so constricting his accompaniments Klaus Nomi and Joey Arias had to carry Bowie to his microphone.

Union Jack coat designed with Alexander McQueen (1997) for the "Earthling" album cover and tour

Ch-ch-changes from the elaborate stage costumes of the past, Bowie, one of designer Alexander McQueen’s first clients, requested a British flag be transformed into a coat; the result, an exquisitely constructed and highly recognizable Union Jack frock coat Bowie shared with his "Earthling" tour audiences by opening each show with his back turned so fans could see the full glory of the patriotic and perfectly distressed creation.

“Tokyo Pop” vinyl bodysuit (1973)

In a January 1974 Mirabelle magazine interview Bowie said, “I like to think my most important contribution is the music but…if someone thinks of me as an important fashion trendsetter...” It’s fitting that this black & white vinyl bodysuit welcomes visitors to the "David Bowie is…" exhibit. Designed by Kansai Yamamoto, this unforgettable bodysuit resembles a vinyl album, a one-piece fusion of music, design and fashion, elements influential to Bowie and areas he’s had a far-reaching and impactful hand in creating and changing for almost half a century.

Where Chicago


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MessagePosté le: Lun 8 Sep - 18:14 (2014)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant



WHERE
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September 2014









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MessagePosté le: Mar 9 Sep - 08:52 (2014)    Sujet du message: Two weeks to go till Chicago Répondre en citant





8 SEPTEMBER 2014

Two weeks to go till Chicago

“Everybody's waiting for the Go-Go Boy”

Just fourteen days until David Bowie Is opens at the Museum of Contemporary Art Chicago.

The atmosphere is building nicely and what a lovely touch with the steps of the MCA adorned with Bowie lyrics.

davidbowie.com


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MessagePosté le: Jeu 11 Sep - 20:44 (2014)    Sujet du message: Chicago Reader Répondre en citant







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MessagePosté le: Jeu 11 Sep - 20:45 (2014)    Sujet du message: A chat with the curator of "David Bowie Is." Répondre en citant


"David Bowie Is"

9/23-1/4/15, Museum of Contemporary Art, 220 E. Chicago, 312-280-2660, mcachicago.org, $25.

One of the most anticipated events of the fall arts season is the MCA's "David Bowie Is," in which the museum surveys the work of Bowie, an obscure, forgotten artist of minor import. We spoke with the exhibit's cocurator, Victoria Broackes, head of exhibitions for the Department of Theatre & Performance at the Victoria and Albert Museum in London, about the background of "David Bowie Is" and what Chicagoans can plan on seeing at the MCA. —Tal Rosenberg

Why did you choose the MCA over other American museums?

Because we conceived it in an art and design museum, we were particularly keen that it would go to museums of art and design. Although it is sound and vision, it also looks at the cultural context of his works. I probably shouldn't say this, but when we opened it first in London, we only had one museum in the entire world signed up to take it. That was in São Paolo, and that's quite unusual for an exhibition at the VMA. It's sort of a sign of the fact that nobody knew quite what to expect and whether it was going to be a hit, either critically or with the public. You know, it wasn't a foregone conclusion that it was going to be a hit. It was, and a few museums kind of got in touch very, very quickly, and the MCA was one of those.

How will the presentation at the MCA differ from what was on display at the Victoria and Albert Museum? What can Chicagoans expect to see at the exhibit?

On the whole, the objects are the same. There's a slight emphasis on chronology at the MCA. I think Michael Darling, the curator there, felt that it was necessary that it have a little bit more explanation. As for the second question, well, it is a sort of panoply of wonderful objects from the Bowie archives, including costumes, photographs, set designs, drawings, art, lyrics—but set in a wide cultural context along with Andy Warhol and Kabuki theater and German expressionism, things that actually explain where Bowie gets his ideas from. We had long wanted to do an exhibition about David Bowie, but we didn't know if the material existed, and we didn't know that there was this fabulous archive. We were introduced to his management and discovered that.

So you were just approached by chance?

Yeah. I mean, we were talking to other people in the music business, and you know, it's genuinely true to say that Bowie was on the top of a very short list of people we would cover in a single-subject exhibition.

In the New York Review of Books, Ian Buruma wrote, "Artists and filmmakers have often created interesting results by refining popular culture into high art. Bowie did the opposite: he would, as he once explained in an interview, plunder high art and take it down to the street; that was his brand of rock-and-roll theater." Could you see how putting on an art exhibition about David Bowie might have the reverse effect: It takes the high art that Bowie takes down to the street and brings it back to the high-art world?

Well, I think that's very interesting. I mean, on the one hand, when Bowie says he brings high art down to the street level, what it really is is that he's bringing these quite esoteric ideas to an enormous public. So I think that's the great thing about Bowie: he's not constrained by expectations or what sort of people or what sort of art form should contain what sort of ideas. This is for everyone. We're not saying hey, come and see this super-duper high-art museum. This is for all of us, and you're all welcome here.

Chicago Reader


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MessagePosté le: Ven 12 Sep - 12:21 (2014)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant




Cat People



Ziggy Stardust Schmaltz



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MessagePosté le: Sam 13 Sep - 17:39 (2014)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant





SNEAK PEEK: Behind-the-scenes at ‘David Bowie Is’ at Chicago’s MCA

Miriam Di Nunzio on September 12, 2014

A rainy day in Chicago is a very Londonlike backdrop for the MCA’s “David Bowie Is” wrap of the museum’s loading dock. | PHOTO BY PETER HOLDERNESS/SUN-TIMES

David Bowie Is’…. almost here.

The HUGELY anticipated exhibit of all things David Bowie is slated to open officially on Sept. 23 at Chicago’s Museum of Contemporary Art, 220 E. Chicago.

But we got a sneak peek today behind the scenes as the exhibit was being uncrated, costumes displayed, audio programmed, video projections set up — it was like watching Bowie literally moving into his new home for the next three months.

So while curators from the Victoria and Albert Museum in London were busy overseeing the uncrating, and carpenters, electricians, sound and video specialists, MCA curators and staff were very hard at work, I and Sun-Times videographer Peter Holderness captured some of the whirlwind activity as it begins to take shape.

Chicago Sun-Times



“David Bowie Is” starts to take shape at Chicago’s MCA.
PHOTO BY PETER HOLDERNESS/SUN-TIMES




Kansai Yamamoto’s striped asymmetric catsuit (1973) from David Bowie’s Aladdin Sane Tour.
PHOTO BY MIRIAM DI NUNZIO/SUN-TIMES




Just a sampling of the many costumes that will be featured throughout the “David Bowie Is” exhibit at the MCA.
This exhibit area will feature clips from various Bowie concerts and the related costumes he wore.
PHOTO BY PETER HOLDERNESS/SUN-TIMES




It’s grainy here, but trust me it’s dazzling in person.
One of the many exhibits at “David Bowie Is” that will feature multimedia video projections.
PHOTO BY MIRIAM DI NUNZIO/SUN-TIMES




“David Bowie Is” exhibit technical manager Chris Duncan explains the video projections that will be used throughout the MCA exhibit.
PHOTO BY PETER HOLDERNESS/SUN-TIMES




PHOTO BY PETER HOLDERNESS/SUN-TIMES



David Bowie’s original music for “Space Oddity”
PHOTO BY MIRIAM DI NUNZIO/SUN-TIMES




Curators work on setting up “David Bowie Is” at the MCA.
PHOTO BY PETER HOLDERNESS/SUN-TIMES




Kansai Yamamoto’s costume for David Bowie (1973) from the Aladdin Sane Tour.
PHOTO BY MIRIAM DI NUNZIO/SUN-TIMES




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MessagePosté le: Lun 15 Sep - 23:54 (2014)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant





Interview: Behind the Scenes of the New David Bowie Film with Director Hamish Hamilton
September 15, 2014 12:39 PM

By Courtney E. Smith

The lucky crowds at London’s Victoria & Albert (V&A) museum have been able to view the landmark David Bowie is exhibit this past season. And now that it is on the move, opening in Chicago’s Museum of Contemporary Art on Sept. 23 with future runs in Paris, Melbourne and The Netherlands to come, the masses who are unable to make it to the live show get their own touring film — done V&A style.

Radio.com caught up with Hamish Hamilton, the director of the film David Bowie Is, which will play nationwide in select theaters on Sept. 23 in honor of the exhibit’s U.S. debut. Hamilton is known for his work directing high-profile shows like the Oscars and the VMAs, but he’s also directed live films of some of the biggest names in music, including Madonna, U2 and Eminem.

Hamilton took us behind the scenes of David Bowie is, explaining his use of “frozen people,” proclaiming the genius of the exhibit’s curators and admitting that his work has improved now that he asks himself, “What would David Bowie do?”

~

When you saw the Bowie exhibit at the V&A, was there a piece that you connected to right out of the gate?

There was one section that immediately connected with me. It was the Space Oddity section, where they have the photograph of Mother Earth, taken from space, on the front cover of the London Times newspaper. Geoffrey Marsh, one of the curators, explained to me that this was the first time Earth had been photographed from space and everybody realized that actually the Earth was blue. All of the sudden I felt I was in Bowie’s head, seeing this. It made me realize how the circumstances of the times had influenced him. It’s kind of an obvious thing, but the simplicity of it resonated with me.

What is the most visually spectacular thing in the collection, from your point of view behind the camera?

Once behind the camera, I began to realize just how fondly David was held in the hearts of many. Standing next to the Star Man exhibit and interviewing people who had seen that clip on Top of the Pops, who’d seen him put his arm around his fellow man in what was at the time a very bold costume choice — just how much that moment meant to so many people really reinforced what a creative force and innovator he was. But not an innovator for the sake of it, rather a man who innovated while connecting with people’s heart. His actions said, “It’s okay to be different.” The groundswell of love he raised was…that’s a theme we return to again and again throughout the exhibition and the film.

A lot of the people you interviewed for stand-ups were quite unique looking. Did you seek out people with style specifically or were those simply representative attendees of the exhibit that day?

Everybody who appeared on camera (laughs) or were guests was a Bowie fan and I guess wanted to show their affinity to Bowie, their team colors in a way. And the team colors for David Bowie are quite avant guard, quite different, quite bold, quite individual and quite unique. I suppose just in the same way that to my local football team Arsenal I would wear a red and white scarf, if you’re coming to a Bowie event and you love and admire him in so many ways, and have followed him for so many years, you put your Bowie team colors on.

We didn’t ask anybody. People got the invitation and turned up how they would want to turn up. We didn’t impose a dress code.

You break this into a narrative that isn’t driven by a timeline as much as by movements in Bowie’s career. What influenced that decision?

We were making a film of the exhibition, we weren’t making a film of David Bowie. The exhibition has a beginning and an end and kind of a middle as well, there are a few times you could choose to go left or right within it but essentially there was a trip through. That trip had been curated by Victoria Broackes and Geoff in a clever way. It was an easy decision on my behalf to follow the narrative that they created. Also, I was very passionate that I didn’t want to have another moderator or host in this. I thought the exhibition was so clever and inventive. The curators spoke so passionately about their baby, in a way, that the obvious choice for the hosts of the evening and the film were Victoria and Geoff. Though they wouldn’t be the first choice to host a TV show or a theatrical evening by others, for me they absolutely were. I think you get a very authentic, very pure experience from their hosting. That dictated the path of the film.

The other thing that I was passionate about was giving the exhibition and therefore the film a sense of humanity. Trying to give the viewer in the cinema a sense of the exhibition if they were walking around it, hence the frozen people. It was really difficult to get right, but I think we eventually did and that was by accident really. (laughs) What we wanted to do was have a load of Bowie fans running through the V&A for that contrast of this incredible color and passion running through all these still lives in one of the halls that lead up to the front door of the Bowie exhibition. At the very last minute the V&A said they were very uncomfortable with people running past their gazillion dollar exhibit.

So I said to myself, you know what we’ll do? We’ll have all the Bowie fans stand still and we’ll get the camera to run around instead, which they graciously let us do. That was the opening scene. Then I realized I’d cracked the code. We got all these Bowie fans to adopt poses within the exhibition, while looking at and feeling the exhibits, and the camera moved around them. So you got a sense of humanity but also a sense of art and statement. It really worked. In the earlier filming that we’d done with people walking around in their headphones, just shuffling around, it looked incredibly mundane and detracted from the beauty of each exhibit.

It wasn’t an accident but we benefitted from circumstance.

When you’re working with a collection of material from an artist like Bowie, who has so many photos and videos plus so much documentation of his life, how do you sift through to pick what you will feature?

There was a conscious decision to blend pieces that had been seen before and then shift the story and show pieces that had been pulled out of Bowie’s own personal archive to reveal new, unknown parts of the story. Geoff and Victoria were wonderfully helpful and patient in talking about each piece. You quickly realized what were the great story pieces, what pieces had a real emotional moment around them. They kind of chose themselves for the most part. There were some really small details that made you think, “Crikey, David Bowie at such a young age collected all this? Really?” That in itself gives you a really interesting insight into the man that he is.

What’s your first memory of David Bowie?

I do remember a number of instances when I came across photographs of him in the music press here in the UK, but I didn’t really find Bowie until later. I went through lots of very strange teenage music choices. I was definitely one who followed the crowd: I was into rock and heavy metal and then two weeks later I was a mod. I was searching around for acceptance as a spotty teenager and I never turned to David, because he was always a bit out there and I was a pale, red-headed kid with a pale complexion who wasn’t bold enough to go for Bowie.

Now, I think he’s a genius. The more I discover about him the more I admire and love what he’s done for art, fashion, music, photography — all kinds of art forms that he’s given his stamp to. Now, as a director, to see these hand-drawn sketches he’s done for his costumes and stage design, it’s incredible. I work with many artists in the modern age, but the notion of one of them coming to me with a sketch for the stage that they want to perform on is like, (mimes incredulity) “Really?” I’m sure there are people that do it, but the level of detail that Bowie went into with his concepts — he had fully formed concepts that he would paint, draw, sketch and execute. It’s such an astonishing level of attention. I need people like David to create.

When you are asked to work with the work of a modern-day genius, it’s a joy.

So now you’ll be forever asking yourself, “What would David Bowie do?”

I have to admit I asked that to myself at many times during the filming process and many times during the edit. Going back to the frozen people, I was stood in the lobby of the V&A having my opening shot denied by the authorities and I found myself going, “What would David Bowie do?” (laughs)

radio.com


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MessagePosté le: Mar 16 Sep - 16:15 (2014)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant



September 23, 2014.
DAVID BOWIE DAY IN CHICAGO






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MessagePosté le: Ven 19 Sep - 14:20 (2014)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant



Exhibit curator Michael Darling introduces us to "David Bowie Is," an immersive experience into the sights and sounds of Bowie's career.
The exhibit opens September 23rd and runs through January 4, 2015.

'David Bowie Is': How do you fit a rocker into an art museum?

Christopher Borrelli
CHICAGO TRIBUNE

SEPTEMBER 18, 2014, 11:46 AM

Sometime soon, should you find yourself backstage at the Museum of Contemporary Art, wandering its administrative offices, be sure to look for the pencil drawing of David Bowie as a banana. It is not an official curated piece of museum art; rather, it is an unsigned doodle taped to a hallway wall alongside a few dozen other works of office-space ephemera, all riffing on the only thing that anyone at the MCA is allowed to think about these days: David Bowie. There are concert photos of Bowie and fashion layouts of Bowie, a picture of President Barack Obama with a Ziggy Stardust lightning bolt across his face and a folksy cross-stich that reads: "David Bowie told me to do it in a dream." It is the staff's Great Wall of Bowie, inscribed across the top with:

"David Bowie Is."



A poster in front of the MCA for the "David Bowie Is' exhibit.
(Nancy Stone / Chicago Tribune)


That's the open-ended title of the $2 million, 400-piece Bowie retrospective exhibition opening Tuesday — the largest and most expensive show that the MCA has staged in its 47-year history, museum officials confirm. To take a cue from one of Bowie's best songs, it is an exhibit steeped in sound and vision: SEE! a video screen so gigantic it wraps around three walls, its images synced with "Hollywood Squares"-ish display boxes. HEAR! a next-gen audio tour that, via sensors installed in the floor, responds digitally to wherever you are standing and plays the appropriate songs and contextual sound bites. ADMIRE! costumes created by the late and legendary designer Alexander McQueen. THRILL! to Bowie's former cocaine spoon. But mostly …

CONTEMPLATE! an art show in which the artifacts are less vital than its portrait of an iconoclastic 50-year creative life — born in a crucible of grandiose rock opera, crunching guitars and sci-fi imagery (Major Tom, Ziggy Stardust) and transformed into an international pop stardom that took as its motif the ironies of international pop stardom ("Fame"), ultimately defined by an unwillingness to settle for one persona or medium.

And that Great Wall of Bowie?

One of several reminders of just how overriding a priority that "David Bowie Is" has been at the MCA for the past year and a half, ever since chief curator Michael Darling quickly phoned the Victoria & Albert Museum in London (the exhibition's originators) and landed the only United States stop for the traveling blockbuster. Another reminder: The MCA's extended hours during the show's run. In anticipation of crazy-large crowds, the museum will stay open until 8 p.m. on Thursdays, 10 p.m. on Fridays. Another reminder: The MCA is selling separate tickets for the show, a first for the institution — and they are timed. Also: The Bowie hand fans floating around the MCA offices, remnants of a marketing blitz at the Chicago Pride Parade in June.

And, not far from the Great Wall of Bowie, one additional reminder: "Ground Control," an event calendar, painted on the wall to convey its importance, with months of Bowie-centric dance performances, films, concerts, lectures …

"People have asked me: 'What exactly goes into a David Bowie museum exhibit?'" Darling said. "Because they don't know what to expect, because something like this show — well, it could go any number of ways."

For a moment, it seemed he was saying: The success of a production this ambitious is far from predictable.

What he meant was: Any museum show about Bowie must grapple with a wildly long and varied career.

But both points are true.

At its initial exhibition at the Victoria & Albert Museum in early 2013, "David Bowie Is" gathered acclaim and sold-out crowds, then repeated its success late last year in Toronto's Art Gallery of Ontario, where the show was extended three times and drew 150,000 viewers to a nine-week run. MCA curators expect similar results: If they can attract 150,000 to the 15-week Chicago run, that's half of the museum's average annual attendance of 300,000, for one exhibit. Asked if staff at the MCA was feeling full-court pressure, Erica Erdmann, senior preparer of exhibitions, said: "Everyone here loves David Bowie. No matter what."

It's a quip tinged with anxiety. Because even museum executives have wondered if Bowie, a core figure in English culture despite being largely out of the limelight for decades, has retained his mystique and popularity in the U.S., where he's beloved and influential but rarely at the front of the popular imagination.

At the least, "you do wonder why the show isn't in New York, Bowie's home for the past 25 years," said Simon Critchley, a British-born philosopher who teaches at the New School for Social Research in New York (and who is to appear at the MCA in November to discuss "Bowie," his new book about the meaning of the British performer). "Or the Metropolitan Museum of Art (in New York, which has had popular shows on punk and fashion)? Plus, his reputation has always been less intense in the States, where he got traction later than in Europe — I do hope to God it works in Chicago."

Even Darling, who made his name at the Seattle Art Museum with a show about artist reactions to Kurt Cobain, said he had wondered if Bowie was "too boomer rock" now. But then Bowie's "Moonage Daydream" was featured prominently in Marvel's "Guardians of the Galaxy" movie. (Said Darling: "I elbowed my son: 'Hear that? Bowie.'") Moreover, when Darling visited the London and Toronto shows last year, "I found multigenerational crowds, which made me feel better. Still, I imagine my more purist colleagues saying it's a vanity show, a sell-out, a stab at populism. But peel any layer off Bowie's legacy — gender identity, say — and (the show) seems aligned with the mission of any contemporary art museum."

Which brings us back to: How do you fit David Bowie into an art museum?

On an early September morning, while construction crews drilled and assembled — the show also marks the first time the MCA has hired lighting designers and made extensive use of outside architects — Darling walked excitedly though the exhibit, ticking off the wheres and whats. The curator, who arrived here in 2010, tasked with raising the museum's profile, looks like an elongated Colin Firth, minus the dithering.

"You should see this," he said, passing a wall label at the entrance that read "David Bowie Is … All Around You." "The moment you enter, you receive a headset, then you move here and witness this very complicated video projection mapped onto this sculptural tableau, which provides a nice introduction to his influences and childhood … . Then, here, this is devoted to his first hit, 'Space Oddity,' and the context of the late 1960s. Then he changes, and this is about his album 'Hunky Dory' … . Then — and this is spectacular — a mirrored room with his costume from (the longtime British TV show) 'Top of the Pops,' which was over-the-top and wonderful, and then come to these Japanese-inspired costumes here and a giant coffin will be here, holding his costume from when he was calling himself Ziggy Stardust …

"Over here will be clothing from a period when he was pushing the limits of decency in England. And this room is devoted to his years in Berlin with (producer) Brian Eno, and it's funny because he even kept his apartment keys, which are in the show … . Here, you get costumes inspired by the '30s and '40s, very Marlene Dietrich. And this whole section here is the recording process …

"Here is concept art from his tours and videos, paintings there. And here are pedestals where you see the costumes that go with each music video, which culminates here with Alexander McQueen's clothes … . This diversion takes you into his film work. And then, the big moment, the video screen that wraps around walls, and the room is devoted to performance, which, in a way, addresses the theatricality of his entire career …

"Then you're done, and you come out here, our satellite Bowie store."

He said that last bit sheepishly, adding, "Besides, what art exhibit could compete with David Bowie, right?"

He wasn't being ironic.

Even without everything in place, the show's immense scale and flash were apparent, as was the feeling that "David Bowie Is," like its subject, plays the long game, seeming less concerned with the quality of any individual piece than with the process it took to arrive at that multidisciplinary amalgamation called David Bowie. The idea is to throw everything at the gallery wall — but rather than see what sticks, the exhibition moves on, aping the slipperiness, restlessness and inherent vagueness of Bowie. What emerges is not a show about a singer or fashion icon but a show about how change itself can become a medium. It's a portrait of an artist who, long before Jay Z had a fashion line or Justin Timberlake acted, never wanted to be just one kind of artist.

And so, in a splashy way, the exhibit is an argument that Bowie pioneered contemporary culture.

When I asked Nick Cave, the Chicago-based performance artist and sculptor — renowned for his own surreal, Bowie-like costumes — what he considered Bowie's legacy to be, he said it was not concrete objects but "Bowie's ideas for branding and identity. He came up in the early '70s, at a time when artists — himself, George Clinton, Grace Jones — were reinventing themselves frequently, and pushing not just the envelope in music but in performance, design. Really, he is about the birth of cross-disciplinary artists."

At the Art Gallery of Ontario, questions arose about "how to reconcile a man of so many changes" said museum director Michael Teitelbaum: "Finally, what compelled us (to take the show) was: Bowie made himself a work of art. It wasn't the disparity of work that engaged us. It was the totality of the man."

His synthesis of media. There's Bowie the musician. Bowie the pan-sexual revolutionary. Bowie the actor. Bowie the changeling.

Consider that when I asked Brian Case of the Chicago band Disappears (which will cover Bowie's "Low" at the MCA on Nov. 22) if he thought of Bowie as a musician, he said: "No, I think of him as an artist and stylist who worked with music." Conversely, when I asked the same question to Chicago musician/novelist/filmmaker Tim Kinsella (covering "Hunky Dory" on Oct. 16), he said: "Even when I was first aware of Bowie as a child, I didn't understand him as a musician because of his hair. His style is what registered, then, 'Oh, and he's a musician.'"

That cross-disciplinary-fluidity-as-an-artist's-second-nature was ahead of its time in the 1970s — and these days, very on trend, said Peter Taub, the MCA's esteemed director of performance programs. "It's not even a museum decision to seek cross-disciplinary artists now because, increasingly, in the last five years, especially, we see artists who want to work in performance-based ways. They conceive for a (stage) proscenium as much as for a gallery, and vice versa. The point is not individual works but their path."

Indeed, read every wall text and watch every clip in "David Bowie Is," and a portrait of the artist as a blank slate takes hold: Bowie has been a painter, a designer, a mime, a cutting-edge musician with a voice like Anthony Newley, a fashion icon, a rallying figure for gay rights, a stage actor ("The Elephant Man") and movie star ("The Man Who Fell to Earth"). Before he was a successful pop singer he had a publishing contact and worked in advertising. In the late '90s, though his project was ultimately upended by the downturn in the music industry, Bowie took the shrewd move of issuing asset-backed security bonds against the current and future revenues of his music catalog, diversifying himself with a 21st-century savvy.

There is, however, one key difference between the cross-disciplinary Bowie in this show and the multitentacled artists like Kanye West or Beyonce who adopted the world that Bowie created: Bowie seemed to change, to try on new mediums with a habitual joy, more out of temperament than branding. Among the artifacts in the exhibition is the "Oblique Strategy" card deck that Eno and artist Peter Schmidt handed Bowie during his Berlin period. The idea was, choose a card and use its instructions as a kind of guiding stricture: "Abandon Normal Instruments," "Give Way to Your Worst Impulse," "Use Unqualified People," and so forth.

Not that he needed it.

In a 1976 article by Cameron Crowe for Rolling Stone, Bowie visits the hotel of Rolling Stones guitarist Ronnie Wood. They sit around a while until Bowie confesses: "I've got nothing to do with the music." Wood, bored until this admission, sits up: "Why did you get into rock 'n' roll then?" And Bowie, like a 19-year-old liberal arts major, replies: "It seemed like an enjoyable way of making my money … taking four or five years out to decide what I really wanted to do." By the final room of MCA show, it's clear: What Bowie always wanted to do, broadly, was perform. Bowie, belting "Rock and Roll Suicide," washes over the gallery, the lines gathering intensity:

"Oh no love, you're not alone/ No matter what or who you've been/ No matter when or where you've seen/ All the knives seem to lacerate your brain/ I've had my share, I'll help you with the pain/ You're not alone!"

Jenn Dixon, a fashion designer who lives in Elgin, created the stage outfits for Bowie's 2004 tour, and last year she flew to London for the show.

"To be honest, it was so overwhelming," she said, "taking in his fashion, his visual art, his music, it became this very intimate personal vision, so by the time I got to that last room, which was so crowded, it was not like another art show. It was so emotional, I kind of sat on the floor and took it in."

And that's why Darling doesn't want another art show to greet you at the exit of "David Bowie Is."

He doesn't do encores.

The origins of "David Bowie Is" are as mysterious as the man. In 2010, Victoria Broackes and Geoffrey Marsh, curators at the Victoria & Albert, received an unexpected call from Bowie's management asking if the design museum, would be interested in seeing Bowie's personal archives in Manhattan.

"I can't say exactly where it is or how many (storage) spaces it is," Broackes said in a phone interview, "but in some ways it was better put together than a lot of museum collections I know. It was a museum, really. But things were not on display. It had a full-time archivist, it was cataloged digitally, and it had the things you would expect a famous musician to have held on to — the concert suits, the photos — but it also had a lot of pieces that revealed the creative process and how far back Bowie was making this construction called David Bowie."

Several of the most charming works in the show are a series of drawings that Bowie had made for one of his high school bands in the '60s.

"A lot of teenagers would have been happy to get a gig," Broackes said. "Bowie, though, he's making costumes, stage sets." Indeed, the photos that accompany those early days show a young artist already calculating how he appears, as self-possessed and poised as he would be years later. Bowie, who once described himself as a gay mime, also looks as chilly and arch as his later personas.

Broackes and Marsh were told that the artist himself would not be involved in "David Bowie Is," and would not approve or disapprove of the show, but that they could interpret his archives however they wished. And so one of the themes that run through the exhibition is sincerity — can you be sincerely insincere?

Bowie asked this. He asked questions of male representations in rock, sexual identity and androgyny. He asked this in the early '70s, at a moment in pop music when a self-satisfied insistence on authenticity had settled into rock.

"He hit right when the music was transitioning from a cottage industry into this cold, corporate thing," said filmmaker Todd Haynes, whose 1998 Christian Bale film "Velvet Goldmine" was a tribute to Bowie and glam-rock (and who will be discussing Bowie with costume designer Sandy Powell on Oct. 5 at the MCA). "He became this dividing line, about what you were supposed to be versus what you could be as a star, then truly applied that to his career." He over-sang verses, changed his look every album, "and gave fans so much to imitate, you could say one of the ways he was influential was he foretold interactive culture," Haynes said.

That influence is so vast that "David Bowie Is," cleverly, charts it with a mock periodic table of elements. Said David Getsy, chairman of the art history, theory and criticism department at the School of the Art Institute of Chicago: "To think of Bowie as influential in music and fashion is to not realize how catalytic he remains with performance artists, how key he is to the idea of performers adopting alter egos, or how useful of a reference point he was to the gay liberation movement, which, to some extent, is still looking to Bowie as a mass-culture version of the kind of revolution and reformation that they were hoping to enact."

Even Tracy K. Smith, who won the 2011 Pulitzer Prize for poetry for her Bowie-influenced collection, "Life on Mars," said: "I think the thing about Bowie that continues to influence and speak to us is the multiplicity of Bowie. Which is really that thing we all like about art itself — how it offers this lens into reinvention, and into showing us these ways of being things you never imagined you had interest in or anything to do with."

Apply those ideas to a major arts institution like the MCA and you wonder if the museum — occasionally sleepy, often in the shadow of the behemoth Art Institute of Chicago — considers the exhibit itself to be a kind of step toward its own reinvention.

Madeleine Grynsztejn, director of the MCA, is quick to amend the question, to say it is an evolution, "an ideal bridge to connect different audiences." And Darling sees the show's themes of reinvention as very much in line with "Andy Warhol's ideas about management of one's identity, themes that haven't really gone away lately." (Indeed, Eric Shiner, the director of the Andy Warhol Museum in Pittsburgh, which would seem a better fit for the Bowie show than the MCA, said it was offered the show but ultimately turned down the opportunity: He said the show was great but Warhol and Bowie were not "particularly close to each other.")

As for Bowie: For an artist whose only consistency is a hesitation to repeat himself, his past decade or so has been cloaked in nostalgia. He opened the post-9/11 Concert for New York seated cross-legged and alone on the stage, playing a dinky keyboard and singing Paul Simon's "America," albeit as an ode for a bygone nation. On his most recent album, "The Next Day," he references his Berlin days, and the cover of the album is a play on his 1977 album "Heroes." He seems to be looking back, at 67. But it's hard to be sure. A couple of weeks ago, news broke of a 50-year retrospective music collection that includes two new songs. The MCA was not given a heads-up. Because the MCA, like the Victoria & Albert, is not in touch with Bowie. Broackes met the artist when he appeared with little warning last year at the show, but she hasn't had a serious chat with him. She hasn't had a chance to ask the obvious:

Why?

"If I ever sit him down, I will ask that very thing," she said. "'Why are you letting us do this show? Why now?' I suspect it's because he was a hoarder who became a genius. And because he didn't throw anything away. In his early days he imagined himself as a successful person, and would draw himself successful — his first of many changes. But I do know that he likes the show. Rather, I heard. Anecdotally."

"David Bowie Is" opens Tuesday and runs through Jan. 4 at the Museum of Contemporary Art, 220 E. Chicago Ave. For ticket information: mcachicago.org/bowie.

Chicago Tribune


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MessagePosté le: Ven 19 Sep - 15:50 (2014)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant



One of Bowie's Kansai Yamamoto-designed bodysuits, for the 1973 Aladdin Sane tour.
Photo: Courtesy of the Art Gallery of Ontario/David Bowie Is



What You’ll See at the MCA’s New David Bowie Exhibit
Chief Curator Michael Darling picks his favorite glam-rock artifacts from the new retrospective.
By Matt Pollock

Next Tuesday, America’s first-ever David Bowie retrospective David Bowie Is opens at the Museum of Contemporary Art. The show is a pretty big deal—so much so that Mayor Emanuel declared Tuesday “David Bowie Day” in Chicago.

But the exhibit is also a literal big deal, as in enormous, with more than 400 articles of glam-rock pizzazz plucked from Bowie’s five-decade career. To get a nuts-and-bolts idea of what fans can expect at the show, I asked MCA curator Michael Darling to highlight a few of his favorite Bowie relics on display. Here are his picks.


The robes from Jazzin’ for Blue Jean
Remember that 20-minute short in which a rockstar, played by Bowie, woos the girlfriend of a pedestrian, also played by Bowie? Well, the MCA has rockstar-Bowie’s robes. “It was a really incredible video,” says Darling. “There’s this costume that goes with it where he’s he’s kind of like an Arabian Whirling Dervish.”


Brian Eno’s synthesizer
During Bowie’s three-year stint in Berlin during the late 70s, he worked with ex-Roxy Music keyboardist Brian Eno on his three-album “Berlin trilogy"—Low, “Heroes”, and Lodger. Present on all three albums was Eno’s portable EMS Synthi AKS synthesizer, which, yes, looks exactly like something out of Star Trek. "[The synthesizer] is sitting in this case like a precious artifact,” says Darling. “I don’t know anything about how music is made technically, but I think real Bowie fans are going to geek out on this thing.”


Bowie’s most fragile costume
Of all the stage costumes to survive Bowie’s callisthenic live shows, this one is the most amazing. Worn on television during his 1980 Floor Show, the suit appears to be knit from twine and dental floss. Or, to use Darling’s metaphor: “It’s more or less cobwebs. It’s totally outrageous that it was made and has survived this long.”


Music videos playing on actual TV screens
Why yes, we have entered the era where you must pay a museum to see music videos on television. “I really love a lot of the music videos we have in the show,” says Darling. “The TVs and films are kind of relics. The 1980s, 1990s-era videos, we have them looping on tube monitors, so they feel very period. One that’s really great, for “Boys Keep Swinging,” shows three Bowies dressed in drag as three backups singers. It’s from 1979 and feels so radical and ahead of his time and pretty amazing, that he would go out on a limb like that and dress in drag.”


A virtual concert
For those who simply missed out on Bowie—due to age, locality, taste, or whatever—the MCA’s recreating some of the magic. “We call it ‘the concert moments,’” says Darling. “It’s a big room with five projections on three walls. It’s all kinds of amazing concert footage remixed together into one 30-plus-minute program. There’s one section that’s Bowie performing ‘Sweet Thing’ in Los Angeles in the early 1970s that gives me goose bumps every time. It’s the closest you can get to feeling like you’re at a concert when you’re really inside an art museum.”

David Bowie Is opens Tuesday, September 23 at the Museum of Contemporary Art (220 E. Chicago) and runs through January 4, 2015. Timed-admission tickets are available here for $25 and include admission to the entire museum.

Chicago Magazine


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MessagePosté le: Ven 19 Sep - 16:19 (2014)    Sujet du message: David Bowie is @ Museum of Contemporary Art Chicago Répondre en citant

9/19/2014 6:31 AM

Groundbreaking 'David Bowie Is' exhibit at Chicago's MCA shows him as consummate artist

Ted Cox

The biggest tour, maybe not in the rock world, but certainly in the world of museum exhibits, touches down in Chicago next week for an extended stay. And it brings the energy and mass hysteria of rock to the seemingly unlikely venue of the Museum of Contemporary Art downtown.

Yet somehow the groundbreaking exhibit "David Bowie Is" makes perfect sense for the MCA, spanning as it does photography, film, video, fashion, set design, preserved artifacts and, above all, the cult of the artist as a self-constructed commodity, a position Bowie shares with many previous MCA exhibit subjects, such as Andy Warhol and Cindy Sherman.

The exhibit suits the MCA "in so many ways," said curator Michael Darling, who has "tailored" the "David Bowie Is" exhibit, developed by Victoria Broakes and Geoffrey Marsh in London a year ago at the Victoria and Albert Museum, to the MCA space and an American audience.

Thus far, Chicago is the first and only U.S. stop on the exhibit's tour, which has gone from London to Toronto to Brazil to Berlin, and will continue on to Paris and the Netherlands next year after closing its MCA run Jan. 4.

"We've over the years always peppered our exhibition schedule with shows that were outside of the fine-art realm, and so this fits in that pattern," Darling said. "There's so much of a performance program that's part of our identity, too.

"I think this really shows him to be a consummate artist, rather than just looking for the hippest collaborators," Darling added. "It's much deeper than that."

It was amusing, in the recent David Bowie documentary "Five Years," which has been running on premium-cable Showtime, to hear Bowie the world-renowned pop star talking about how it wasn't until his "Let's Dance" album in 1983 that he really entered the mainstream. Bowie had Top 40 hits throughout the '70s on U.S. radio, collected on the various versions of the album "Changesbowie," from "Space Oddity" through the glam hits "Ziggy Stardust," "Suffragette City," "Rebel Rebel," "Jean Genie" and "Diamond Dogs," through his later, poppier material like "Young Americans" and "Fame," and back to the avant-garde with "Heroes" and on to the '80s hits "Let's Dance" and "China Girl."

Bowie was typically referred to as a "chameleon" in those days, altering his look and public persona from album to album and tour to tour, but what the exhibit makes clear is that it was always with an artistically contrived purpose in mind.

Darling pointed out it was "to use that word 'contrived' in the most positive sense. Everything is incredibly considered, and through the exhibition you really get this incredible sense of him crafting this image over and over again through various collaborations.

"There's a commitment and an intensity to it you see from the very beginning through to the end that I think does really set him apart from his peers."

Born in 1947 in the working-class area of Brixton, Bowie came of age in the '60s as the Beatles and Rolling Stones were dominating popular music -- in England and here in the States.

Bowie, however, was quick to seize on the natural, evolutionary changes the Beatles and Stones were going through from album to album, and to exaggerate that shape-shifting quality for artistic effect.

Certainly, other artists, like the Beatles, were particular about the suits they wore and, later, the fine points of the costumes for "Sgt. Pepper's Lonely Hearts Club Band," as well as the album cover, and the Stones' Mick Jagger could be as particular as anyone in selecting, for instance, the Elvis-esque jump suits of the Stones' 1972 world tour, but Bowie took that natural butterfly flittering of the rock star and made it into art.

Take, for instance, the deliberately over-the-top glam period running from "Ziggy Stardust" through "Diamond Dogs" in the early and mid-'70s, captured in the exhibit through the Ziggy Stardust jumpsuit Bowie wore on tour, along with his "Aladdin Sane" photography with Brian Duffy and the even-more-outrageous Terry O'Neill shots for "Diamond Dogs," as well as the Kansai Yamamoto vinyl bodysuit for the "Aladdin Sane" tour -- all Bowie at his most androgynous in an era known for that.

"I think with him you really get a sense in that era of a social agenda," Darling said. "He's really kind of going out there with this androgynous appearance as a way to kind of shake up the status quo in terms of what we think of as gender roles and things like that. And that becomes really apparent in the exhibition -- just how far out there he was. Which now, of course, feels very fresh and relevant."

Indeed, with gay rights, marriage equality and transgender fashion models all in the news, now more than ever, it seems as if the world is just now catching up to where Bowie was 40 years ago.

The MCA seized on that era as a marketing device by deciding to "take part in Chicago's Gay Pride Parade with a Bowie float, knowing that that part of the story would appeal to that audience," Darling said.

The thing is, Bowie never let even his own audience catch up with him -- until now, with the exhibit, culled as it is from his own archives in a way that preserves these changes as if in amber. Darling has subtly emphasized that by making the exhibition more chronological than it was in London.

"One thing I thought was really interesting about the Bowie story is his constant reinventions," Darling said. "So I did a few little tweaks to the exhibit layout to emphasize those dramatic shifts from one character to the next.

"So you really get to dive into each character with a little more depth," he added. "You can see how he worked through the various kind of potentialities of any character and then dumps that and moves on to the next one. He's never really gotten stuck or rested on his laurels. And I thought a more chronological order might make that clearer to the audience."

Darling has also worked to remove it from the "real world" by casting the exhibit in dark surroundings on the museum's fourth floor, where they usually install major exhibits. "It's an exhibit I would say is very immersive," he explained. "You really feel as if you're in another world. You're not out on Michigan Avenue. You're in this really kind of artificial space."

The MCA will keep it from becoming too far removed from the performance hall by enhancing the exhibit's run with a steady stream of performance pieces. Boy George will come to town to spin music as a disc jockey for the exhibit. Film director Todd Haynes will discuss Bowie's glam period with Oscar-winning costume designer Sandy Powell in October, and in November the Mekons' Chicago-based transplants Sally Timms and Jon Langford will perform Bowie love songs.

Performances meant to enhance the exhibit's run kick off at noon Tuesday, day of the show's debut, with a David Bowie tribute concert in Millennium Park. And a documentary on the exhibit, also titled "David Bowie Is," screens at 7:30 p.m. Tuesday and Wednesday at theaters across the country, including some in the suburbs.

With Bowie's lasting and exotic appeal, the exhibit should bring crowds to the MCA in droves -- perhaps not the droves of a Soldier Field performance, but certainly droves by the standards of a museum exhibit. For the first time, the MCA is selling tickets in advance, with 10,000 already gone, and likewise for the first time it will use staggered entry times -- 250 people per half-hour.

"We're really doing it just to sort of control the crowds a little bit," Darling said, "more to make sure that the experience is pleasurable for each person."

It's worth noting that the MCA got the exhibit over many others who sought it through, yes, good old Chicago hard work.

"I think it was the early bird gets the worm," Darling said. "We just really jumped on it as soon as we heard about it and really just started negotiating in a serious way with real dates right from the beginning."

The only thing missing from "David Bowie Is" might turn out to be David Bowie himself. Although this is the exhibit's only U.S. stop, and he spends most of his time these days in New York City, Bowie is not scheduled to be at the opening on Tuesday.

"We're really not expecting that," Darling said. "But we're quite hopeful that his curiosity will get to him and he'll come out here some time during the show.

"So we'll try to be ready for that if and when it happens."


"David Bowie Is" exhibit

Where: Museum of Contemporary Art, 220 E. Chicago Ave., Chicago, (312) 280-2660, mcachicago.org

When: Exhibit runs from Tuesday, Sept. 23, through Sunday, Jan. 4. Extended hours during the exhibit are 10 a.m. to 8 p.m. Tuesday, 10 a.m. to 5 p.m. Wednesday, 10 a.m. to 8 p.m. Thursday, 10 a.m. to 10 p.m. Friday, 9 a.m. to 6 p.m. Saturday and Sunday. Closed Monday.

Tickets: $25, includes museum admission

"David Bowie Is" documentary

• 7:30 p.m. Tuesday, Sept. 23, at Muvico Rosemont 18

• 7:30 p.m. Wednesday, Sept. 24, at Marcus Theatres in Addison and Gurnee

Tickets: Prices vary but average $12

Chicago Daily Herald


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'David Bowie Is': Blockbuster Exhibit At MCA
CBS 2's Vince Gerasole reports.

CBS


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