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.

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.

Antonio Lopez: When Fashion Danced Off the Page

Antonio's 1986 Vanity illustration of Tina and Mick Jagger

Antonio’s 1986 illustration of Tina and Mick Jagger for Vanity

Music, fashion, and art were never mixed up so deliciously as when Antonio was working in the studio, surrounded by breakdancers, supermodels, street accessories, and couture. Glimpse the pulsing lines and beat at El Museo del Barrio’s celebratory exhibition Antonio Lopez: Future Funk Fashion through this weekend.

With his partner, Juan Ramos, the dynamic duo changed the way the fashion industry thought about drawing, line, color and style, infusing the typically staid haute couture with ethnic twists, flair, and celebrity in a way no one before had dared. Pencil or conte crayon in hand, Antonio broke down barriers and walls, infusing the New York and Parisian fashion worlds with lively banter, music, and beauty that only a savvy, streetwise Puerto Rican New Yorker could.

The show is a tribute to the 360-degree life that produced the America’s greatest fashion illustrator during the Mod- and disco-infused Sixties and Seventies.

Dynamic 1973-74 pencil drawing for Gentleman’s Quarterly magazine

Dynamic 1973-74 pencil drawing for Gentleman’s Quarterly magazine

The early work from the Seventies is tight, controlled, and more-or-less a jigsaw puzzle of drafting mastery. Witness the Gentleman’s Quarterly illustrations mixing menswear, muscle, and motorcycles, which were considered too racy for the day. Futurist angles, pointed pencils, and lavish details will blow you away.

Around the same time, American master Charles James took note of this FIT wunderkind, asking Antonio to document his entire archive of sumptuous gowns and daywear. Although this ten-year collaboration is not featured in the Fifth Avenue show, look here to see the digital library of Antonio’s work for James, now in the collection of the Chicago History Museum.

As the style cauldrons of Fiorucci, Max’s Kansas City, and Studio 54 amped up, Antonio and Juan began curating their entourage of uptown and downtown style divas, which included legends Jessica Lange, Jerry Hall, and Grace Jones.

Photo of Antonio surrounded by "Antonio's girls" in the 1980s Installation views of “Antonio Lopez: Future Funk Fashion” El Museo del Barrio New York, New York June 14 – November 27, 2016

Antonio’s Girls surround him in the 1980s

The message: live and draw large. Subjects for illustrated fashion spreads were styled, posed, and recorded in Antonio’s hand, all to a pulsing beat. To get everyone in the mood, innovative street dance crews were given free rein to spin, pop, and twirl during the sessions.

No wonder that Antonio’s mature work leaps off the page, lines swirling, accessories flying. Publications like Vogue, The New York Times, and Warhol’s Interview just had to have it, and published his drawings over and over.

In the age of Snapchat and Instagram, it’s hard to over-emphasize how revolutionary Antonio’s vision was at the time. His two-dimensional visualizations left fashion photography in the dust. As Ms. Missoni once said, “He transformed the clothes.” Take a look at the Flickr feed.

A 1983 pencil and gouache drawing of totally glorified Maria Snyder

A 1983 pencil and gouache drawing of totally glorified Maria Snyder. Collection: Narciso Rodriquez

El Museo is distributing copies of the Interview magazine issue that Antonio and Juan edited. Pick it up as you peruse the serious sampling of celebrity-infused work in the show – Tina Chow, Karl Lagerfeld, Billy Idol, and Tina, to name a few. To give exhibition goers a feel for the pizzazz in Antonio’s work and life, there are videos of break dancers in his studio and a great video of him working from a live model as part of a drawing demo for students at his alma mater, FIT.

Too bad that Valentin de Boulogne (Caravaggio’s follower, currently on view at the Met, who also styled and staged models) lived 350 years too early to enjoy this joyful, breakneck, vibrant 20th-century beautiful-people scene with subjects jumping out of the picture frame.

It’s hard to underestimate the influence Antonio had on the cultural beat of New York in the Seventies and Eighties. It was all about the mix – high art, pop art, high fashion, street style, and ethnic culture.

Take a look at Antonio’s 1983 workshop at Pasedena’s ArtCenter College of Design, and see the master at work creating, staging, and transforming what he sees and feels with gestures as large as Pollack’s:

When Modernism Met Folk Art at NYHS

Elie Nadelman’s painted cherrywood Circus Girl sculpture (1920-1924)

Elie Nadelman’s painted cherrywood Circus Girl sculpture (1920-1924)

What do 19th-century tobacco-store Scotsmen and Spanish-clad dancers mounted on the fronts of tall-masted trading ships have to do with the rise of Modernism in the United States and the 1913 Armory Show?

Find out through August 21 at the New-York Historical Society’s exhibition, which traces the path of one of America’s modern-art pioneers in The Folk Art Collection of Elie and Viola Nadelman. Take a look on our Flickr feed.

The engaging show is largely drawn from the NYHS collection and tells the story of how a Polish immigrant fused his love of European and American woodworking tradition with Picasso’s love of “the primitive” and developed his own pop-culture-infused modernist sculpture style.

Feisty figurehead from the shipwrecked clipper ship Rosa Isabella, carved in Hamburg in 1865

Feisty figurehead from the shipwrecked clipper ship Rosa Isabella, carved in Hamburg in 1865

The show, which travels next to the Addison Gallery of American Art in Andover, Massachusetts, is a delightful window into how modernism crept onto America’s 20th century radar as 19th-century traditions were becoming a thing of the past.

Nadelman’s sculptures were included in the ground-breaking Armory Show in 1913 and showcased in one-man shows at Stieglitz’s 291 Gallery and other NYC Modernist hotspots.

As the NYHS show makes clear, the whitened faces and painted-to-look-weathered bodies of his circus girls, tango dancers, and vaudevillians echoed back to shapes, colors, and styles he favored from carved tobacco-store Indian sculptures, figureheads salvaged from sailing ships, chalkware busts, and untrained American portraitists of years gone by.

Milliner heads 1820 – 1870

Milliner heads 1820 – 1870

First made in plaster (like popular chalkware tchotchkes) and later in painted cherry wood, Nadelman’s whimsical figures dance, prance, high kick, and entertain in a vaudevillian and Jazz-Age way that their folk-art counterparts never do. Encountering the show’s monumental woodworks at the entrance to the show showcase Edelman’s brilliance in packaging New American rhythms into tabletop sculpture works a sly, backward-looking wink at the past.

Elie shared his love of rapidly disappearing woodcarving, hand-painted boxes and chests, and wooden kitchen objects with his wife, Viola, who led the charge in amassing one of the greatest collections of American folk art ever. The couple scooped up over 15,000 European and Americana work at a rapid pace – so rapid that Elie dropped his art career and concentrated full time on collecting.

Nadelman’s high-kicking cherry wood “Dancer” sculpture (1922) on loan from the Jewish Museum

Nadelman’s high-kicking cherry wood “Dancer” sculpture (1922) on loan from the Jewish Museum

The show is a tribute to their vision and energy (move over, Abby Aldrich Rockefeller!). They were among the first to coin the term “folk art” and opened their own folk art museum in Riverdale in 1924.

When the Depression hit, the couple was forced to sell and the bulk of the collection became the core of the NYHS “everyday history” collection – kitchen implements, toys, miniatures, hat-shop heads, paintings, weathervanes, and you-name-it. Indeed, the back half of the show is a glimpse into everyday life, culinary arts, and domestic entertainments.

It’s an important look into American history, the history of collecting, and the birth of Modernist sensibilities in New York – a show that pays fitting tribute to a core component of one of New York’s storied institutions.

Mizrahi Shows His Colors at Jewish Museum

An early 1988 look in orange-orange wool – scarf, coat, and jumpsuit

An early 1988 look in orange-orange wool – scarf, coat, and jumpsuit

For a shot of color and inspiration to let creative impulses run free, trot up to the second floor of the Jewish Museum to see the closing day of the tribute to one of New York’s favorite sons — “Isaac Mizrahi: An Unruly History”. It’s open late tonight until 8 pm.

Isaac has filled four galleries with the results of his imagining in the worlds of fashion, theater, and film, showing how it’s done when you have so many talents, so many ideas, interest in everything, and so little time. You just do it all.

The entry to the show is a wall of organized color, all pulled from his meticulously organized archive of fabrics and color swatches – a great introduction to a brilliant mind harnessed to bring a little more beauty and whimsy into the world.

Inspired by elevator padding – silk quilting and grosgrain go to the ball in 2005

Inspired by elevator padding – silk quilting and grosgrain go to the ball in 2005

Beyond that, the first room – mostly from his early 1990 collections – is a riot of color   featuring his high-low approach to style: pair something everyday (like a T-shirt or bomber jacket) with silk-taffeta glamor (like a ball-gown skirt). This is where Isaac made his splash into the world of fashion, and it’s a fun, exciting introduction to the rest of the exhibit.

The curators have mounted his fashion sketches floor to ceiling in a small gallery, showing how Isaac maps out his fashion shows like storyboarding a movie. The room also reveals his passion for drawing, his favorite part of creating a collection.

Another gallery gives a nod to his theatrical costuming work and the next features two ensembles that demonstrate his interest in everyday style and good causes: Isaac was one of the first big-name designers work with Target, and here we see one of those 2004 sweaters.

Sketches with swatches organize the run of show

Sketches with swatches organize the run of show

His Coca-Cola sequined dress grew out of his collaboration with a charity that employed the homeless to collect and flatten discarded cans. Isaac had a Parisian couture house cut the smashed metal into sequins and had them hand-embroidered – another think-about-the-world creation.

Witty, wonderful, and full of life – Isaac’s accessories, film, fashions, and colors should inspire you to get a little more creative with your own day to day. Visit via our Flickr album, watch the Isaac video snippets, and listen to the audio tour the show.

For more Isaac right here, watch his conversation with editor Wendy Goodman on style and the pressures of starting out in the fashion industry.

Met Refuses to Draw Line Between Art, Technology, and Fashion

Sara Burton’s 2013 ensemble for McQueen: laser-cut pony skin bonded to leather, machine-sewn and finished with Mongolian lamb

Lasers: Sara Burton’s 2013 ensemble for McQueen: laser-cut pony skin bonded to leather, machine-sewn and finished with Mongolian lamb

As cool as an iPhone and as meticulously engineered, the Met’s new blockbuster Costume Institute show — Manus + Machina: Fashion in the Age of Technology — asks you to think about the frocks you’re seeing: does a designer’s reliance on technology diminish the artistic value of haute couture, which has for centuries relied upon handcrafted structure and embellishment?

See for yourself before August 14 and click here to look at the details in our Flickr album.

The show is a meditation on the beauty that can come when great design minds have centuries-old craft collide with technology. It helps to have gazzilions of resources (hands in Paris) at your disposal. The result: really good art and wondrous feats of engineering that just happens to be fashion.

There’s plenty to ponder and repeat visits are a must. Curator Andrew Bolton said that the idea came to him as he examined YSL’s iconic Mondrian dress and realized that this Sixties haute couture dress-that-went-viral was mostly stitched by sewing machine, a no-no in the rule-book of the Paris high-fashion syndicate.

Yves Saint Laurent’s hand-worked 1958 trapeze in his first collection at Dior.

Yves Saint Laurent’s hand-worked 1958 trapeze in his first collection at Dior. Five layers of tulle with hand embroidery

It made him ponder the extent to which handwork and machine intersect in the world of high fashion.

Underwritten by Apple, there are no digital iPads or robots on the scene (like the Met’s revolutionary Charles James show) – just classical domes and arches highlighting masterworks of craftsmanship that cry out for the closest of scrutiny. Although it’s fun to waft through the crowds, getting glimpses of dazzling beadwork and dreamy Grecian-pleated chiffon gowns, to join Bolton in his investigation, reading the label copy, wall copy, and close inspection is a must.

Your first glimpse sets the historic context: The stunning Chanel wedding ensemble under the main dome (a created space made from a false floor across the upper level of the usually empty atrium of the Lehman wing) is surrounded by books. Leather-bound volumes of Diderot’s 1762-71 encyclopedia on liberal and mechanical arts are open to engravings of lacemaking and embroidery.

Diderot’s 1762-71 encyclopedia on liberal and mechanical arts

Diderot’s 1762-71 encyclopedia on liberal and mechanical arts

By including these “métiers”, Diderot elevated fine dressmaking skills to the level of respect given to other types of 18th-century engineering.

Bolton chose Diderot’s encyclopedia categories as the sub-sections of the show and gave each métier can-you-believe-what-you’re-seeing treatment. Click here to read more about each métier on the Met’s website.

The pleating section of the show is a great example, beginning by displaying the masterful hand-formed pleats on Grecian gowns designed by Madame Grés and the still-mysterious processes used by Fortuny to clothe boho types in liquid charmeuse pleats at the dawn of the 20th century.

Issey Miyake ready-to-wear 1994 Flying Saucer dress fully extended; synthetic polyester that is machine pleated and stitched

Issey Miyake ready-to-wear 1994 Flying Saucer dress fully extended; synthetic polyester that is machine pleated and stitched

Across the way, you can compare Fortuny’s craftsmanship with machine-stitched and pleated versions, which are no less compelling. Mary McFadden’s pleated dresses were must-haves of the must-be-seen society set in the Seventies and Eighties. Mary’s synthetic pleated fabric was a pull-it-out-of-the-suitcase miracle in a world of jet-set travel and society parties.

And don’t ignore the works in the show by Issey Miyake, who wowed the design world with innovative pleated shapes that twisted and turned into avant-garde dresses and tops. Machine made from synthetic material, Miyake’s creations could fold flat and be popped into action in a nanosecond. His techno-trick was to make an entire, gigantic garment, position the fabric into pleats and run the entire garment through a heat press. Go, Flying Saucer dress!

In every section of the show, Bolton provides something historic (such as the 1870s hand-crocheted wedding gown) bookended by blazingly new creations, such as Iris Van Herpen’s 3-D-printed creations.

Close-up: Fortuny’s hand-pleated, hand-sewn 1920s charmeuse dress; Venetian-beads embroidery and hand-knotted silk trim

Close-up: Fortuny’s hand-pleated, hand-sewn 1920s charmeuse dress; Venetian-beads embroidery and hand-knotted silk trim

Muslins from Charles James reveal classic tailoring techniques by the master engineer, worked and re-worked by hand until perfection was achieved. Miyake pushed the boundaries of modern dressmaking one step further by using lasers to cut polyester monofilament, draping it, and shaping it with metal snaps –creating a dress without using any needles, thread, or scissors.

Laser cutting makes multiple appearances in the show with the work of Comme des Garcons, Iris van Herpen, Thom Brown, and Sarah Burton for Alexander McQueen. However, traditional techniques by historic Parisian ateliers are on view, too – a Chanel embellished by Maison Lemarie with 2,500 fabric camellias that took 90 minutes each to create, Dior’s post-war embroidered floral dresses bursting with foilage, and YSL’s game-changing trapeze dress in his first collection for Dior. This last creation had five layers of tulle embellished with crystals, beads, and sequin clusters by Maison Rébé.

At the press opening, Apple’s designer extraordinaire, Jony Ive, cautioned viewers to remember that technology and craft are not at odds. The notion of care – whether by hand or machine – is intrinsic to everything in the show.

Enjoy Mr. Bolton’s walk-through.

See Hamilton No Waiting

Taking their Shot in the lobby of the Public Theater in 2015

Taking their Shot in the lobby of the Public Theater in 2015

If you really want to experience Hamilton before the Tony Awards, it’s not that hard. Get up to New-York Historical Society at 77th Street and Central Park West and check out the life-size bronze statues of Hamilton and Burr one second before The Shot.

If you went to see Hamilton last year at the Public, you had to pass right between Kim Crowley’s bronze recreations when you entered the theater — a bespectacled Hamilton (wearing tinted glasses because he was facing the sunrise) and an intense Burr who was branded for all time in the history books one second later.

These action figures were initially installed at NYHS in 2004 as part of its ground-breaking Hamilton show…a magnificent installation that drew both raves (for the classy reimagining of NYHS and its exhibitions program after a near-collapse of that institution) and criticism (was it pandering to New York’s besmirched banking community?).

Their 1797 dueling pistols in the NYHS lobby

Their 1797 dueling pistols in the NYHS lobby

Interesting that 2004 was the 300th anniversary of both the duel and the year that NYHS was founded. In fact, Hamilton’s attending doctor that day was one of the founders.

NYHS Ham

Hamilton takes aim inside NYHS

After three hundred years and countless tries at the Hamilton’s pre-show lottery at the Richard Rodgers Theater, it will be a little disconnect to realize that the two facing off in the white marbled lobby are not Lin Manuel and Leslie Odom, Jr. The intensity and the historical dress are there, but the faces are different. Just stand there and run through all the lyrics you’ve memorized from the show.

Walk a few steps further and gaze down at the actual pistols – not stage props – and Angelica Schuyler’s letter to her brother, conveying the terrible news. All real, in her own hand, dated July 11, 1804.

OK, that’s just the lobby. By now, you’ve probably heard that NYHS has just announced its Summer of Hamilton, replete with a large gallery show of all the Hamilton-related documents, artifacts, and portraits plus special clips from Hamilton, movie musicals that inspired Lin, Ron Chernow’s book, and costumed performers on July 4 weekend.

But why not visit right now and have Ham and Burr all to yourself? To fill in the blanks about Ham’s life or prep to see the Broadway show, treat yourself to an exploration of the 2004 Ham show website. It’s full of all types of fun things – a quiz to test your Ham knowledge, a map of where Hamilton hung out in New York City, and real-life historical portraits of all the Schuyler sisters and everyone else in the Broadway show.

Lin's Ham 4 Ham reading outside the theater during the preview lottery

Lin’s Ham 4 Ham reading outside the theater during the preview lottery

There’s even a handy timeline of Hamilton’s “strange and amazing life,” which is a nice reference for things you’ve seen (or hope to see) in the show. For true fans (or curiosity-seekers), there’s even a small selection of short academic papers on Hamilton, including an interview with Ron Chernow, whose book inspired the current Broadway smash hit, and other brief treatises on his schooling, the duel, and the hours before his death.

Although it’s not inside the museum (or the Richard Rodgers), you can check out other Hamilton excitement at the Ham4Ham shows performed at lottery time on 47th Street, many of which have been taped by fans and put up on YouTube. Check out the recreation of the cabinet meeting by the Tony-nominated crew:

The Goose Gets Loose at Grolier

The Pleasant Game of the Goose, a 1640 hand-colored Italian woodblock print. In the center, a fancy family dines on one! Courtesy: Morgan Library

The Pleasant Game of the Goose, a 1640 hand-colored Italian woodblock print. In the center, a fancy family dines on one! Courtesy: Morgan Library

The geese are running wild inside the historic Grolier Club on Madison and 60th Street – part of the tribute exhibition organized by curator-collector Adrian Seville, The Royal Game of the Goose: Four Hundred Years of Printed Board Games, running through this weekend.

The show is an historical overview of one of the most replicated and popular board-game entertainments of the Western world — The Goose, a board-game design that has existed since the Middle Ages.

It’s remarkable to see over 70 examples including hand-colored woodblock prints, games from copperplate engravings, chromolithographs, and commercially printed folding boards spanning the 1600s through today.

Most feature some form of The Goose. The Goose board is designed as a single track in which players move their markers toward the finish based on a dice roll. Sound familiar? The rules have been around since 1600.

Detail of The New Game of Aerostatic Balloons, a 1784 French hand-colored engraving depicting the early history of ballooning

Detail of The New Game of Aerostatic Balloons, a 1784 French hand-colored engraving depicting the early history of ballooning

Wildly popular across the European continent, the Goose game has survived and depicted the French Revolution, the fall of Napoleon, the various configurations of royal marriages, WWII, and the evolution of social mores.

After the French Revolution, Goose games appealing to the middle-class appear, providing graphic lessons about reading music notation, the Parisian theater, ethnicity in America states, and countries you’d visit on an round-the-world voyages. A late 18th century French game depicts the history of ballooning, featuring Ben Franklin’s witness to a spectacular liftoff in Paris.

At the end of the 19th century, the games featured subjects like British ships running the Union blockades in America’s Civil War, monuments of the world, and significant inventors like Edison and Roebling (complete with a picture of the brand new Brooklyn Bridge).

Game pieces for The Game of the Great Blockade, produced in 1863 London about the British ships that were helping the Confederacy by running through the Union blockade during the Civil War

Game pieces for The Game of the Great Blockade, produced in 1863 London about the British ships that were helping the Confederacy by running through the Union blockade during the Civil War

Commercials creep into the mix, too, but what else is new? The Grolier has again hit a home run with chronicle of Western culture’s time spent around a table, hanging with friends, and rolling the dice.

Click here to view some of our favorites in our Flickr album.

Whitney’s Left the Building — Turner and Friends Move In

Marcel Breuer building on Madison, once the Whitney, now The Met

Marcel Breuer building on Madison, once the Whitney, now The Met

Start your engines – the doors to the Met Breuer swung open last week, and it’s a celebrity-studded, jazz-filled opening. The Met has turned Marcel Breuer’s brutalist masterpiece on Madison into a showcase for everything that’s cool, digital, live, and happening.

First, the art: Superstars from the last 500 years of art history are throwing it down in a big, bold, can-you-believe-who’s-here, two-floor mash-up extravaganza, Unfinished: Thoughts Left Visible.

Imagine turning a corner and finding a room packed with the Holy Grail of 19th-century “abstraction” – five barely-there masterworks by Mr. Turner, fresh off the plane from London. It’s not taking anything away from Titian, El Greco, or German Expressionists, who are in the show. It’s just that it’s rare for Gothamites to get up close and personal with this painter’s painter without buying a ticket to London and trekking to Millbank. Once word gets out, hopefully the Breuer downstairs admissions desk will be as jammed as the return line for Hamilton.

One of five late masterworks by Mr. Turner from the Tate

One of five late masterworks by Mr. Turner from the Tate

Yes, it’s strange to encounter Renaissance masters or a monumental Picasso when the gigantic elevator doors open on the upper floors. The fresh juxtapositions of old and new, familiar and unknown make your head spin, but in a good way.

The show features Renaissance masters, 19th century gods (see Matisse and Van Gogh’s side-by-side country cottages), and 20th century hot shots from international collections, MoMA, and 81st Street. The curatorial throw-down is something only the Met can do – scale, scope, and smarts – asking accessible questions and responding with wit from its own collection and other top institutions that have agreed to give their masterworks a trip to New York.

First view of Unfinished

First view of Renaissance masters in Unfinished

Eight years ago, when the Whitney Museum of American Art began planning its move to the Meatpacking District, its board approached the Met and asked if it wanted to take over the famous Breuer building on Madison Avenue.

The answer was “yes” but only if the takeover would be done the Met way – using the full scope of the Met’s holdings, leveraging its interest in new digital and performing arts, and showcasing international modern artists who might not have received the recognition here (in the United States) that they deserved. In other words, turn old-world institutionalism on its head. And they’ve done that.

Just look at the first one-woman show in the United States for Indian modernist, Nasreen Mohamedi. The delicate drawings evoke Klee, Malevich, and Agnes Martin purity and line and shed a whole new light on how modernism was being transformed on the subcontinent in the Seventies and Eighties.

 

Coffee CupSecond, the live arts element: Since it will be open late on Thursday and Friday evenings, hopefully it will become new Upper East Side’s version of the Rubin’s K-2 Lounge two nights a week – a fun, lively hang-out for music, performance, and art lovers. The rear first-floor gallery has been turned into a contemplative, cool showcase for jazz, programmed by Met Live Arts. Take a look at what’s up through the end of the month with Relation: A Performance Residency by Vijay Iyer.

 

Welcoming crew with the digital wall

Welcoming crew with the digital wall

Third, the new: So what else has changed at 75th and Madison? The pile-up of art books is gone from the reception desk, and the welcome wall is ablaze with a classy digital marquee offering glimpses of the world’s most precious treasures at each of the Met’s (now) three locations.

In a nod to those stupendous Lila Acheson Wallace bouquets in the Met’s Grand Hall, there’s also an oversize spring arrangement gracing the welcome area.

Fourth, the familiar: People who know the old Whitney well remember the tiny clay colony that resided in a corner of the stairwell next to a window overlooking Madison Avenue. At the press preview, art critics kept pausing on the stairwell landing to marvel at the fact that the beloved Charles Simmonds piece, Dwellings, is still there on loan from the Whitney.

Dwellings, an installation by Charles Simmonds in the stairwell (and across the street), still on loan from the Whitney

Look for Dwellings, a 1982 installation by Charles Simmonds, in the stairwell (and across the street), still on loan from the Whitney

Look out the window and you’ll see the tiny clay and sand Dwellings nestled into the chimney and roof of the Apple Store across the street, same as they have been since 1982. Like the rest of the new Met Breuer, it might be the same place, but you’ll see lots of well-loved modern art in a new, fresh way.

And be sure to download Soundwalk 9:09 by John Luther Adams, commissioned by MetLiveArts for visitors to enjoy as they trek between 81st Street to the Met Breuer — two audio tracks from which to choose, depending on whether you’re making the nine-minute walk uptown or downtown.