For those fond of making lists, Alberto Burri: The Trauma of Painting, a large-scale solo exhibition of paintings currently on view at the Guggenheim Museum in New York provides a fertile stomping ground: Catrami, Gobbi, Muffi, Bianchi, Sacchi, Combustioni and Legini, Ferri, Combustioni Plastiche, Cretti. Tars, Hunchbacks, Molds, Whites, Sacks, Combustions and Woods, Irons, Plastic Combustions, Cracks. Ground pumice stone, tar, discarded linens, burlap sacks, wood veneer, cold-rolled steel, plastic sheeting off factory rolls, Celotex and blowtorch.
If you find yourself in Atlanta in the next six months, the Iris van Herpen retrospective, currently on view at the High Museum of Art is a must-see. It is the first fashion exhibit at the High Museum and I could not think of a better one to inaugurate what I hope becomes a tradition. Actually, I am sure it will, as the 2,3000-strong crowd that came for the exhibit’s opening left no doubt about where the public attention is channeled today.
If you find yourself in Tokyo in the next few months be sure to visit the 25-year retrospective of Undercover, called Labyrinth of Undercover, which opened last weekend. We were privileged to get a preview of the exhibit last Friday. The show is divided into several spaces. The first part lets the viewer immerse himself into the videos of Undercover shows. The videos are decidedly low-fi and unedited, so you can spend a lot of time in those rooms getting lost (in the best sense of the word) in the footage.
We would like to present to you Part II of our coverage of Alexander McQueen: Savage Beauty exhibit at the Victoria & Albert Museum in London.
We would like to present to you an in-depth review of the Alexander McQueen: Savage Beauty exhibit at the Victoria & Albert Museum in London. Tomorrow, we will publish a comprehensive photo essay of the exhibit shot for StyleZeitgeist magazine.
Two weeks ago I got to see the Dries Van Noten: Inspirations exhibit at MoMu, Antwerp’s fashion museum. As the title suggests, the exhibit provides a glimpse into Van Noten’s world, and the influences that feed the wellspring of his creativity.
I have already seen the initial version of the exhibit at the Musee des Arts Decoratifs in Paris. It was received with typical fanfare that the fashion press is all too ready to dispense. But while I liked it overall, I was so exhausted by the two floors of continuous explosion of color and ornament that I was happy to get some fresh Parisian air when I finally got out.
This Sunday a new exhibit devoted to the work of the Icelandic singer Bjork will open at the Museum of Modern Art in New York. Since Bjork’s first solo album Debut (1993) she has occupied that portion of cultural space that is hard to define except as an oxymoron – pop avant-garde.
The exhibit comes on the heels of the one devoted to another pop avant-gardist, David Bowie. This crowd-pleaser was first shown at the V&A museum in London, went on to Chicago, and opened in Paris this Tuesday.
In the 1990s, Alexander McQueen formed a close relationship with the photographer Ann Ray (Anne Deniau), allowing her to photograph his studio and shows forming what he called, ‘my life in pictures’. Thirteen of these pictures will be on display at V&A in preparation for the upcoming exhibit Alexander McQueen: Savage Beauty.
The work of Francesca Woodman, the prodigious photographer who took her life in 1981 by jumping out of a window, is now on display at the Marian Goodman gallery in New York.
Interest in Woodman’s work has resurged after the 2011-2012 exhibits at the Guggenheim Museum in New York and the San Francisco Museum of Modern Art, with several books being published in their wake.
“Limelight, 1983,” is the title of one of the prints that opens Ken Schles’ show at Howard Greenberg Gallery of gritty, grainy, high-contrast prints of downtown New York. ‘Entering The Palladium, 1985” is the title of another. “Chair 619 East 5th Street, 1984” is another. (That’s pretty damn east by the way, 619, even by today’s standards). “View From 224 Avenue B, 1983.” “Boy on East 5th Street, 1984.”