As a curator dealing with a small, but growing collection of 20th century
design objects, I have often grappled with the concept of what may be
considered an "authentic" or period, mass-produced object.

If an object was designed for mass-production and has remained in production
(through the original manufacturer), can a recent example be considered as a
object worthy of exhibition?  As with posthumous prints, does the designer's
death signal an end to the authentic, classifying all subsequent production
as re-production (e.g. Herman Miller's continuation of the furniture of
Charles Eames)?  My inclination is to say "yes", but I know of several
museum design collections that include recent examples of chairs, tables,
and other objects as examples of 1950s or 1960s design with only a small
notation of the actual date of manufacture.  The issue is only complicated
by matters of subtle construction and material changes in later editions,
late construction of unbuilt designs, as well as the continuation or
elaboration of designs through the work of the original designer's associates.

As the purpose of these collections vary, there has never been a simple,
single answer to any of these questions.  Regardless, I would be interested
in hearing how others have dealt with these issues within their own collections.


Kevin W. Tucker
Assistant Curator of Decorative Arts
Columbia Museum of Art
tel:803-799-2810
fax:803-343-2150
email: [log in to unmask]