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But in this case, the humility didn’t last long

now stops at the MCA for an exhibit devoted to the Rockford artist

And now it becomes commentary on this Rockford, Ill., native, the son of African immigrants who was discovered in part as a result of getting his tee shirt designs printed in a Chicago shop, finding his way into a leading art museum, with a retrospective at the tender age of 38.

When MCA Chief Curator Michael Darling first started talking to Abloh about a potential exhibition featuring the multi disciplinary designer’s work, Abloh was still very much on the “rising” part of his star trajectory.

He had just done his first Paris Fashion Week menswear show for Off White, the streetwear meets high fashion brand that’ll sell you a $600 sweatshirt or $1,000 jeans with the word “WHITE” printed across the front of the hips. Open tennis dress for the sportswear brand.

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He hadn’t made furniture or rugs for Ikea, the latter notable for the words “KEEP OFF” and “BLUE” (on a red rug) printed in the center. He hadn’t been named creative director for the venerable old line fashion house Louis Vuitton, purveyor of fusty bags for ladies who lunch turned early adopter of a fashion sensibility borne of skateboarding in the streets of Rockford, endless Tumblr scanning and posting, deejaying at music venues and paying close attention to what the kids are wearing.

Now all of those things have happened for Abloh, the middle class son of Ghanaian immigrants who spent formative years studying engineering at the University of Wisconsin, then architecture at Chicago’s 1:1 replica handbags Illinois Institute of Technology.

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You might call this effect the “MCA bump,” except, really, it’s the MCA that’s in a position to receive the Virgil bump. Monday will bring another jewel in the Abloh crown: “Figures of Speech,” the first museum exhibition showcasing the work deconstructionist, appropriative, at once steeped in contemporary popular culture and pushing back against it of the artist who still maintains his primary residence in Chicago, despite many fake designer bags hours spent elsewhere on the globe.

If the main challenge for old line museums is to attract a younger crowd in order to stay vital, one solid answer is for an institution like the MCA to devote the fourth floor space used for big special exhibits to the work of an emerging artist who has been Kanye’s (as Darling puts it) “consigliere,” who has deejayed at Coachella and Lollapalooza, who has helped shape the trend in fashion away from special event frou frous and toward everyday wearables.

Indeed, the MCA is so hyped high quality designer replica handbags about the potential for this show that it began selling tickets last November, and Darling, during a walk through of the exhibition in progress early this week, mentioned the possibility of 200,000 people coming through to see it during its three month run here. That’s only a guess, of course, and while those wouldn’t be record numbers, those are strong monthly figures reminiscent of the attendance posted by the museum’s recent Takashi Murakami show.

The look at the Japanese pop artist’s career, also curated by Darling , did set an MCA record. Murakami, not coincidentally, has also collaborated with West, and with Fake Louis Vuitton Replica Bags Abloh, and replica louis vuitton handbags while he is high quality replica handbags china primarily a painter rather than a clothing designer high quality designer replica handbags , he, too, embraces an unabashedly commercial and frequently collaborative approach to making work.

“I was daunted” by the prospect of a retrospective show, Abloh said. “This was always the goal, you know. I would’ve thought that it might have even come later, but it was very much, as it turned out, in step and in time. I think that’s a testament to Michael Darling and how he curates shows in his field.”

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In their initial conversations, Darling said something to him that resonated with the artist, Abloh recalled. “He was explaining how the Museum of Contemporary Art of Chicago is always trying to define, like, the leading edge of contemporary art. And he said, you know, most museums of contemporary art could be looking for the next sort of Andy Warhol Designer Louis Vuitton Replica Handbags ,” said Abloh. “He was like, I think that that next person could be you That’s the context that he put it in that stuck in my mind.”

Darling wasn’t so explicit about Warhol in our conversation about Abloh. But he did mention Marcel Duchamp, the Frenchman who essentially invented so much of contemporary art in the early 20th century by putting his signature on store bought objects such as a urinal and a bottle rack and proving that they could be thus turned into “art.” A Duchamp bottle rack is a recent prized acquisition of the Art Institute of Chicago.

“Duchamp is my lawyer,” Abloh has declared, in reference to his practice of building on objects ready made, changing them by, in his perhaps inexact formulation, 3 percent to make them into something new.

These “borrowings, rebrandings, claimings, critiques and deconstructions have all the hallmarks of Duchampian irony,” Darling writes in his introductory essay to “‘Artwork,'” the boldly engaging catalog that accompanies the show. Open Serena dress said in his now familiar all caps and quotation marks above the Nike swoosh on the left breast. That dress will be in replica louis vuitton the exhibition, along with one he designed for Beyonce to potentially wear on the cover of Vogue (another look was chosen).

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Yet for all the bravado of replica designer handbags Abloh’s vision, his first thought when Darling approached him, the curator recounts, is that Darling wanted him to deejay at a museum function. A thing everybody who has worked with Abloh seems to mention in lengthy profiles in the likes of GQ and the fashion press is that he is relentlessly upbeat and drama free to work with. But in this case, the humility didn’t last long.

“His second comment,” writes Darling, “was that all of the work he had been doing up replica louis vuitton bags to that point was exactly in order to get the attention of a curator and to be featured in an art museum.”

The show will, of course, have its own pop up shop, a fourth floor collaboration between the artist, who designed it, replica louis vuitton and the museum that’ll be called, cleverly enough, “‘Church State.'” There’ll be tee shirts at Off White price points, the museum has said, including some greatest hits from Off White collections past, but there’ll also be shirts closer to MCA price points. The sneaker Abloh is designing for the exhibition won’t be on sale in store, but rather when it drops via the Frenzy app, and is likely to sell out as quickly as fingers can manipulate iPhones.

The show itself was still in rough form early last week. That’s partly a testament to Abloh’s openness to last minute inspiration; he had just changed the soundscape for the big, second room paying tribute to his deejaying side gig, Darling said, from music to some of the introductory audio he has played before fashion shows, including the aforementioned quote from “Pretty Woman.” But that’s also the nature of museum exhibitions, which seem more typically to be mounted with hours rather than days to spare.

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Its outlines, though, suggested an immersive, multidisciplinary experience, light on the artist’s personal story, perhaps, but heavy on his work, of which Abloh like David Bowie in the same space half a decade earlier has been a prodigious self collector.


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