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Category: Art

'Death Becomes Her' The Costume Institute Exhibit

'Death Becomes Her' Costume Institute Exhibit 1

WWD: A Look at The Met's 'Death Becomes Her' Exhibit

“Death Becomes Her: A Century of Mourning Attire,” the fall Costume Institute exhibition at The Metropolitan Museum of Art, which opens to the public on Tuesday, is a powerful reminder of how, during much of the 19th century, the mourner’s wardrobe was distinctly defined, and how it evolved at various stages of grief.

The show is arranged chronologically from 1815 through 1915, with about 30 looks, two of which are men’s-specific and one is for a little girl. The theme may come off as a little morbid, but far from sad. Instead, it’s a study of a past ritual that was mainly expressed via fabrics, i.e., matte right after the death of a beloved, with a gradual introduction of color, pattern and even shine as the mourner works through the grief.

'Death Becomes Her' Costume Institute Exhibit 2 'Death Becomes Her' Costume Institute Exhibit 2 'Death Becomes Her' Costume Institute Exhibit 2 'Death Becomes Her' Costume Institute Exhibit 2

Leica '100'

Good ad, but a bit hyperbolical of them to say, towards the end: "The most iconic images in history, even if the ones that weren't taken by a Leica, were taken because of a Leica. We didnt invent photography, but we invented photography".


A new Leica "100" advertisement, relating to the Leica 100 year centennial and celebrating the opening of the Leica Gallery in Sao Paulo, Brazil. It recreates 35 historical Leica photos.

David X. Levine Art Exhibition Boston

David X. Levine Exhibition Boston 1

My dear friend David showing in Boston now, with reception tomorrow night, if you happen to be in the area; with my highest respect to him and his work.

John Surette
Artist: David X. Levine
Gallery: Steven Zevitas Boston
Dates: September 10 - October 18, 2014
Reception: Friday 3 October 5:30pm

John Surette presents five recent works on paper and an editioned t-shirt. While colored pencil continues to be Levine’s primary medium, his latest work also includes collage elements. The most noticeable change in his work over the past several years, aside from its increased scale, is Levine’s abandoning of the intuitive, wonky and hard-won forms that used to dominate his compositions in favor of more strictly geometric forms. Levine has successfully wrestled the same unstable energy out of a square that he used to produce with his own personal forms.

The exhibition takes its name from the eponymous Boston-area musician, who has had a significant influence on Levine. In the work on view, Surette, Mary Tyler Moore and other pop icons as raw “material”; they function more as a brushstroke would than as cultural signifiers. Through their integration into his work, Levine explores memory and thought, and how the two intertwine and overlap to produce content that is at once highly personal and universal.

The t-shirt/print plays a central role in the exhibition and is the most consciously conceptual object that Levine has ever made. Titled “John Surette,” the shirt functions as a formal art object while referencing a litany of other issues and concerns that are central to Levine’s life and practice, from blue-collar art to iteration/repetition to installation, with the wearer as the center.

Levine’s work has been the focus of a number of one-man exhibitions, including shows at Tony Wight Gallery in Chicago, Dust Gallery in Las Vegas and Eight Modern in Santa Fe. Group exhibitions include shows at Spencer Brownstone Gallery in New York City and Cherry Martin in Los Angeles. This is Levine’s fourth exhibition at Steven Zevitas Gallery. His work will be the focus of a retrospective at the Boston University’s Sherman Gallery in 2015.

The artist will be present for an opening reception on Friday, October 3rd from 5:30 – 8:00 PM. For additional information, please contact Steven Zevitas at 617.778.5265 (ext. 22). Gallery hours are Tuesday through Saturday, 11AM – 5 PM.

David will also be showing in LA next month, at Honor Fraser Gallery

David X. Levine Exhibition Boston 2

Fincher's Craft

Tony Zhou:

For sheer directorial craft, there are few people working today who can match David Fincher. And yet he describes his own process as “not what I do, but what I don’t do.” Join me today in answering the question: What does David Fincher not do?

Good Reads | John Richardson's Arcadia


T Style Magazine: The Personal Arcadia of John Richardson

Sitting on the bench with the sphinx heads, Richardson mused: “Some people say to me: ‘Oh John, how could you put something so hideous in front of your house!’ But they don’t understand that bad taste is an essential ingredient in the pudding. It takes the curse off ghastly good taste.”

Mona Kuhn Exhibition

Mona Kuhn

Mona Kuhn
The Edwynn Houk Gallery
September 11 - October 18, 2014

In Fellowship


By Chadwick Tyler




Italian based artist Kuinexs, and a fan of Richardson’s work, has (unintentionally?) managed to show the hidden ugliness in Richardson’s photographs by using gore-like elements borrowed from painter Francis Bacon. The series is called “Photodisollusions.” The outcome of retouching the photographs by liquefying them is repulsive.

Elizabeth Glaessner

Elizabeth Glaessner

Just came across this Elizabeth Glaessner, via an Interview Magazine post, and fell in love with the works. She currently has an exhibit at PPOW running till August 15th in NYC.

Garry Winogrand Retrospective, MoMA

Garry Winogrand Retrospective, MoMA

Garry Winogrand
June 27 - September 21, 2014


The first retrospective in 25 years of work by Garry Winogrand (1928–1984)—the renowned photographer of New York City and of American life from the 1950s through the early 1980s—will open at The Metropolitan Museum of Art on June 27, 2014. Garry Winogrand brings together more than 175 of the artist's iconic images, a trove of unseen prints, and even Winogrand’s famed series of photographs made at the Metropolitan Museum in 1969 when the Museum celebrated its centennial. This exhibition offers a rigorous overview of Winogrand's complete working life and reveals for the first time the full sweep of his career.

Nikola Tesla

“My brain is only a receiver, in the Universe there is a core from which we obtain knowledge, strength and inspiration. I have not penetrated into the secrets of this core, but I know that it exists.”
― Nikola Tesla

Cézanne called it Nature. I view it from a religious point of view.

★ Alibis: Sigmar Polke 1963-2010

Alibis Sigmar Polke 1963–2010

Looking forward to seeing this on Monday.

Alibis: Sigmar Polke 1963-2010
April 19–August 3, 2014
Member Preview Starts April 12

Alibis: Sigmar Polke 1963–2010 brings together the work of Sigmar Polke (German, 1941–2010), one of the most voraciously experimental artists of the 20th century. This retrospective is the first to encompass the unusually broad range of mediums Polke worked in during his five-decade career, including painting, photography, film, sculpture, drawings, prints, television, performance, and stained glass. Polke eluded easy categorization by masquerading as many different artists—making cunning figurative paintings at one moment and abstract photographs the next. Highly attuned to the distinctions between appearance and reality, Polke elided conventional distinctions between high and low culture, figuration and abstraction, and the heroic and the banal in works ranging in size from intimate notebooks to monumental paintings. Four gallery spaces on MoMA’s second floor are dedicated to the exhibition, which comprises over 250 works and constitutes one of the largest exhibitions ever organized at the Museum. Alibis: Sigmar Polke 1963–2010 is organized by MoMA with Tate Modern, London. It is organized by Kathy Halbreich, Associate Director, MoMA; with Mark Godfrey, Curator of International Art, Tate Modern; and Lanka Tattersall, Curatorial Assistant, Department of Painting and Sculpture, MoMA. The exhibition travels to Tate Modern from October 1, 2014, to February 8, 2015, followed by the Museum Ludwig in Cologne, in spring 2015.

A major publication accompanies the exhibition, comprising 16 essays covering the entire span of Polke’s intermedial production, a comprehensive narrative chronology, an interview with Benjamin Buchloh on the groundbreaking 1976 solo exhibition of Polke’s work that he curated, an illustrated checklist, and a bibliography of publications from 1997 to the present. Texts are from a broad spectrum of artists and scholars, most of whom have not previously published work on Polke. The authors are Paul Chan, Christophe Cherix, Tacita Dean, Barbara Engelbach, Mark Godfrey, Stefan Gronert, Kathy Halbreich, Rachel Jans, John Kelsey, Erhard Klein, Jutta Koether, Christine Mehring, Matthias Muehling, Marcelle Polednik, Christian Rattemeyer, Kathrin Rottmann, Magnus Schaefer, and Lanka Tattersall.