Posts Tagged ‘Metropolitan Museum of Art’

Fashion | Iris van Herpen: High-Tech Hero

Friday, November 6th, 2015

Voltage, dress, January 2013
In collaboration with Philip Beesley
Laser cut 3D polyester film lace, micro fibre.
Collection of the designer

Iris van Herpen:
Transforming Fashion
High Museum of Art Atlanta
Atlanta Georgia | USA
7 November 2015 > 15 May 2016

Biopiracy, dress, March 2014
In collaboration with Julia Koerner and Materialise
3D-printed TPU 92A-1, silicon coating

Collection of Phoenix Museum of Art.
Gift of Arizona Costume Institute

It was announced this week that the focus of the Costume Institute Benefit at New York’s Metropolitan Museum of Art in May 2016, will be on technology’s impact on fashion. The event will be co-chaired by Jonathan Ive, Taylor Swift, Anna Wintour and Idris Elba – a somewhat mixed bag of nevertheless prominent names – while the eminent Karl Lagerfeld, Miuccia Prada and Nicolas Ghesquière will sit as honorary chairs. Oddly, Swift is the only American included and Ive the only one with any in-depth technology-related knowledge. Sounding, perhaps appropriately, like the latest blockbuster video game, Manus x Machina will be the title of the accompanying exhibition, with the subtitle Fashion in an Age of Technology. The image – a dress with a silicon feather structure and mouldings of bird heads on a cotton base – used on the Met website with the announcements for both events is from the autumn/winter 2013 > 14 collection of visionary Dutch designer Iris van Herpen (b 1984).

Iris van Herpen: Transforming Fashion, opening tomorrow at the High Museum of Art Atlanta – a comprehensive survey of her career to date, with 45 outfits from 15 collections, designed between 2008 and 2015, includes some of the world’s first examples of 3-D printed fashion.

Hybrid Holism, dress, July 2012
Metallic coated stripes, tulle, cotton.
Collection of the designer

Magnetic Motion, dress, September 2014
3D printed transparent photopolymer,
SLA (sterolithography) resin.
High Museum of Art, purchased with funds
from the Decorative Arts Acquisition Trust
and through prior acquisitions

Lady Gaga and Beyoncé have worn van Herpen’s futuristic dresses, as has British actress Tilda Swinton. Björk is a big fan, too – donning the designer’s creations for live concerts and for the covers of both her Biophilia album, and the single, Crystalline. In 2014, eminent champagne-maker Dom Pérignon approached van Herpen to be the most recent collaborator in its Power of Creation series, which has seen creative talents such as Marc Newson, Jeff Koons and David Lynch produce innovative special edition packaging for the brand. Earlier this year, van Herpen, who trained as a classical ballerina for fifteen years before working for Alexander McQueen – whose Spring / Summer 2010 show, incidentally, was all digitally-printed – created bespoke garments for visionary dance performance in Spatial Reverse, Warren du Preez and Nick Thornton Jones’ ethereal short film in which the definition of contemporary clothing is pushed to the limit.

Andrew Bolton, Curator of The Costume Institute, is quoted on as saying, ‘Traditionally, the distinction between the haute couture and prêt-à-porter was based on the handmade and the machine-made, but recently this distinction has become increasingly blurred, as both disciplines have embraced the practices and techniques of the other.’ Van Herpen is responsible for some of that blur. Having garnered international acclaim for her couture designs, which interweave traditional handwork with groundbreaking technology, computer modelling and engraving, constructed in collaboration with architects, engineers and digital design specialists, she has cleverly adapted and applied the same ideas for use in her phenomenally-individual and successful prêt-à-porter clothing. A selection of her acclaimed shoes designs (including 3D-printed examples), created in collaboration with United Nude – co-founded by architect Rem Koolhaas – will feature in the High’s show.

Capriole, ensemble, July 2011
In collaboration with Isaie Bloch
and Materialise.
3D printed polyamide.
Groninger Museum, 2012

With a long list of awards including, most recently, the 2015 Marie-Claire Prix de la mode, for best Dutch conceptual designer and the 2014 ANDAM Awards Grand Prix, Iris van Herpen is widely heralded as a pioneering new voice in fashion, known and respected for her willingness to experiment – exploring new fabrics created by blending steel with silk or iron filings with resin. While she may not (yet) have such a big name as those chairing the Costume Institute Benefit, perhaps an additional chair should be pulled up to the table for one whose forthcoming show at the High must be considered as far more than a taster for next year’s Manus x Machina, in which, no doubt, her work will feature prominently.

The designer’s first solo show in the USA, Iris van Herpen: Transforming Fashion, makes it’s debut at the High Museum of Art Atlanta before touring North America.

All images courtesy The High Museum of Art Atlanta.
All photos Bart Oomes, No 6 Studios, except 5, by Ingrid Baars, © Iris van Herpen

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The Blog is about art, architecture, books, design and gardens, and anything else that currently interests us that we think might interest you.

The Blog’s publishers insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees that may, under any circumstances whatsoever, fall due, must be borne by the source supplier

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Art | Richard Serra Draws

Friday, April 12th, 2013

Richard Serra: Double Rifts
Gagosian Gallery
Beverly Hills, California, USA
17th April – 1st June 1, 2013

Richard Serra draws. Richard Sera sculpts. He sees each as an autonomous activity. He doesn’t make drawings of the sculptures he intends to create – he makes models. Neither does he make drawings of his finished sculptures.

Serra, born in 1938 and probably the world’s best-known contemporary sculptor, who has produced large-scale, site specific pieces for clients around the globe, and whose work has been celebrated in two retrospectives at The Museum of Modern Art, twenty years apart, whose major recent drawing exhibitions include Richard Serra Drawings: Work Comes Out of Work, Kunsthaus Bregenz (2008); Richard Serra Drawings: A Retrospective, Metropolitan Museum of Art, New York (2010 – travelled to San Francisco Museum of Modern Art and the Menil Collection, Houston in 2012) was drawing long before he became a sculptor. In San Francisco where he grew up, his proud mother would introduce her young son, who sketched on pink butchers’ roll paper, as Richard ‘The Artist’.

Richard Serra doesn’t paint. As a student at Yale – where he was accepted on the strength of 12 drawings – he painted, but he paints no more. Paintings, in his opinion, are produced with the viewer in mind, while drawings are for the artist. Drawing every day, Serra insists that the practice is primary to artists and gives them grounding. He would always rather look at someone’s drawings – Van Gogh’s, Rembrandt’s – than at their paintings. Indeed drawing to him, reveals far more than painting about the way an artist thinks and sees.

In his search for an individual way forward in his drawing, Serra says that there came a point quite early on in his career when, faced with the entire history of anyone else who had ever made a mark on a piece of paper, he realised that he needed to adopt a radical approach. Abandoning representation and any anecdotal references to other things, he discovered that by defining the form he was creating in relation to the space around it, relating it to the architecture, to the floor, the walls and to the ceiling, he could draw with space, thus ‘making space palpable’.

It’s only to be expected that Serra, who pushes the concept of drawing to its limits and whose drawings are often almost as monumental as his sculptures, uses unconventional methods to create them. Unwilling to ‘make art out of the art store’, as he puts it, he uses paint-stick – a cheap material made from paraffin with a little oil mixed in – that he has melted, stamped on and even put through a meat grinder, as his medium. Often he draws with a big brick of paint-stick on handmade paper, but has also created series drawings with ink and rollers at the print shop he uses in LA.

In interviews on YouTube Serra talks about how spatial differences have always interested him, about the idea of people ‘entering into the space of a drawing’, and how – citing Cézanne’s paintings of fruit, as an example – he tries to imply gravity within the structure of his drawings. For his installation drawings his object has become to ‘create a space within the space that differs from the architectural container.’ Consequently, as an exhibitor he is extremely hands on – when drawings intended to work in one gallery are transferred to another, he may even alter them to function to his satisfaction within the new context.

The Richard Serra: Double Rifts show at the Gagosian Gallery in Beverly Hills is an exhibition of Richard Serra’s recent drawings.

Drawings from top
Double Rift #5, 2012, Richard Serra
Paintstick on handmade paper
289.6 x 537.2 cm (114 x 211 1/2 ins)

Double Rift #9, 2013, Richard Serra
Paintstick on handmade paper
214 x 611.5 cm (84 1/4 x 240 3/4 ins)
Images ©Richard Serra. Courtesy the artist & Gagosian Gallery

Tell us what you think
The Blog is about art, architecture, gardens, books, design and anything else that currently interests us which we think might interest you

The publishers of The Blog insist that all images supplied for publication in our posts are cleared for that use before being sent to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees which may, under any circumstances, fall due, must be borne by the source supplier

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Art | ‘Bank’sy?

Saturday, September 3rd, 2011

Stop & Search

Kezsler Gallery, The Hamptons

Not that I would equate the two but if it’s acceptable in the 21st century to hang a 13th century renaissance fresco, torn, by persons unknown, from the Tuscan chapel for which and where it was created in situe, in the likes of London’s National Gallery, The Louvre in Paris, or New York’s Metropolitan Museum of Art, why then is it deemed unacceptable by curators and Banksy fans to carefully slice out a five and a half ton section of a concrete, butcher’s shop wall in Palestine defaced by the artist, sell it to an art dealer, transport it across the Atlantic Ocean to a gallery in The Hamptons, where it is put on sale, restored and stabilised, for around around $450,000.

Authenticated Banksy pieces can sell for as much as $1.6m. The deed, and the story that ensued, of those who removed it trying and failing to sell Stop & Search – it shows an Alice in Wonderland-like young girl figure frisking a soldier – on eBay, at which point the gallerists came into the picture, one of whom defends himself by saying: ‘I have never been involved in the actual removal of Banksy art – I would view that as grave-robbing!’, have lent the piece mythical status’. It might be said that by transforming the graffiti into a 3D object akin to sculpture, the perpetrators of the ‘crime’ have, albeit inadvertedly, lent it more than mere gravitas and that thus it should be a very bankable asset. However, Banksy’s people, Pest Control, rarely authenticate his public works and have refused to endorse Stop &Search and another piece, Wet Dog, which was part of the same consignment.

What is a Banksy worth?

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