Take a Seat: Understanding the Modern Chair
Visitors to the Collab gallery at the Philadelphia Museum of Art have been treated this summer to a small yet mighty exhibition relegated to modern and contemporary chairs. Collab board member Rosemarie Fabien interviewed Alisa Chiles, Assistant Curator of European Decorative Arts, about the exhibit, which is currently on view until October 20, 2024.
Photograph by Timothy Tiebout, courtesy Philadelphia Museum of Art.
RF: Can you explain the premise of the exhibition that is solely based on chairs?
AC: Chairs are more than just things we sit on—they’re part of our everyday lives, always there whether we’re at home, at work, or out in public. Because of this, and the fact that the primary function of chairs hasn’t changed in millennia, many designers decide to take on the challenge of designing one. Chairs are canvases for artistic expression and they offer endless possibilities for innovation. This exhibition is about highlighting this and showing how designers often redefine the boundaries of what is possible when making a chair, both in terms of new ideas and new technologies.
RF: Knowing that the PMA and Collab have collected chairs throughout history, how did you choose which chairs to display in the exhibit?
AC: With so many chairs in the PMA’s collection, I wanted to pick pieces that really stood out for their innovation—whether that was in how they were made, what they were made of, or the thinking behind their design. I also wanted to feature some of the newer additions to the collection and bring back some chairs that hadn’t been on view in many years. I aimed to showcase a range of designs that would allow visitors to understand how chair design has evolved over the last fifty or so years and how designers continue to push boundaries.
Photograph by Timothy Tiebout, courtesy Philadelphia Museum of Art.
RF: Were you looking through a particular lens or viewpoint for this exhibition?
AC: Yes, I approached the exhibition by raising the question: “What drives innovation in modern chair design?” I wanted to explore how designers are constantly rethinking materials, manufacturing processes, and issues of comfort and aesthetics to create chairs that are not just functional but also thought-provoking and inspirational. The exhibition looks at the variety of driving forces—including new technologies, social and cultural shifts, and increased global collaboration, to name a few—that inspire these innovative designs.
Photograph by Timothy Tiebout, courtesy Philadelphia Museum of Art.
RF: What do you want visitors to take away from the exhibition? How will visitors think differently about chairs after viewing?
AC: I would like for visitors to leave with a new appreciation for chairs as both everyday objects and works of art. After seeing the exhibition, I hope they’ll start to think about chairs as more than just something to sit on—they’re thoughtfully designed objects that reflect the creativity and innovation of their times. Chairs can tell us a lot about the era they were made in, and I think visitors will start to see them in a new light.
RF: What will surprise visitors?
AC: I think visitors will be surprised by the wide variety of materials used to make chairs. Many of the chairs in the gallery are made from unusual materials, ranging from paper and plastic grocery bags to recycled refrigerator plastic and cardboard. The exhibition really showcases how creative designers can get. It’s amazing to see how they can take something ordinary and turn it into something completely unexpected.
RF: What can you tell us about materiality based on the chairs in the exhibition?
AC: This exhibition really highlights how important the choice of materials is in chair design. The materials don’t just affect how a chair looks—they also influence its functionality and durability. Whether a chair is made from synthetic clay, fiberglass, or laser-cut plywood, for example, it’s fascinating to see how that choice impacts the overall design. Materials are a huge part of the story each chair tells.
Photograph by Timothy Tiebout, courtesy Philadelphia Museum of Art.
RF: Which pieces use the most unusual materials or design techniques?
AC: Many of the chairs in the exhibition are so unique and creative in how they use materials and are made that they really make you rethink what a chair can be. One work that immediately comes to mind is Tejo Remy’s Rag chair (designed in 1991), which is made entirely out of old clothes that have been bound together. The design is a critique of our tendency to overconsume, but it also has a sentimental dimension. Since our clothes often hold special memories, this chair gives us a chance to create a kind of memory-filled treasure chest, if you will, that we can also sit on.
RF: Do you have a favorite chair in the exhibition and why this particular chair?
AC: While I don’t have a single favorite chair, I am particularly pleased to include several recent acquisitions in the exhibition that spotlight the work of Black designers like Jomo Tariku, Norman Teague, Mac Collins, and Cheick Diallo. The design field has historically centered white and Western perspectives and it is vitally important that we work to include other voices and narratives as well.
RF: Are there personal anecdotes associated with any of the chairs that you can share?
AC: Stefan Sagmeister’s Darwin chair on view in the show is one of only two prototypes that exist—this one is now in the PMA’s collection and the other one is in the Netherlands. Stefan lived with and used the PMA’s version for some time. The chair is such an interesting design and it offers a new interactive approach for sitters. It’s made from 200 sheets of Tyvek paper, each of which is printed with different patterns and colors that together tell the story of the creation and evolution of the universe. If the top sheet gets dirty or you get tired of it, then you can rip it off or flip it over the back of the chair. When Stefan lived with this chair, he ripped several sheets off.
Photograph by Timothy Tiebout, courtesy Philadelphia Museum of Art.
RF: Which designers prioritized comfort over artistic expression in their chairs?
AC: Not every designer puts comfort first. Some designers are more focused on experimenting with new forms and materials, so comfort isn’t always their main goal—sometimes they are more interested in making a visual statement. That said, Gaetano Pesce’s Up 5 chair (designed in 1969) is an example where material experimentation, form, and comfort are all important factors in the design. The chair was originally made from a new kind of expandable foam material available in the 1960s and the voluptuous, enveloping form was inspired by a female fertility figure. The chair is also comfortable and makes you feel like you’re getting a big hug when you sit in it.
RF: Which countries are represented by the designers?
AC: Most of the designers in the exhibition are from Europe and the U.S. You’ll see iconic pieces from countries like Italy, Britain, Germany, and The Netherlands, as well as Japan. Some recent acquisitions are by designers from Senegal, Ethiopia, and Argentina, reflecting our ongoing efforts to make the PMA’s collection more representative of global design trends and include more voices and perspectives from around the world.
RF: Why do we love chairs so much more than other pieces of furniture?
AC: Chairs are just a big part of our lives—everyone needs to sit down, and chairs are there for us in so many different contexts. Whether we’re relaxing at home, working in an office, or taking a break in a public space, chairs are always around, providing comfort and support when we need it. Plus, chairs are very personal; the one you choose can say a lot about your style, your comfort needs, and even your personality. We interact with chairs more than most other pieces of furniture, so they become more meaningful to us. They’re practical, but they’re also something we connect with on a deeper level, which is why they’re so fascinating.
Photograph by Timothy Tiebout, courtesy Philadelphia Museum of Art.