Grimanesa Amorós’s work has always been a little too big — literally and conceptually speaking — to be confined within the barriers of a gallery. Her light sculptures have encroached upon the streets of New York City, encountering passersby, mesmerizing them with paper sculptures and the translucent spheres for which she has become known. Though Tribeca Issey Miyake is hardly a vast, open space typical of interventionist art, in her new installation at the Japanese designer’s boutique the sculptures certainly confront new viewers and easily mixes fashion and fine art.
It’s a testament to the time in which we live to be able to walk through the brilliant halls of a white-walled, glass ceilinged exhibition hall, quietly perusing couture from one of the masters of modern fashion, Valentino Garavani, all in front of a computer screen.
So there I stood, sharing a cigarette with my friends on the curb outside of La MaMa. We were patiently waiting for the house to open for former NEA 4 defendant John Fleck’s show, “Mad Women,” a dizzying one-man mash-up of the performance artist’s life with the final year of the legendary Judy Garland, when one of the producers approached me and asked, “Do you want to be in the show?”
Oh no, it’s like Naomi Campbell all over again! Well, not quite. One of the sponsors of the Daphne Guinness blockbuster exhibition at the Museum at FIT, Leviev Extraordinary Diamonds, has recently come under fire for some shady activities involving shall we say “questionable” diamond trades, upsetting several media outlets and human rights organizations. When will the fashion world learn?
Celebrities have lent their support and clout to the numerous incarnations of the Occupy movements over the months. But, there’s only been one fashion designer to grace the protests with her presence (in the fashion capital of London, nonetheless) so far: Vivienne Westwood.
Since we’ve been running down the most powerless and most f***able art world figures, now we’re seeing which ones are in dire need a makeover. Anyone in the public sphere knows the way they dress reflects greatly on their work, and art people, fortunately or not, are no exception.
The Vogue Editor-at-Large seems like a caricature of the fashion industry, but his newly crowned gallery at the Savannah College of Art and Design’s museum shows a quieter, more intellectual side of him as a philanthropist and curator.
Looking at the proliferating cross-pollination of fine artists and fashion design (Nan Goldin for Jimmy Choo, Terence Koh for Opening Ceremony, Ai Weiwei for W), we decided to take a look back and remember some of the truly successful collaborations within these two fields.
For their 6th annual Art Issue, W Magazine enlisted the help of dissident Chinese artist Ai Weiwei to art direct a photo shoot entitled, “Enforced Disappearance.” Touted as “his first New York work since being released from government custody,” Weiwei collaborated on these images first by email, then by Skype, relaying his ideas and giving direction from halfway around the world.
The photographer who documented real 1980s New York grit, Nan Goldin, now points her lens towards…peacocks, horses and shoes? In a new ad campaign for luxury shoe line Jimmy Choo, Goldin lends her signature to some awfully confusing images.
Yesterday, top model Andrej Pejic met the Queen of England wearing a pencil skirt. Why is that a statement worthy of reporting, you ask? Because hiding underneath that pencil skirt was a piece of male anatomy.
Designer/artist crossbreeding is nothing new. MAC had Cindy Sherman, Louis Vuitton had Takashi Murakami, and Stella McCartney had Barry Reigate. But for the 65 year-old house of Dior, a new accessories and cosmetics collection made in collaboration with German contemporary artist Anselm Reyle may be a bold new step that will help invigorate the French label.