From furniture to jewellery, Ettore Sottsass’ revolutionary legacy is an eclectic one

Installation view of ‘Ettore Sottsass: Design Radical
Installation view of ‘Ettore Sottsass: Design Radical’ at Met Breuer, New York City. Photography: Anna Marie Kellen. Courtesy of The Metropolitan Museum of Art
(Image credit: Anna Marie Kellen)

The visionary architect and designer Ettore Sottsass is being honoured front and centre at the Met Breuer in New York City, one of the most monumental celebrations (of the many) of his 100th birthday this year. With a career that spanned over six decades, Sottsass’ extensive body of work has been neatly distilled by the museum into a show spanning architectural drawings, interiors, ceramics, textiles, jewellery, painting, glass and of course furniture, that truly sums up the breadth of his talents.

Curated by Christian Larsen, associate curator of modern design and decorative arts, ‘Ettore Sottsass: Design Radical’ brings together some of the designer’s most recognisable works, including his ‘Carleton Room Divider’ (1981), ‘Tartar’ table (1985), Olivetti portable typewriter (1968), and ceramic vessels for Bitossi, and a selection of rarer ones. Of these, five industrial ceramic totems – ‘Menhir, Ziggurat’,‘Stupas’, ‘Hydrants’, and ‘Gas Pumps’ (1965–66) – originally displayed at Galleria Sperone in 1967, are the most commanding and reflect many of the principles, materials and techniques that subsequently formed the Memphis movement in 1981.

Ettore Sottsass exhibition pieces

Installation view of ‘Ettore Sottsass: Design Radical’ at Met Breuer

(Image credit: Anna Marie Kellen)

To palpably prove Sottsass’ enduring influence on the world of design and art, Larsen has also included several contemporary art and design pieces in the exhibition. Works by Donald Judd, the British design studio Oeuffice, Norwegian jewellery designer Millie Behrens and Studio Job easily demonstrate how Sottsass’ distinctive aesthetic has seeped into different aspects of the art and design world. Conversely, a selection of ancient totems, furniture by Koloman Moser, paintings by Paul Klee and Wassily Kandinsky delineate the early influences for Sottsass’ own output.

The exhibition is capped off with a special, limited-edition selection of Sottsass-designed and influenced products in The Met Store, available for purchase. From a colourful building block set by Out For Space and Oeuffice’s ‘Kapital’ Collection stools (featured in the exhibition) to objects and furniture designed by members of the Memphis movement, any acquisition visitors might take away will no doubt leave their lives a little brighter.

Ettore Sottsass: Design Radical

The exhibition opens with Studio Job’s bronze ‘Chartres’, 2009, and Sottsass’ Mobile ‘Giallo’, 1988-89. Photography: Anna Marie Kellen. Courtesy of The Metropolitan Museum of Art

(Image credit: Anna Marie Kellen)

Carleton Room Divider

The show brings together some of the designer’s most recognisable works, including his ‘Carleton Room Divider’. Photography: Anna Marie Kellen. Courtesy of The Metropolitan Museum of Art

(Image credit: Anna Marie Kellen)

Office chair (left) and Euphoria necklace (right)

Left, ‘Synthesis 45’ office furniture system, 1972. Right, ‘Euphoria’ necklace, 1985. © Studio Ettore Sottsass Srl

(Image credit: Anna Marie Kellen)

Paintings by Paul Klee and Wassily Kandinsky

Paintings by Paul Klee and Wassily Kandinsky. Photography: Anna Marie Kellen. Courtesy of The Metropolitan Museum of Art

(Image credit: Anna Marie Kellen)

Ceramic totems

Five industrial ceramic totems – ‘Menhir, Ziggurat’, ‘Stupas’, ‘Hydrants’, and ‘Gas Pumps’ (1965–66) – reflect many of the principles, materials and techniques that subsequently informed the Memphis movement in 1981. Photography: Anna Marie Kellen. Courtesy of The Metropolitan Museum of Art

(Image credit: Anna Marie Kellen)

Mizar vase (left) and Ivory table (right)

Left, ‘Mizar’ vase, 1982. Right, ‘Ivory’ table, 1985. © Studio Ettore Sottsass Srl

(Image credit: Anna Marie Kellen)

Furniture by Koloman Moser

Furniture by Koloman Moser. Photography: Anna Marie Kellen. Courtesy of The Metropolitan Museum of Art

(Image credit: Anna Marie Kellen)

The Societies on This Planet Bed

‘The Societies on This Planet Bed’, 1992; ‘Architettura Trumeau’, by Piero Fornasetti, 1913-1988; and Gio Ponti, 1891–1979. Photography: Anna Marie Kellen. Courtesy The Metropolitan Museum of Art

(Image credit: Anna Marie Kellen)

Ettore Sottsass: Design Radical

Left,‘Omaggio 3’, 2007. Right, ‘The Structures Tremble’, 1979. © Studio Ettore Sottsass Srl

(Image credit: Anna Marie Kellen)

Installation view of ‘Ettore Sottsass: Design Radical

Installation view of ‘Ettore Sottsass: Design Radical’. Photography: Anna Marie Kellen. Courtesy of The Metropolitan Museum of Art

(Image credit: Anna Marie Kellen)

Glass works by Japanese designer Shiro Kuramata

Glass works from 1934 –1991 by Japanese designer Shiro Kuramata. Photography: Anna Marie Kellen. Courtesy of The Metropolitan Museum of Art

(Image credit: Anna Marie Kellen)

INFORMATION

‘Ettore Sottsass: Design Radical’ is on view until 8 October. For more details, please visit the Met Breuer website

ADDRESS

Met Breuer
945 Madison Ave
New York NY 10021

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Pei-Ru Keh is a former US Editor at Wallpaper*. Born and raised in Singapore, she has been a New Yorker since 2013. Pei-Ru held various titles at Wallpaper* between 2007 and 2023. She reports on design, tech, art, architecture, fashion, beauty and lifestyle happenings in the United States, both in print and digitally. Pei-Ru took a key role in championing diversity and representation within Wallpaper's content pillars, actively seeking out stories that reflect a wide range of perspectives. She lives in Brooklyn with her husband and two children, and is currently learning how to drive.