Scraps = Fashion Design

Poly “fabric” and tote by Milan’s Luisa Cevese, featuring artfully arranged clumps of recycled silk thread.

On Earth Day weekend, there’s no better place to contemplate beauty, fashion, and style than walking through the Cooper-Hewitt’s show “Scraps: Fashion, Textiles, and Creative Reuse,” on display through April 23.

The curators decided to shine a spotlight on several designers who have been inspired to probe ways in which cast-offs from garment and fabric manufacturing can be turned into fashionable, beautiful items so that the ever-churning cycle of production can become more of a closed loop and rely less upon consumption of raw material.

Luisa Cevese, a Milan-based designer who worked in research for Italy’s high-end silk industry, wondered if there was a way to recycle the waste from the production process – large quantities of silk selvedge (ends) and assorted silk threads thrown off from the looms. The Smithsonian shows us a collection of her results – waterproof polyurethane bags featuring these colorful production scraps in stripes or whimsical arrangements. Take a look at the Flickr album.

Christina Kim’s choga and slip made from recycled hand spun, hand woven cotton saris.

Luisa was encouraged and inspired by the attitude toward recycling in India, where no one can afford to waste the precious fabric used in saris. When someone’s done with an old, worn-out sari, they are cleaned, repaired, and refashioned for buyers on the secondary market. Hems might be shortened, or other alterations made. Luisa gave the same treatment to these bits of exotic silk – embedding scraps into polyurethane for re-use in other items.

Christina Kim, based in Los Angeles, has long worked with local artisans in India and Mexico to repurpose scraps into full garments and scarves so that there is zero waste. Her approach represents a commitment to sustainable fashion that is not out of sync with other, more large-scale manufacturers. Check out some of the processes used on the exhibition site.

Watch this video of a recent conversation between Eileen Fischer and Patagonia’s Nellie Cohen at the Cooper Hewitt about how their clothing companies are reusing textiles and innovating a “closed production cycle”.

Adrian Goes Beyond Hollywood at FIT

1949 Vogue magazine spread with Adrian’s dress of Bianchini-Férier silk taffeta

The FIT graduate students have hit the mark again in their show Adrian: Hollywood and Beyond, running through April 1 at the upstairs museum gallery.

Although there are film clips aplenty showcasing the Hollywood designer’s work, this exhibition explores the connection that Adrian made between his work on the silver screen, his collaboration with American and French fabric designers, and addressing the ready-to-wear market.

After achieving worldwide recognition for his glamorous Hollywood costumes and the iconic Americana gingham dress in The Wizard of Oz, Adrian thought he might go slightly more mass market. Why not capitalize on the ability to channel an American sensibility and Thirties glamour and make it more widely accessible?

Organic piecing in an artistic 1945 ready-to-wear evening ensemble

A lover of art and fan of surrealism, Adrian opened his first salon in Beverly Hills in 1942 and collaborated with American fabric manufacturers to give the added zing to his collections.

Right from the start, Adrian offered customers amazing cuts on sharp suits, intricate construction (go, mitered seams!), fool-the-eye appliques, and exquisite draping of innovative, bold prints.

The curators cleverly present swaths of uncut fabric next to print ads featuring Adrian’s creations using the same bold designs – leopard print, surrealist-inspired fantasy, and even festive chickens from the farm. It’s all flair from start to finish, and a nice focus on a time when fabrics were made in America, Seventh Avenue (and Hollywood) ruled, and consumers craved quality.

Although Adrian continued designing for Hollywood right through his ready-to-wear years, the show ends with Technicolor clips from films that include dramatic fashion shows featuring fantasy clothes for beach, sun, and salons.

1952 fashion-show costume from Lovely to Look At

As always, the FIT student crew has created a beautiful web exhibition for the show, but you can also look closely at the details on some of our favorite Adrian flourishes and fabrics in our Flickr album.

Great work, FIT graduates!

Magical Masterworks End Tour at Met

Boy’s 1870-1900 hide shirt decorated in glass beads in geometric pattern by female Crow artist

Exquisite detail and spiritual power are evident in every item showcased in the Metropolitan’s show, Native American Masterpieces from the Charles and Valerie Diker Collection, closing March 31.

The Dikers have spent a lifetime collecting objects of incredible detail, spirit, and beauty and sharing truly dazzling works with the public, most recently in the Indigenous Beauty show which ends its national tour here in New York.

Every time we have visited the small showcase inside the Met’s African and Mesoamerican galleries, visitors have been pouring over every detail of the weave, beadwork, paint, inlay, and woodcarving on the masks, clay jars, baskets, shirts, coats, hats, headdresses, war shields, and hide canvases on display.

Magical colors, geometric patterns, attached talismans, and even mysterious paint splotches pack powerful messages as animals, spirit-creatures, and half-human beings emerge in two and three dimensions.

1840s man’s European-style hide coat created by a female Naskapi artist in Labrador

The majority of artwork and clothing dates from the 19th and early 20th centuries, but pieces are earlier, such as a nearly perfect Anasazi clay pot from 1100 A.D., which uses geometric 2-D wizardry on the curved surface to convey the interconnection of underground water reservoirs that enable agricultural communities to thrive in the Southwestern desert.

Native designs and magical powers are sometimes merged with European style, as in a man’s painted hide summer coat, which was created by a female Naskapi artist from Labrador, Canada. Designed inspired by European coats, with images for a good hunt, but worn by the hunter for only one season

The curators have taken care to cite the artists in cases where they are known, such as an1880s buffalo-hide shield painted by Joseph No Two Horns, a Lakota artist who participated in the 1876 Battle of the Little Bighorn.

1910 woven quilled basket and 3D lid by Elizabeth Hickox of Northern California

The show puts a spotlight on innovators, who began making monumental works for collectors, such as the large pottery jar by Nampeyo, the first well-known Hopi artist and Elizabeth Hickox, who became known for her three-dimensional embellishments in woven basketry in Northern California.

Enjoy all of the details of our favorites from this show in our Flickr album.

Tiffany Again Illuminates the Carnegie Mansion

Tiffany’s glass vases against De Forest’s stenciled walls of the Teak Room

If you’d like to experience a few moments surrounded by the splendors of the Gilded Age in America, climb the staircase inside the Carnegie Mansion (Cooper Hewitt) and enter another world. As a tribute to the mansion’s second-floor renovation, Cooper Hewitt mined its own collection and borrowed key pieces as part of the installation, Passion for the Exotic: Louis Comfort Tiffany and Lockwood de Forest, closing March 26.

You’ll find yourself in a quiet mystical room that served as the Carnegie family library when it was first designed in 1902 by Lockwood de Forest, a superstar of the Aesthetic movement. The Smithsonian has brought the room back to its original glory, carved teak, stenciled walls, and all.

Paying tribute to Mr. Carnegie’s passion for all things Tiffany, the curators have brought out their lamps, lit them up, and borrowed a magnificent turtleback Tiffany chandelier that is close to original. The effect of low light emanating through all the iridescent glass and illuminating the walls and built-in cabinet is unusually magical.

Painted bronze and blown glass Turtleback glass chandelier by Tiffany Studios, 1910

The design triumph is even more interesting when you think that at the time, 92 percent of New Yorkers did not even have electricity. So, this installation is not only beautiful, but stands as a 1902 example of cutting-edge technology and avant-garde design.

Take a look at our Flickr album, showing the objects in the room, and explore each one and its provenance on a special page on the Cooper Hewitt website.

So, how did this seemingly perfect collaboration interior embellishment, light, and the exotic happen? De Forest and Tiffany, who began working together in the 1880s, both shared a passion for the intricate designs of the Middle East and India. Each globetrotter had seen Indian interiors firsthand and felt their American design practices would benefit from exotic infusions.

Electrified Dragonfly Lamp designed by Clara Driscoll, who led the Women’s Glass Cutting Department

Tiffany and de Forest once were business partners, but after that dissolved, they kept working together on a project-by-project basis. De Forest brokered a deal with a workshop in Ahmedabad in Gujarat, India, to manufacture decorative teak wood and brass panels that he designed for his own and Tiffany’s interior-design clients.

So the installation at the Cooper Hewitt is your chance to experience the magic of one of America’s great design collaborations.

To give the room a unique aesthetic glow, De Forest stenciled the wall in yellow lacquer to create an illusion that he associated with Indian screens. The teak details, inspired by Indian design, and the built-in cabinet inside Mr. Carnegie’s room came from the Gujarat workshop.

The Teak Room is currently the most complete De Forest interior still in existence in the site for which it was created. Seeing this work, lit by the glow of the Tiffany lamps and decorated with other Tiffany decorative objects, is a must.

Japanese-inspired Tiffany desk set, 1910-1920.

And when you climb the grant staircase to the second floor, you can also take advantage of the interactive display at the top of the stairs, which is loaded with history about the mansion and photos showing the original interiors.

If you want to soak in more of Tiffany’s prowess, watch Ben Macklowe’s Cooper Hewitt livestream on the master’s background, influences, technology, and business and find out what happened to the Tiffany-designed rooms at the White House:

Sixties Bus and Jag Pulling Out of MoMA

1967 bus by Mason Williams and Max Yavno with designer autographs from MoMA’s 1968 Word and Image show, with Joshua Light Snow’s 1967 Liquid Loops

Big alert to baby boomers: Only a little time left to catch MoMA’s big Sixties bus that’s parked on the fourth floor in a room filled with psychedelic posters and a Fillmore-style rock show light extravaganza. It’s all part of the crowd-pleaser of a show that’s been in residence for about a year – From the Collection: 1960-1969, closing March 19.

The curators cleared out the floor and organized their permanent collection year by year, taking you through every movement, ism, and trend in contemporary art of the Sixties, from Rauchenberg’s combines from his downtown loft, to Christo’s wraps, to Warhol’s Pop, the psychedelic revolution in poster and cover art, and the rise of women taking on the art establishment (go, Eva Hesse and Lynda Benglis!). Except for the room with the Beatles and the bus, it’s like vintage Artforum come to life.

Wall of 1967 psychedelic posters publicizing East and West coast rock bands

MoMA called upon six of its departments to assemble the look, touch, and feel of the decade, from scrappy mix-it-up works to minimal plastic design and flat-out revolts to the museum world.

The first room features an sleek Jaguar roadster from the design department, the first commercially produced car to resemble racers. It’s a reminder that aerodynamic lines of 1961 swinging London were a harbringer of things to come as imaginations and images turned to space, rockets, and the future as the years of the Sixties ticked by.

See shots of some of our favorites in a chronological gallery walk in our Flickr album. The decade begins with Bubble wrap (thanks again, design department!) and concludes with NASA Apollo photographs.

The aforementioned bus is actually a flat 1967 display that MoMA kept in its warehouse that was designed by Mason Williams and Max Yavno MoMA’s 1968 poster show Word and Image. It’s covered with autographs of Milton Glaser and other famous designers whose work was featured in the original show.

Jaguar’s aerodynamic 1961 E-Type Roadster sharing space with a Lee Bonticou work

For the rest of the weekend, the bus serves as kind of a boomer hangout. The Avedon Beatles (distributed in magazines worldwide to promote their Sgt. Pepper transition) and other iconic rock images are in the room.

Other hang-outs for different populations include the cushion-cubes near the video monitors showing analog reel-to-reel videos from the years when Portapak video cameras were born (remember when video cameras weren’t on your phone?) an cool art hounds entranced by all four walls of Mr. Rosenquist’s mind-blowing F-111 masterwork. It’s installed just as Mr. Castelli did way back when.

Hear what James Rosenquist was thinking in 1964 as he created his iconic wraparound painting, F-111. Thank you, MoMA!

 

Revolution Inside MoMA

1915-1917 Suprematist works by Kazimir Malevich

1915-1917 Suprematist works by Kazimir Malevich

The Museum of Modern Art has pulled 260 paintings, films, magazines, books, drawing, porcelain, posters, and paraphernalia from its collection to take us back 100 years and tell the story of one of the most astonishing artistic and political breakthroughs of the 20th century in A Revolutionary Impulse: The Rise of the Russian Avant-Garde, closing March 12.

While Picasso and company were breaking boundaries in Paris, the Russians exited the war years by overthrowing their monarchy, getting rid of classical style, inventing non-objective picture making, and creating forms of revolutionary works that could reach the masses.

Lyubov Popova’s 1917-1919 print showing Cubo-Suprematist style

Lyubov Popova’s 1917-1919 print with Cubo-Suprematist style

Creativity, artistic manifestos, photo mash-ups, new cinematic forms, and philosophical inventions poured forth like an avalanche between 1913 and 1923.

The curators at MoMA have organized the show chronologically to try to give context to the players and the “isms” that were being invented and then upended by the next new thing – Rayonism, Cubo-Futurism, Suprematism, Constructivism.

The artists truly believed that abstraction and upheaval from classic style would usher in the utopia envisioned by the fall of the Czar, hence the profusion of experimentation in theater, film, photography, cinema, books, textiles, household goods, and publishing.

Easel painting was a no-no. Manifestos, how-to-do-it manuals, and Suprematist road shows were the norm. Due to MoMA’s dedicated collecting in this almost-forgotten period, all of the art, tools, passions, and beliefs are brought to life in the show.

1928 magazine covers by Rodchenko for New LEF: Journal of the Left Front of the Arts

Rodchenko’s 1928 magazine covers for New LEF: Journal of the Left Front of the Arts

MoMA allows gallery goers to peek inside two of its most notable books in its Russian collection through digital touchscreens – Malevich’s 1920 portfolio of Suprematist drawings and El Lissitzky’s 1922 illustrated children’s book Of Two Squares.

El Lissitsky’s unbound prints from his historic Proun manifesto are mounted across the wall of the fourth gallery, allowing close examination of the masterful lithographer.

The latter galleries focus on 1920s Cubo-Futurist theater costumes and stage sets, breakthrough cinema techniques (with three films screening simultaneously in an immersion room), mass-market publications, and posters advertising films and sporting extravaganzas. See examples of all on Flickr.

El Lissitzky 1923 litho honoring the 1920 restaging of the Cubo-Futurist opera “Victory Over the Sun”

El Lissitzky 1923 litho honoring the 1920 restaging of the famed Cubo-Futurist opera Victory Over the Sun

Everywhere you look, Rodchenko’s innovative typography, photographs, and layouts are jumping out, demanding attention. Among the more unusual surprises are Rodchenko’s branding for the state airline and the modernist  layouts in the 1925 Kino-Pravda films used to tell the public the status of Lenin’s vital signs during his final days.

The innovations created by this group of artist-revolutionaries would soon be undone by the Stalin’s preference for social realism. But although he stamped out Russian modernism in his day, the white-on-white Malevich, El Lissitsky’s fourth dimension, Vertov’s lightening fast film edits, and Rodchenko’s tilting letters still pack the punch on MoMA’s white walls nearly 100 years after they were created.

Take a look at some of our favorite pieces on Flickr, and watch a brief orientation to the show by MoMA curator Sarah Suzuki.

Mark Leckey Mixes It Up at MoMA PS1

Mark Leckey’s 2013 Felix the Cat, a tribute to TV’s first celebrity.

Mark Leckey’s 2013 Felix the Cat, a tribute to TV’s first celebrity.

It’s the last weekend to take a walk through the output of the creative mind of an award-winning British artist MoMA PS1, which has dedicated its top two floors of the schoolhouse to Mark Leckey: Containers and Their Drivers. Film assemblages, appropriated pop images, and funky juxtapositions are served up to everyone plucky enough to climb the stairs and peek around corners.

Visitors take an eclectic journey through a labyrinth of video galleries, movie rooms, and installations. The highlight is his 1999 breakthrough film about UK trance-dance culture, Fiorucci Made Me Hardcore, using found footage.

Several small rooms include meditations on RCA’s first TV transmission in 1928 using a Felix the Cat. For added punch, Leckey adds his own inflatable oversize Felix to the gallery.

Mark Leckey’s 2001-2001 Sound System sculptures, which communicate all on their own

Mark Leckey’s 2001-2001 Sound System sculptures, which communicate all on their own

The intimate viewing experience is punctuated by large-scale installations of provocative work that asks visitors to reconsider their experience of everyday objects.

One major room contains towers of low-range, mid-range and high-range frequency speakers that emit tweets and signs, programmed to converse. Their range of sounds make one recollect times in Leckey’s early career, when he used his speaker-towers in showdowns with other large, inert behemoths, such as gigantic quarry rocks or Henry Moore sculptures. Visitors slow down to get close to the structures and wait for them to speak.

Installation view of The Universal Addressability of Dumb Things (Machine), with costume, Lego ship, copy of a 1959 Soviet space dog suit

Installation view of The Universal Addressability of Dumb Things (Machine), with costume, Lego ship, copy of a 1959 Soviet space dog suit

Other large-scale installations are from Leckey’s recent project to “collect” interesting art and artifacts inside his computer, assemble them into virtual installations, and then reproduce it all in 3D. Leckey’s multi-part project, The Universal Addressability of Dumb Things, is depicted in the Flickr album here. The objects are carefully placed but it takes a (literal) scorecard in the gallery to discern what you’re seeing – a copy of a work by another young artist, an engineering model, or fantastical emanation of Leckey’s own mind.

The two ends of a mysterious, dark gallery with fluorescent painted figures are anchored by archeological fragments of the mythological past, except that the fragments are 3D-printed copies.

Traversing one floor, sounds emanate from Leckey’s 2010 green room/shrine. Enter to find a large fluorescent fixture above, a quiet crowd just taking it all in, and the focal point — a talking Samsung smart refrigerator that steals the show. The refrigerator holds court, surrounded by fantasy videos of itself hurtling through time and the cosmos.

Check out Leckey’s 2010 video of the GreenScreenRefrigerator to hear what’s inside the mind of his smart appliance and contemplate a future dominated by the Internet of Things.

All in the Details: The Met’s Fashion Masterworks

French 1790s tailcoat with ombré silk satin stripes, typical of young men’s post-revolutionary fashion

French 1790s tailcoat with ombré silk satin stripes, typical of young men’s post-revolutionary fashion

When the Met unpacks masterpieces from its costume collection and talks about its acquisition strategy of late, it pays to take a very close look.

To celebrate 70 years of the Costume Institute, the Met has showcased its recent acquisitions in Masterworks: Unpacking Fashion, beginning with the 18th century when fashion-forward meant exquisite textiles, weaving, embroidery, and tailoring. In those days, all the rich textiles were loomed by hand.

The crisp, clean dresses and dressing gowns on display are in superb condition, showcasing the skill taken in the smallest jacquard, sheen, stripe, set-in sleeve, and pannier. See what we mean as we zero in on the fine details in our Flickr album.

Look closely and you’ll see the 18th-century silk gown embellished with three types of silver thread to maximize its glitter power by candlelight. Enjoy the dazzling stripes of post-Revolutionary menswear and gender-referenced ladies’ jackets.

Poiret’s 1911 kimono-inspired draped silk damask opera coat embellished with silk cord

Poiret’s 1911 kimono-inspired draped silk damask opera coat embellished with silk cord

The 19th-century was all about the rise of the designer label, even though ready-to-wear was rearing its head by the turn of the century. The Met showcases a gem acquired from the Brooklyn Museum collection in 2009, a butterfly gown by Worth, the first designer who truly became a household name. Check out the handwork on those butterflies.

In 1903, Poiret began a two-year stint at Worth, but recognized that as he saw well-heeled clients in crinolines, bustles, and coronation-worthy garb, a new revolution in style was percolating.

In record time, Poiret founded his own fashion house, offering women more ease and artistry as they adopted a more liberated, 20th-century lifestyle. Poiret’s 1911 opera coat shows his unique combination of luxurious fabrics, the column-shape kimono look, and bold artisan knotting for women looking for a fashion-forward twist.

Azzedine Alaia’s 1994 slinky, downy knit dress next to its inspiration, “La Sirene” (1951-52) by legend Charles James

Azzedine Alaia’s 1994 slinky, downy knit dress next to its inspiration, La Sirene (1951-52) by Charles James

Nearby, Madame Vionnet’s transparent Twenties frock with Futurist embroidery still looks right today.

Throughout the show, closing this weekind, the Met pairs contemporary looks with the more classic and iconic styles that inspired them –  Galliano with 1780s French dandies, the 2015 House of Dior with the original “New Look,” and Alaia next to Charles James. How does Mr. James do it? A close look at the pairings reveals new takes on pleating, finely turned collars, custom-created textile, and engineering marvels.

Look at Balenciaga’s perfectly cut minimal silk gazar dress that billows out as one enters a room. Or Thom Browne’s masterful appliques on men’s and ladies’ looks from last year. Or Sarah Burton’s fool-the-eye butterfly dress for McQueen. The wings are really feathers.

Sarah Burton’s 2011 McQueen dress uses feathers cut, dyed, and painted to resemble butterfly wings

Sarah Burton’s 2011 McQueen dress uses feathers cut, dyed, and painted to resemble butterfly wings

Many stunning recent works were donated by designers to honor the retirement of legendary Met curator Harold Koda, who turned over the reins of the Costume Institute to Andrew Bolton. What a tribute!

Donatella donated a reproduction of her brother’s iconic safety-pin dress. Comme des Garcons donated a mind-bending crochet-and-lace frock by Rei Kawakubo.

Visit the exhibition site to see the gallery installations, check out the Flickr album for details, and join assistant curator Jessica Regan in a brief video overview of this exquisite show.

Dreamlands Immersion at The Whitney

1970 video recreation of Oskar Schlemmer’s groundbreaking 1922 Triadic Ballet at the Bauhaus

1970 video recreation of Oskar Schlemmer’s groundbreaking 1922 Triadic Ballet at the Bauhaus

As soon as you walk into the Whitney’s show, Dreamlands: Immersive Art and Cinema, 1905-2016, you are face-to-face with a giant screen on which stylized robotic dancers perform what seems like a space-age, mechanized dance.People are lounging on giant foam blocks, watching the colorful piece unfold. But most of the visitors are unaware that the seeds of this startlingly modern performance, shot in 1970 for German television, is a recreation of an innovative, theater-dance piece that’s 95 years old — The Triadic Ballet that Bauhaus director Oskar Schlemmer created in 1922.

2012 recreation of Fischinger’s 1926 three-screen abstract movie Ramlichtkunst

2012 recreation of Fischinger’s 1926 three-screen abstract movie Ramlichtkunst

There’s a lot of history-tripping in this exciting retrospective, which closes this weekend. Everything in the show is pulled from the Whitney’s own collection – a rare chance to experience hard-to-display movies, slide shows, and interactive experiences. Take a look in our Flickr album to glimpse some of our favorites.

To see it all, you twist and turn through labyrinths, enter through darkened curtains, and explore mysterious giant boxes positioned throughout the 18,000 square-foot space.

Sometimes you’re wading through mountains of discarded 16mm film from the Sixties by Jud Yalkut. Sometimes you’re watching others whirl in the dark to activate light patterns on the walls and ceiling. Sometimes you’re staring into a wall-size projection of the mushroom cloud in Bruce Conner’s Crossroads montage.

Still from Porter’s 1905 film of a real-life electrified dreamland Coney Island at Night

Still from Porter’s 1905 film of a real-life electrified dreamland Coney Island at Night

At every juncture, there’s something new, exciting, provocative, and challenging. The big surprise is that the pieces are from the entire span of the 20th century, beginning with Edison’s double whammy – the invention of the electric light bulb and motion-picture camera – as presented in the 1905 film he commissioned, Coney Island at Night.

In addition to Triadic Ballet, 1920s Germany is also represented by a colorful three-screen abstract movie installation by Oskar Fischinger, who was later hired by Disney to create some of the initial concept art for Fantasia, the animated concert-movie extravaganza that is also represented in the show.

Vanderbeek’s 1963 Movie Mural screens flashing with abstract and pop images

Vanderbeek’s 1963 Movie Mural screens flashing with abstract and pop images

Stan Vanderbeek’s roomful of projectors represents the Sixties, displaying a cacophony of simultaneous pop-culture images and abstract films on a crazy array of mismatched screens.

Bringing the collection up to date, visitors stop for selfies in front of the neon-flanked exterior of “Easternsports”, an immersive, candy-colored 2014 installation by Philadelphia artists Alex Da Corte and Jayson Musson. Just sit and smell the oranges as robotic actors go through their potty-mouthed paces in the four-screen room.

Peek into Easternsports via The Whitney’s look-about YouTube video. Move the arrows on the upper left navigator to look around and find the skateboarder crossing all the screens.

Steyerl’s 2015 immersion room showing Factory of the Sun, where avatars mimic YouTube dancers

Steyerl’s 2015 immersion room showing Factory of the Sun, where avatars mimic YouTube dancers

 

Enter a futuristic lounge to watch Hito Steyerl’s 2015 “Factory of the Sun,” a fake newscast-documentary about workers who are forced to dance to generate sunlight. The mysterious, high-energy saga has everything from anarchists at the World Bank to YouTube sensations inspiring Japanese avatars.

The giant video is a challenging and provocative burst of energy to end your Dreamlands odyssey and nice bookend to the Triadic Ballet rebooting next door.

Hamilton Still Onstage at NYPL in Digital Form

Hamilton’s 42nd Street show

Hamilton’s 42nd Street show

Hamilton’s had quite a year, and he has taken his final bow at the New York Public Library’s show Alexander Hamilton: Striver, Statesman, and Scoundrel at year end. But don’t worry — the NYPL is providing most of its Hamilton treasure trove online.

Throughout the holiday season, crowds jammed into the tiny first-floor gallery, pouring over Hamilton’s books, records, letters, and inspirations as they worked their way through the various facets of the founding father’s sometimes upside-down life.

Pulling from the NYPL’s divisions for maps, rare books, and picture collections, the curators did a fantastic job of retelling Ham’s story from the non-hip-hop perspective.

What was he thinking? NYPL highlights the core of Hamilton’s Reynolds pamphlet

What was he thinking? NYPL highlights the core of Hamilton’s Reynolds pamphlet

But if you hanker to read the full Reynolds pamphlet or leaf through Ham’s draft of the General’s farewell address, click here to experience the full majesty of the NYPL’s page-turning digital collection. Click on each image to explore the details of the engravings and zero in on the handwriting. It’s a unique chance to get up close and personal with Hamilton, like a backstage pass to everyone’s must-see show.

Download the exhibition brochure and walk through the NYPL’s fantastic digital archive of their Hamilton papers. Here is our Flickr album of some of our favorite sights in the beautifully staged first-floor showcase to this revolutionary Broadway superstar.

Politics gets ugly in 1804

Politics gets ugly in 1804