The Met’s Deep Dive Under the Surface of Camp Fashion

2009 ensemble by Indian designer Manish Aurora.

The clothes are witty, glittery, and scandalous at the Met’s blockbuster fashion exhibition Camp: Notes on Fashion, on view through September 8, but make no mistake – the fun and frivolity are packaged (at least in the opening galleries of the exhibit) in a way that asks visitors to go deep beneath the surface and look at the three centuries of societal norms that provocateurs have shattered through style, clothes, and living large.

The kaleidoscope of outrageous fashion in the final gallery is the sensory payoff to the journey, but visitors who race through and don’t read the label copy in the first part of the show will have missed the point: the show is a chronology of how some brave (or rich) rule-breakers did things that have become stereotypes for gay and camp sensibilities and dress in the 21st century.

1998 ensemble by Jean Paul Gaultier merging menswear with a woman’s 18th c. corseted gown.

The pose of male models inspiring Renaissance bronze statuary, the balletic inclinations of Versailles’ Sun King, the cross-dressing Brit couple whose families shunned them, and the proclivities and scandals of literary genius Oscar Wilde are used to tell the roots story of “camp” sensibility that went viral in Madonna’s Vogue, RuPaul’s Drag Race, and Cardi B’s appearance in Mugler at this year’s Grammys.

To drive the point home, the curators have matched ancient treasures (Renaissance sketchbooks, Versailles costume sketches, and Wilde manuscripts from Oxford) with modern fashions by designers who spoof classical statuary (Westwood), out-do Versailles excess (Lagerfeld), and create dandies (YSL).

Peter Hujar’s 1975 photo of Sontag and her 1964 manuscript of “Notes on Camp.”

The beating heart of the show is the presentation of Susan Sontag’s 1964 listicle of “camp” sensibility. Her original marked-up manuscript is flanked by works and tributes by her fanboy Warhol.

Sontag and Andy hold court over a room filled with treasures of the Met’s collection that illustrate her definitions and classifications – Art Nouveau, 19th century Gothic sensation, 17th century court fashion, flapper dresses, Tiffany lamps, and wispy gowns created from all-over feathers. Dozens of divine objects are there to enjoy while listing to the stabbing rhythm of Sontag’s typewriter keys. It’s a brilliant deconstruction of her work that captivates visitors who diligently work their way around the room.

Judy Garland’s 1938 Ferragamo sandals and 2018 resort shoes by Alessandro Michele for Gucci.

A great approach is the “high camp” and “low camp” corridor, which illustrates designers’ unintentional icons of camp, paired with over-the-top takes and sartorial commentary.

Just compare Judy Garland’s Ferragamos with athletic-inspired Gucci resort shoes by Alessandro Michele, or Poiret’s 1912 touch of mink on an Asian-inspired evening ensemble with Mary Katrantzou’s blatant Orientalist snark in 2011.

An interesting curatorial decision: the celebrity fashion is not obviously identified – you have to “know” that it’s the Duke of Windsor’s evening suit, that the turban belonged to Carmen Miranda, or that the bejeweled Bob Mackie was worn by Cher.

Mugler’s 1995 Venus – an embroidered bodysuit + a velvet and satin dress.

Younger visitors have no trouble linking the vintage Mugler to Cardi B, but at least one young man pointed to a bejeweled suit and said, “That’s so reminiscent of Liberace” without realizing that the jacket had actually belonged to the iconic superstar.

The finale room is so packed with over-the-top couture and campy statement pieces that the IDs really don’t matter. It’s a Coney Island of camp with dozens of creations vying for your attention overhead, up and down, and in the middle of the room.

People wander every which way, trying to take it all in – a futile endeavor.  Even on the second, third, or fourth visit, you’ll find something you’ve never noticed before.

Fashions in the Camp Eye gallery, including Moschino’s TV Dinner dress.

The room is alive with color, quotes, cultural references, social statements, and an explosion of unconventional materials – Patrick Kelly channeling Josephine Baker’s banana dance, Jeremy Scott’s Moschino gown channeling Budweiser’s graphics, dresses that look like Tiffany jewelry pouches.  It’s over the top and all too much, which is the point.

Congratulations to the curators for presenting Wilde’s prison tome, De Profundis, on loan from the UK, and the vintage vogueing video that shows Pose fans the source material from the Harlem ballrooms.                                                                                 

Look at our favorites here. If you can’t get there, read the Met’s essays on each gallery, see their picks, and read the quotes on the walls.

Here’s the promo produced by the Met that explores answers to the question, “What is camp?”

And here’s a 2-minute look back to how this year’s celebrity invitees answered their invitation to the May gala. Bravo:

Beer Makes Pots Sing at Met Breuer

Vessels from a range of eras, wired to amplify their ambient tone

Take 5,000 years of ceramic vessels from the Met’s collection, give them to art-installation genius Oliver Beer, and he’ll create something that will never let you think about fired clay or cast bronze the same way again.

Beer has unleashed the “voices” of 32 precious objects in the beautiful, unforgettable installation Oliver Beer: Vessel Orchestra, in a fifth-floor showcase at the Met Breuer through August 11.

Beer recognized that ceramic and metal containers each have their own distinctive ambient note. It took him three years of searching through the Met’s collection to find which vessels among thousands could emit precise notes.

Oliver Beer at the mixing board and keyboards, demonstrating how the voices of the vessels are activated.

When you enter the Met Breuer gallery, you’ll meet his perfect cast. Beer has a sound mixer and keyboard to activate and amplify different combinations of sound from the 32 installation stars. A single microphone captures the natural, ambient sound of each vessel.

After spending decades on the Met’s shelves and in storage, each vessel’s distinctive voice is brought life in contemporary performance. As Beer and other artists play the keyboard, objects created in different eras and cultures blend their singular voices. They sound perfect.

Met LiveArts has invited guest artists to perform on Friday nights throughout the run of the show. When we were there, Helga Davis, a soloist who has triumphed in avant-garde operas like Einstein on the Beach, explained why she found the sensation so satisfying.

Vocalist Helga Davis

She said that she loved feeling her own voice “disappear” when the note she sang blended with a vessel’s own singular note. Listen in on our video clip.

Recently, the Brooklyn Raga Massive collaborated with the vessels in live performance to create a meditative, transcendental experience. Upcoming collaborators include composers Nico Muhly (August 4) and John Zorn and company (August 9).

Vessels in the orchestra — Qing Dynasty porcelain vase (1644-1911) and the back of one of Betty Woodman’s 2003 series The Ming Sisters.

When live performers are not present, Beer has programmed the keyboard to activate his ensemble. A little light on the cord running to each vessel illuminates when the vessel is singing, so viewers can see exactly who’s contributing to the ambiance at any given moment.

The vessels are quite an elegant crew, including a sinuous art nouveau porcelain, a sleek modern bronze portraits by Lachaise, and a monumental angular slab pot by American master William Daley.

Visually, the vessel presentation is clever. Betty Woodman’s whimsical 2003 ceramic trio The Ming Sisters knocks a bit of seriousness off their otherwise tightly controlled neighbor — turquoise-and-gold Qing Dynasty porcelain masterwork.

Vessels wired to amplify their ambient tone, including a female effigy (7th – 6th c. B.C.), Beatrice Wood’s fish, an Iranian storage jar (3800 – 3700 B.C.), and a Canaanite jar (1500 – 1400 B.C.).

And Beatrice Wood’s 1947 fish pot is swimming, singing, and bringing the fun out of a totally ancient threesome – an old, tipped-over Canaanite jar, an ibex wandering across a 4th millennium B.C. Iranian pot, and a 7th century B.C. lady.

Some things that look ancient aren’t. A simple, unassuming, unembellished creation seems to have been made at a more primitive, far-away time. But it’s a 1975 stoneware pot created by artist Juan Hamilton, Ms. O’Keefe’s friend and assistant, who taught her how to make pots in her later years at Ghost Ranch.

There’s so much to hear and see in this show, so be sure to experience this extraordinary ensemble before August 11. See close-ups of some of our favorite Met singers on Flickr.

Here, the engaging and brilliant Oliver Beer explains how it all comes together:

Bigger Field of Vision in Sixties Color Painting

Color Field: Fritz Scholder’s 1965 oil New Mexico Number 21 in the MoCNA show

When curators from two different museums in two parts of the country wanted to tell new stories about paintings from their collections, both chose to look at big, bold colorful work done by known and less-well-known artists in the Sixties and Seventies.

The Whitney Museum of American art created Spilling Over: Painting Color in the 1960s, which is on view through August 18, to showcase new acquisitions that tell a more complete story about painters using splatters, drips, and jazzy figures with in-your-face colors.

The AIA Museum of Contemporary Native Arts (MoCNA) in Santa Fe created Action/Abstraction Redefined, on view through July 7, to highlight the way young Native American painters – some of whom went on to have major art careers – channeled the zeitgeist of the East-Coast gallery scene into something with which they could make a personal mark.

Sam Gilliam’s 1968 pored-paint, draped canvas at The Whitney

The curators at both institutions were thinking along similar lines.

Although Spilling Over features Morris Louis, Kenneth Noland, Frank Stella, and other icons of the wall-sized color painting movement sweeping through New York galleries in the Sixties, the curators wanted to make sure that the public understood that there were female, Native American, and African-American color painters experimenting with these trends, too.

The Whitney has given Sam Gilliam’s draped and splattered canvas a place of honor at the end of the two-gallery vista. He was one of the few African-American artists to gain coverage in Artforum back in the day, but is largely unknown to younger art-going audiences.

At the opposite end of the space, the curators showcase an electrifying neon canvas by Alan Loving, the first African-American to have a solo show at the Whitney in the late Sixties.

1970 acrylic by Alan Loving, the first African-American given a solo show at the Whitney

Color-figure work by Cherokee artist Kay Walking Stick is featured alongside other painters like Harlem’s Edith Amos and Alex Katz, who slathered color across figurative canvases. It’s all about introducing art-lovers to new faces in the canon of American Art.

While women and artists of color were trying to get their work on the walls of New York museums and galleries, up-and-coming Native American abstractionists were waging a different type of battle for acceptance – a struggle that led to the birth of the Institute of American Indian Arts (IAIA) in the early Sixties.

Hard-edged 1968 acrylic by Hopi/Pima artist Frances Makil, incorporating cultural motifs in the MoCNA show

Contemporary abstract work by Native American Modernists in the late 1950s was typically rejected from competitive and museum-curated art shows. Juries and curators were clearly biased toward traditional forms of expression, and young innovators bristled at being told to “stay in their place.”

When the Institute of American Indian Arts opened in 1962, the next generation seized the opportunity to put their mark on what was setting the art market on fire – big, expressive abstraction; atmospheric color field works; and geometry.

These works, some of which were accessed into MoCNA from the Bureau of Indian Affairs, tell quite a compelling story about early-stage experimentation and the opportunity that the arts-education initiative provided to emerging artists out West. The years spent making work at IAIA gave a kick-start to careers of some of the best-known native artists today – T.C. Cannon, Fritz Scholder, and George Morrison. Judge by the results you see here.

Gesture and expression: 1965 pastel by Hopi/Choctaw artist Linda Lomahaftewa

The MoCNA curators also wanted to make space for women in their exhibition, too, such as Frances Makil. The 1965 pastel by Hopi/Choctaw artist Linda Lomahaftewa uses the artist’s own culture as inspiration, but the lines and spirals echo some of the Whitney’s own abstract, meditative canvases by Lee Krasner, who also drew energy from spirit worlds.

Both shows open the doors to new faces to widen the conversation about color-painting history, and these paintings all have a lot to say.

Listen to Whitney curator David Breslin and artists explain how a collection show can reframe conventional art history, and learn more about the artists in the audio tour here:

When the Avant-Garde Took over Corporate Branding

Entrance to the show at Bard Graduate Gallery

With the world turned upside down by World War I, artists in the European avant-garde eagerly embraced new ways of looking, thinking, and creating.

Museum-goers are familiar with the innovative edge that Constructivism and Bauhaus thinking brought to painting and architecture, but few realize it extended so directly into corporate identity and industrial sales in those post-war years.

Bard Graduate Center tells this previously untold story through a young man’s collection who was at the center of it all in its exhibition, Jan Tschichold and the New Typography: Graphic Design Between the World Wars, on display through July 7.

Cover of 1923 Bauhaus exhibition catalog by Herbert Bayer. Courtesy: MoMA.

Recent grad Jan Tschichold, a talented young typeface designer calligrapher steeped in the art of fifteenth-century letterforms, took a quick trip to the Bauhaus in 1923 and was blown away by what he saw coming out of the print shop and the minds of artists at the interdisciplinary hothouse.

Being a works-on-paper kind of guy, Jan was entranced by the book designs and letterheads – modern san serif letters, asymmetrical page layouts, and letters used as design elements on the page. In particular, he saw an essay by Moholy-Nagy that coined the term “new typography”.

El Lissitzky’s 1920 children’s book About Two Squares, which teaches post-revolutionary ideals through interactions of abstract shapes. Courtesy: MoMA.

These rule-based design principles clearly appealed to him, and Jan soon began corresponding, organizing, sharing, and exhibiting with an energetic network of innovators like Schwitters, Moholy-Nagy, and El Lissitzky. Starting in 1925, Jan was the most vocal proponent of this “new typography.”

“Graphic design” was starting to become a “thing” and Jan found himself in the center of it. Jan began collecting anything with asymmetrical layouts, eye-catching photo-montages, and letters running wild — postcards, catalogues, book designs, business cards, brochures, promotional catalogs, and posters.

By 1928, Jan had seen and designed so much ground-breaking work that he decided to write a book that would summarize how any graphic-arts practitioner could blow up past conventions of graphic design, letters, and photography and repurpose them for industries and pop culture.

Title page of Jan Tschichold’s 1928 book, “The New Typgraphy,” which had essays by Moholy-Nagy, Dexel, and others.

Jan’s book, Typographische Gestaltung, went viral among the 80,000 members of the German print workers union, showing everyone how to juice up advertising layouts, movie posters, and industrial brochure designs in a more modern way.

German industries were just beginning to make a comeback after the war. Brochures about pumps, valves, and machinery all had a modern twist that created an identity for corporations to make a comeback. Inexpensive designs on paper — what a way to make a statement! What a way to glamorize and sell ergonomic chairs, new motorcycle engines, lathes, and metal parts!

“Dwelling and Workplace” poster – an event identity campaign by Johannes Molzhan for the 1929 exhibition by Deutscher Werkbund, the German design association. Courtesy: MoMA

Curator Paul Stirton’s show shines a spotlight on this early move toward modern corporate branding, identity, industrial brochures, and the day-to-day business of simply selling things. Just like today, even avant-garde designers had to make a living!

One of our favorites is Dadaist-in-chief Kurt Schwitters’ marketing brochure to explain his design agency’s services for corporate logos, brochures, and and other types of design.

Eventually, Hungarian and Czech designers started adopting what Jan was advocating. His influence largely bypassed the United States and the English-speaking world (except by osmosis), since it took decades for his book to be translated into English.

1930 marketing brochure by Kurt Schwitters to potential corporate clients. Courtesy: MoMA

Perhaps one of the most intriguing features of this show is that nearly everything on display is from Jan’s own collection, which is labeled as in the Museum of Modern Art’s collection. But ironically, much of the corporate marketing stuff on display here (and seen for the first time!) almost didn’t survive.

Jan amassed acres of his colleagues’ work in the Twenties, but had to leave the majority of his collection behind when he fled Germany in the run-up to World War II and ultimately landed in the United States.

Strapped for cash, Jan happily sold his poster collection to MoMA in the 1930s, but in the 1950s, MoMA said no to the rest of Jan’s remaining collection. Who needed that much work on paper from the Twenties when you were collecting wall-sized post-war American abstraction?

Jan Tschichold’s 1927 movie poster “The Woman Without a Name,” for Berlin’s Pheobus-Palast.

When Philip Johnson heard that MoMA refused to take Jan’s letters, catalogs, books, postcards, and other ephemera from Europe’s greats, he tracked down the California bookseller who acquired it, paid $350 for 800 pieces, and donated it to MoMA.

So, although MoMA’s closed for the summer, you can still see a capsule collection by a 20th century innovator that’s never been displayed as a whole before.

Take a look at our favorites on Flickr and watch the curator’s talk here.

MoMA Signs Off with Brancusi

Brancusi’s 1930s marble Fish

MoMA is taking a four-month break while it reinstalls its collection in its expanded 53rd Street home. For nearly a year before it closed its doors, MoMA provided a beautiful gathering space devoted to a much-loved modern master in a beautiful show Constantin Brancusi Sculpture.

Always packed with admirers, you could frequently hear visitors that turned the corner and entered the gallery exclaim, “Wow!”

There they all were – Brancusi’s marble The Fish sculpture that seemed to be swimming, the soaring Bird in Space, and the primal tall oak Endless Column.

1910 marble Maiastra, a mythical Romanian bird with a pedestal created from another sculpture

Everything was drawn from MoMA’s expansive collection. Every viewpoint joyfully represented what contemporary audiences love about Brancusi’s work. View it in our Flickr album.

Hard to believe that the epic Maiastra was created in 1910 or that this innovator grew up as a woodworker in the rural Romanian countryside and walked across the continent to relocate to Paris to be where the early modernist practice and philosophy were percolating.

For a fun look at how it all began for Mr. Brancusi, watch the film that MoMA created using footage shot by his buddy, Man Ray here and also listen to a jazzy playlist of Brancusi’s favorite songs and atonal orchestral hits of the day.

Brancusi’s work is the epitome of Modern to the contemporary eye, but it wasn’t always that way. One of the most beloved pieces in the room was initially considered a blasphemy to art when it was first exhibited in the 1913 Armory Show in New York.

Listen to MoMA tell the story:

MoMA on 53rd Street reopens on October 21. MoMA PS1 in Long Island City remains open.

Fashionable Fabric Takes Center Stage at FIT

Wool: Mila Schön’s 1968 double-faced wool coat and 1985 Azzedine Alaïa trench

The Fabric in Fashion exhibition at the Museum at FIT through May 11 makes a good point – people today do not pay much attention to the fabric in their clothing, but that’s a break with the consumer culture of the last several centuries.

Fabric telegraphed what status you had, what season it was, and how much money you might have spent on a fabulous outfit. In a clever twist, the show opens with a muslin dress in a period shape lit with all types of cross-cultural patterns and images, evoking fancy French, African, and American textiles.

FIT shines a light how traditional fabric and synthetic creations have been used in high fashion since the 18th century, starting with the stories of wool, silk, and cotton.

Take a walk through the show in our Flickr album and on FIT’s own website.

Silk sheath evening gowns – 1950 crepe by Guy Laroche and 1999 silk faille by Oscar de la Renta

Dresses from the FIT archives demonstrate the extreme flexibility of wool, which has been spun and woven since ancient times. Some wool fabrics are as light as silk, while others are molded, shaped, and bonded to create architectural forms that were as right for 19th-century women’s sportswear as they were for Carnaby Street.

The silk ensembles selected from the FIT archives show off a wide range of that fabric’s ability to drape, shape, and burst into dramatic architectural forms when buttressed by the right underlining and interfacing.  The show features silky satiny wedding attire, embellished damask gowns, stamped and gilded silk velvet Fortuny masterpieces, and sculpted Schiaparellis – demonstrating how a silk’s weight is key to its potential use.

High-fashion knit: Alexander Wang’s 2015 mesh dress inspired by Nike’s Flyknit

Side-by-side Claire McCardell dresses show how a single cut (in this case, her ubiquitous “popover” design) can be casually chic in cotton or elegant in silk.  Jersey dresses and synthetics – rayon and even Nike’s Flyknight by Wang – are featured, telling the story of how knits and synthetic went mass market by the 1970s.

Couture fabrics and innovative weaves, however, steal the show. An elaborate 1859 silk dress showcases how a single width of ottoman fabric morphs into velvet and fringe. It may not be to the taste of a contemporary eye, but is a true masterpiece of fabrication.

You are able to take a close-up look of how a strip of artfully printed metallic satin enhances a silk velvet Fortuny from the Thirties.

Couture textile: Bob Bugnand’s 1958 silk faille dress

Then turn to examine the high art of fabric from French fashion houses of the Fifties — Bob Bugnand’s matching silk faille dress and mink-trimmed coat and Jacques Griffe’s evening vision in Lurex jacquard.

But all the high-end fabric isn’t flashy. A standout is the austere, minimal evening cape, created from gazar silk developed by the Swiss textile house of Abraham specifically for Balenciaga – a key ingredient to the stunning architectural shapes for which the house was known in the Sixties.

Watch here to observe FIT’s behind-the-scenes work to make all the fabric exhibition magic happen:

Enjoy a glimpse of the multimedia that opens the show!

Ye Olde Hip-Hop Brings Met Armor to Life

It’s Showtime NYC troupe. Photo: MetLiveArts

Nimble knights and knaves again take the stage tonight amidst the horses, banners, shields, lances, and heraldry of the Metropolitan Museum’s Hall of Arms and Armor in Battle! Hip-Hop in Armor, part of MetLiveArts.

The amazing dancers from It’s Showtime NYC are putting on their gauntlets and knee guards to show spectators what it’s like to bring medieval and Renaissance armor to life in a co-production with the Met’s Department of Arms and Armor.

The static state

Tonight’s program is the third in a series of performances, running through spring, where street-style choreography presents a modern interpretation of chivalry, battles, honor, mysterious tales, and ghosts.

The dancers took a crash course in the days of old from curators in the Met’s Arms and Armor department and got to learn how to apply accoutrements that are normally relegated to the mannequins and cases in the popular hall.

Bashford Dean, the Victorian world traveler and collector who began this department over 100 years ago, would have loved it, since he is a man that also liked to dress up in similar regalia.

Kester Esterphane makes chivalry and armor come alive

The troupe from It’s Showtime have created several dance pieces, including one that tells the story of a long-dead king who springs to life from his medieval tomb to terrorize craft thieves who try to steal his stuff.

Rising up dressed in an authentic chain-mail tunic, the king brings zombie-like commotion to the tale and answers the choreographic question: How does a dancer bring a feeling of terrifying mayhem to the stage when he’s wearing that many pounds of heavy, constricting steel?

A conversation with curators revealed that although visitors see the armor displayed in static form, all of the engineering involved makes it incredibly flexible. So, asking dancers to try it on and create new moves actually shows off something that isn’t apparent about the Met’s incredible collection.

Knaves face wrath of an angry king’s ghost.

Congratulations to the curators of Arms and Armor, MetLiveArts, and the It’s Showtime NYC dancers for such a fantastic concept and program! More! More!

It’s Showtime will perform it’s pieces several times tonight and reappear like knights of old on February 8, March 22, April 12, and June 7.

And in case you think this is the first time the Arms and Armor curators have ever tried to put a new twist on a medieval subject, take a look at one of Bashford Dean’s brainstorms when movies were just starting to be made in Queens.

Yes, he talked to Barrymore and other early actors and directors of American cinema on just how to get people interested in the past. Here’s a link to one of Bashford Dean’s media pieces that also brought the knights back to life:

50 Shades of Pink at FIT

Jeremy Scott’s 2015 crazy-fun leather and zipper ensemble for Moschino, featured on posters for the show.

Everyone has an opinion about the color, and that’s brought to bear on the fun, irreverent, and insightful show at the Museum at FIT, Pink: The History of a Punk, Pretty, and Powerful Color, on view through January 5.

FIT’s downstairs gallery shows a retrospective of pink in fashion in the first room, anchored by Gwyneth Paltrow’s pale pink Ralph Lauren slip-gown that everyone remembers from the 1999 Oscars.

A stroll around the room is chronological, beginning with a fancy and frilly girly-girl two-piece ensemble from the 1850s, through ice-pink Chanel from the flapper period to pale pink plasticized space-age Courréges coats to the hot-pink satin features on Eighties society-ball statements by Adolfo and others.

Courréges logo and exquisite details on 1972 coat.

There’s even a full pink immersion installation of My Little Pony, Hello Kitty, and Barbie to make the point that for much of the 20th century in the West, pink has been associated with little-girl things.

Through the doors to the main gallery, curator Valerie Steele shows us the facets of how pink functions in a global society, as a transgressive color, as a wry joke, and even a power statement when applied to menswear.

One of the most interesting facts about pink is hidden in tiny label copy inside the first historical tableaux – a gorgeous 1775 silk brocade robe á la française on loan from the Los Angeles County Museum of Art and man’s suit from the same Pompadour Pink period.

Men and women in pink, 1775 style.

The word “pink” only entered the English language in the eighteenth century – the same time that the word “rose” was coined in French.

So, yes, despite the color’s appearance in the natural world prior to the burst of fashionable plant cultivation in the 18th century, it really took off as a response to horticulture that was reflected in fashions for both ladies and men.

From there, the exhibit explores how pink came to be associated with gender-specific kids’ clothes in the early days of Western consumer culture and how it was adapted as a “like life” color in lingerie and lingerie-inspired outerwear.

There are iconic pinkish women-as-flower dresses by Charles James from the Thirties and Fifties, and examples of Schiaparelli’s “shocking pink” reimagined by the house that bears her name today.

Rei Kawakubo’s 2005 biker-ballerina leather and pink gingham ensemble for Comme des Garçons.

It’s a great contemporary touch to see how punks and Rei Kawakubo subverted pink, and how Janelle Monae, Rihanna, and rappers have used it for their own pop-shock purposes.

See details of our favorites in our Flickr album. For fun, we’ve arranged the photos in chronological order and zoomed in on the embroideries, draping, embellishment, and masterful stitchery.

As usual, FIT has done an outstanding job on the digital side of the exhibition. Take a look at the exhibition website and FIT Flickr site, showing full-length photos of the ensembles. Listen to the audio tour of the show.

Enjoy curator Valerie Steele’s tour of the show here:

 

City Dreams by Bodys Isek Kingelez

Visionary Dorothea model created from cut paper and found objects in 2007 welcomes visitors to the show.

You can see what dreams are made of on MoMA’s upper floor when you walk into a world created by a self-taught artist from Zaire who saw all the possibilities of a new nation as his country transitioned from Belgian colonization.

Closeup of 1996 Ville Fantôme, a large utopian cityscape of cut paper, packaging, collage, and paint.

Bodys Isek Kingelez: City Dreams is a retrospective of visionary cities, skyscrapers, public buildings, stadiums, and monuments created from paper, cardboard, packaging, paint, ink, bottle caps, and other stuff over his lifetime. Experience the sheer genius of it all – and a virtual-reality tour – through January 1.

Three of his eight fully realized city models are featured at MoMA – examples of work that was eventually shown in (and collected by) art museums throughout the world.

Kingelez (1948-2015), who came from a small colonial village in the Congo, was taught by missionaries early on and went on to teach secondary school. But when political change came to the Belgian Congo in the Sixties, Kingelez became determined to contribute his vision to what his country could become.  And he used the materials at hand to create models of buildings that symbolized harmony, peace, and understanding.

After his work was shown in Paris, the international art world came calling, and Kingelez had the opportunity to work full time as an artists, creating ever more elaborate cities and models. Although he never traveled out of Zaire until 1989, Kingelez always imbued an international vision to his creations.

Detail of 1992 Reveillion Federal, a temple to democracy.

The models are precise, clean-cut visions of the future.  MoMA has created a VR-headset experience where you can walk through one of the cities, fly to the top of skyscrapers, and cross bridges to the future.  It’s a great way to enter 2019.

Take a look at our Flickr album of some of the work in this amazing show.

Enjoy this video of the artist himself showing how nature and lofty ideas can be put to work in architecture, engineering, and design:

 

For more on Kingelez and his life, click here. For a soundtrack, MoMA’s assembled a great one from Zaire here.

Catholic Inspiration for Fashion at the Met

Balenciaga’s 1967 silk wedding dress in the Romanesque Chapel at the Met Cloisters

The brilliant installation of haute couture in the historic halls of the Met Cloisters, Heavenly Bodies: Fashion and the Catholic Imagination, closing October 8, also serves as a surprising showcase for the spectacular medieval art residing in the same space.

Curator Andrew Bolton’s thoughtful placement and narrative creates a genuine conversation between European couture and religious-themed works made over 500 years ago at both the Cloisters and the Met’s Fifth Avenue location.

The Cloisters show starts spectacularly with Balenciaga’s 1967 wedding dress dramatically casting shadows across the floor of the largest room at the Cloisters, the Romanesque chapel with its outsized arch and crucifix.

Closeup of Jean Paul Gaultier’s 2007 evening ensemble printed with 15th c. image of the Virgin by Jean Fouquet.

The jeweled pieces of German stained glass are echoed by Gaultier gowns, and Craig Green’s avant-garde ensembles created from Islamic prayer rugs are at home amidst the 13th century tapestries in the Hall of Heroes. Looking at each contemporary expression fully reflects the magnificent artwork resting just a few feet away.

Hidden spaces, leafy cloisters, underground tombs, light-filled corridors, and dark, secret corners of the Treasury all provide surprises and context for exploring visitors – Valentino’s Garden of Eden dress, Galliano’s Machiavelli gown for Dior, Dolce & Gabbana’s gold silk-and-metal macramé wedding ensemble, and McQueen’s crown-of-thorns headpiece.  Seek and you will find.

Sleeve detail of monastic paper taffeta 1969 evening dress by Madame Grés.

Take a look at our Flickr album to see many close-up the details of all the clothes and surrounding artwork.

The Met has gone all out to make the connections between clothes and the Catholic themes explicit, providing innovative high-res photos, several brief videos and blog posts. Read more about the themes here.

Andrew Bolton, the show’s curator, gives an overview of all the inspiration and documentation of the exquisite clothing, jewelry, and inspirational art work in the show in this video here.

Closeup of Olivier Theyskens’ 1999 evening dress with a hook-and-eye closure in the shape of the cross. From the Crusades section of the show in the Gothic Chapel.

Click here to walk through every room of the Cloisters with Andrew Bolton and hear him explain how he made the selections according to the surrounding artworks.

The Fifth Avenue portion of the show is, like so much of Catholic pageantry, more of a public event, filling the Medieval hall with fashions inspired by angels, secular clergy, nuns, Mary, and saints, all dominated by an Ecclesiastical Fashion Show.

The Fifth Avenue portion of the show is, like so much of Catholic pageantry, more of a public event, filling the Medieval hall with fashions inspired by angels, secular clergy, nuns, Mary, and saints, all dominated by an Ecclesiastical Fashion Show.

Highlights include a procession of works from Gianni Versace’s last collection, Gaultier’s hologram votive dress, Mugler’s floating angel, and the loft high above it all, populated by ethereal figures wearing choir robes by Balenciaga.

1984 dress by Thierry Mugler from his Winter of Angels collection, part of the Celestial Hierarchy at Fifth Avenue

Here’s a link to the Met’s walkthrough video.

An important part of the Met’s undertaking is a spectacular mini-exhibition of incredible works of clothing art from the Vatican, which took significant negotiation. Here, Andrew shows highlights of the items on loan from the Vatican, some of which have never been displayed abroad before.

Walk through the Met’s Vatican section of the show here.