LOS ANGELES — The Academy of Motion Picture Arts and Sciences, the organization that gives out the Oscars, has been building a museum collection over the past decade. The Academy Museum of Motion Pictures, which is now set to open next year, is expected to be the first major institution devoted to film history in the United States.
The museum is located in Los Angeles’s Mid-Wilshire — just a stone’s throw away from the Los Angeles County Museum of Art (LACMA) and other museums — and is designed by Renzo Piano. The building is six floors, which will feature exhibition spaces and a 288-seat theater. Programming for next year has already been partially announced, including a retrospective on the Japanese animator Hayao Miyazaki and an exhibition on Black cinema.
Ahead of its opening, the Academy Museum is highlighting one major aspect of its 3,500 holdings: costume design. Among its recently acquired items is the cape Bela Lugosi wore in the 1931 movie Dracula. Apparently, Lugosi loved his cape so much that he continued to wear it after the movie and kept it until his death. “It has been a part of my mother’s household and then my household since I was born — for over 80 years,” his daughter, Bela G. Lugosi, is quoted in the museum’s press release. On the occasion of the Academy Museum, she decided it was time to part with the cape.
The costumes of movie stars often have curious afterlives. In 2017, a Shirley Temple dress from The Little Princess (1939) almost got lost in the mail. The dress belonged to a woman in Florida named Tonya Bervaldi-Camaratta, who had mailed the dress to Vermont for a Hollywood Convention. After pursuing an investigation, UPS found that the royal satin gown had been sold at auction in Kansas City, and returned the item to its incensed owner. Bervaldi-Camaratta is a die-hard fan: She is the author of The Complete Guide to Shirley Temple Dolls and Collectibles, where she relays her childhood obsession with the actress: “I curled my hair like Shirley, took tap dancing lessons, tried to sing like her, and even copied her mannerisms.” Today, that Little Princess dress is in the Academy Museum collection.
Below is a glimpse of some of the other costumes that were recently acquired. The items in themselves are often gorgeous, and if you have any personal attachment to these movies, chances are you’ll be giddy just to see the objects. But sometimes these archival displays run the risk of draining out the magic. Let’s hope the museum makes some effort to contextualize the costumes within their histories: alongside the movies that brought them to life and the people who cared for and loved them.
Elizabeth Taylor’s Wig in Cleopatra (1963)
The Quintessential Robe of “The Dude” in The Big Lebowski (1998)
Jack Nicholson’s Jacket in The Shining (1980)
Susan Sarandon’s Waitress Uniform in Thelma & Louise (1991)
One of Gene Kelly’s Outfits as Jerry Mulligan in An American in Paris (1951)
Sonia Braga’s Sequin Gown in Kiss of the Spider Woman (1985)
The Academy Museum of Motion Pictures will open in 2020.
The settlement comes after Tate prevented an artist who exposed sexual harassment by one of its largest donors from co-curating an exhibition.
Let’s be honest: On a best bathrooms list, no one wants to be number two.
The Newark Museum of Art Presents Jazz Greats: Classic Photographs from the Bank of America Collection
Photographers Antony Armstrong Jones, Milt Hinton, Chuck Stewart, Barbara Morgan, and more capture a breadth of legendary and local musicians and performance artists. On view through August 21.
Advocacy groups are pushing for a 5% royalty in resales, which would pertain even after the artist dies, in which case the funds would go to their estate.
This week, the Getty Museum is returning ancient terracottas to Italy, parsing an antisemitic mural at Documenta, an ancient gold find in Denmark, a new puritanism, slavery in early Christianity, and much more.
Art and photographs, publications from the 19th and 20th centuries, manuscripts, posters and more are set to cross the auction block on August 18.
The absence of an explicit framing of American art, in all of its diversity, as a visual culture of empire distorts and hampers our ability to understand — and reimagine — our social world.
The gap between the material body and the psychological one, which we all too often take for granted, is one of the underlying themes of Hiro’s exhibition.
David Rios Ferreira and Denae Shanidiin join forces to bring awareness to the plight of Indigenous women and girls, and LGBTQ+ individuals.
Metrograph’s series The Process features films that were either directed by Robert M. Young or made with the help of Irving Young’s postproduction facility.
Memes depicting a sinister, all-powerful Joe Biden alter ego are sweeping the internet, and the Democratic establishment is loving it.