Richard Bernstein: STARMAKER

Kicking off New York Fashion Week, the Richard Bernstein: STARMAKER book launch party was celebrated at PUBLIC ARTS at Public in New York City earlier this month.

The venue walls were plastered with enlarged artwork of and cut outs of Interview Magazine covers spanning from 1972 to 1989. Legendary cover stars came to life on stage in a Studio 54 VIP Room setting while being catered to by a bevy of hunky bus boys. Performers who resembled Divine, Liza Minelli, Halston, Pat Ast, Jerry Hall and Grace Jones danced and partied the night away.

Celebrities in attendance were the creative director of the new Interview Magazine Mel Ottenberg, Pat Cleveland, Halstonette Karen Bjornson, famed Studio 54 publicist Carmen D’Alessio, Gaultier muse Stella Ellis, Angie Everhart, Amanda Lepore, Miss Jay Alexander, Dianne Brill, artist David Croland, Michael Musto, head of Warhol Enterprises Vincent Fremont and Jeffrey Deitch.

The private event was hosted by authors Mauricio and Roger Padilha whose book Richard Bernstein: STARMAKER Andy Warhol’s Cover Artist is now available in all major bookstores worldwide and is published by Rizzoli International Publications Inc. and presented by Alcone Company with FHI-Heat, Oralgen, Svedka and PUBLIC ARTS at Public.

Performers as Liza Minelli and Halston

Performers as Divine, Pat Ast, and Grace Jones

Stella Rose St. Claire

Mel Ottenberg, Stylist and Creative Director of Interview Magazine

John, Ellen, and Rory Trifon, family of Richard Bernstein

Jeffrey Deitch, art dealer and curator, and Mauricio Padilha, co-founder of  MAO Public Relations

Amanda Lepore.

Journalist Michael Musto

Angie Everheart, model and actress

Jonte Moaning, performer, dressed as Grace Jones

Dianne Brill, Queen of New York nightlife

Stylist Wouri Vice

(left) Chris Makos, famed photographer, (center) Shelly Fremont, film director and producer, (right) Vincent Fremont, film producer and head of Warhol Enterprises

Legendary models Karen Bjornson (left) and Pat Cleveland (right)

NYFW S/S 2018: PART 1

Photography by EVGENY MÍLKOVICH

Singer Kim Petras stunning in platinum, slicked back hair and silver leather.

Elaine Welteroth, journalist and former editor-in-chief of Teen Vogue, in an all-white moment.

The godfather of Harlem style and current Gucci collaborator, Dapper Dan arrives at a show.

 

Christina Aguilera in blood red leather.

The cutest dog ever. omg.

New York nightlife personality Kyle Farmery merges day and night.

Famed stylist and designer Patricia Field smiling on the way to the next show.

 

 

 

MOËT & CHANDON C/O VIRGIL ABLOH – “DO NOT DROP”

WHO Moët & Chandon, the champagne of success and glamour, and designer Virgil Abloh, the founder of fashion label Off-White and Louis Vuitton’s newest menswear artistic director

WHAT Moët and Abloh have come together release a collection of two limited edition bottles of Moët Nectar Impérial Rosé – the #1 selling rosé Champagne in the US – marking the designer’s first-ever liquor brand collaboration. A 3L jeroboam, which will be available exclusively to friends and family of Abloh, as well as a 750mL “ready-to-wear” bottle that will be available nationally

WHERE Clos19.com and local retailers (750ml only)

WHEN October 15, 2018

750ml bottles: $59.99

MOËT & CHANDON, the renowned and legendary champagne of success and glamour since 1743, has released a collaboration rosé with fashion’s it-boy provocateur Virgil Abloh. This is Abloh’s first creative partnership with an alcohol brand, and he has chosen an equally pioneering luxury maison to introduce him to the world of fine spirits.  MOËT NECTAR IMPÉRIAL ROSÉ pleases the senses with its refined and sophisticated richness and distinguishes itself by its extravagant fruitiness, its density on the palate and crisp finish which surprises and delights. Virgil, the American designer, has impacted many creative fields since his rise to fame as close friend and creative director of Kanye West, from fashion to furniture and music, Abloh has imprinted his signature on everything he touches.

The bottle of the Nectar Imperial is stamped with “DO NOT DROP” on the side, a classic trope of Mr. Abloh’s as a Warhol-esque nod to the tongue-in-cheek nature of his work, stating the obvious with an artistic twist. These bottles are sure to fly off the shelves as the fashion hoards clamor for anything with Virgil’s association, and the refined and luxurious quality of Moet & Chandon is assured with every bottle. 

VIRGIL ABLOH is an American designer, DJ and stylist who came to prominence as Kanye West’s creative director. Born to Ghanaian parents and raised in Chicago, Abloh has since made waves in the fashion world with his luxury streetwear label, Off-White, worn by the likes of Jay-Z, ASAP Rocky, Rihanna and Beyoncé. In 2015, Off-White was an LVMH Prize finalist, culminating in his appointment as artistic director of menswear
at Louis Vuitton in March 2018. “This opportunity to think through what the next chapter of design and luxury will mean at a brand that represents the pinnacle of luxury was always a goal in my wildest dreams,” he said of
his appointment.




FASHION’S BIGGEST NIGHT OF THE YEAR: THE 2018 MET GALA

By: Sarah Conboy

From Left to Right: Bella Hadid, Kim Kardashian, and Kendall Jenner

On Monday, May 7th, the Metropolitan Museum of Art in New York City hosted its annual gala in conjunction with the Anna Wintour Costume Center. Sponsored by Versace, Christine and Stephen A. Schwarzman, and Condé Nast, the exhibition’s theme is “Heavenly Bodies: Fashion and the Catholic Imagination.” The show traces fashion’s connection to Catholicism, including pieces from designers such as Azzedine Alaïa, Cristóbal Balenciaga, Dolce & Gabbana, Jean Paul Gaultier, Christian LaCroix, and more. As a special addition, the show presents a number of garments and accessories loaned from the Vatican’s collection at the Sistine Chapel sacristy.

Spanning not only the Costume Center, but the Byzantine and medieval galleries at The Met 5th Avenue and The Met Cloisters uptown, “Heavenly Bodies” was organized by Andrew Bolton, Curator in Charge of The Costume Institute. This year’s co-chairs included Rihanna (who dressed for the Gala in a papal-inspired look by Maison Margiela), Amal Clooney (dressed in a Richard Quinn, recent recipient of the Queen Elizabeth II Award for British Design), Donatella Versace (dressed in a beaded Atelier Versace number), and of course, Anna Wintour (dressed in a glittering Chanel Haute Couture gown).

Rihanna in custom Maison Martin Margiela

Frances McDormand in Valentino Haute Couture

Guests included a number of A-List celebrities and public figures. Kate Moss attended for the  first time since 2009, showcasing her supermodel figure in a short, black Saint Laurent by Anthony Vaccarello dress. Other models making a cameo at the Gala were the likes of Kendall Jenner, the Hadid sisters, Ashley Graham, and Joan Smalls. Virgins to The Met Gala—pun intended—included debuts from Cardi B (guest of Moschino’s Jeremy Scott), and SZA. Other musicians at the Gala were man-of-the-moment Donald Glover, Solange Knowles, Nicki Minaj, and Katy Perry. A number of award-winning actors came, from George Clooney (supporting wife and co-chair Amal) to Blake Lively, Frances McDormand, and Chadwick Boseman amongst many more. On the designer front, the Olsen twins, of The Row, attended, as well as Off-White’s Virgil Abloh, and Gucci’s Alessandro Michele, accompanied by muses Jared Leto and Lana Del Rey. Couples Hailey Baldwin and Shawn Mendes, and Elon Musk and Grimes, made their first public appearances at the event.

Once inside, guests were treated to a seated dinner, and a preview of the exhibition before it officially opens to the public. As we imagined, the night closed with an on-theme performance by Madonna, who aptly sang “Like a Prayer” and “Hallelujah.” A number of after-parties were thrown to continue the festivities, most notably a post-Gala party hosted by Donatella Versace at the Mark Hotel.

“Heavenly Bodies: Fashion and the Catholic Imagination” officially opens at the Metropolitan Museum of Art on May 10th, and will run through October 8th.

Madonna in custom Jean Paul Gaultier

Lana Del Rey in custom Gucci

Jennifer Lopez in custom Balmain accompanied by Alex Rodriguez

A FLAWLESS NIGHT: LONG LIVE THE QUEEN

The Town Hall presents: A FLAWLESS NIGHT: LONG LIVE THE QUEEN
A Tribute to Flawless Mother Sabrina on Thursday May 10, 2018 at 8pm
Featuring A 50th Anniversary Screening of the Landmark Documentary The Queen, The Pioneering Producer’s Drag Show Beauty Pageant, Filmed at The Town Hall in 1968
For more information and to purchase tickets please go here

The Queen 1968 film poster

In 1967, Jack Doroshow, aka Flawless Sabrina, produced and hosted a legendary drag pageant at The Town Hall in New York. It was documented in the film, The Queen, and selected for the Cannes Film Festival. The film came to be regarded as a landmark of queer culture.

The Queen captures the groundbreaking (and law-breaking) spirit of Flawless Sabrina, who began producing drag shows in 1959 and continued on for a decade afterward. Crisscrossing the country, Flawless mounted dozens of local shows each year where many queens – including Divine – performed in drag for the first time. Andy Warhol saw a performance in Pittsburgh and helped locate a benefactor to fund a film of the “Miss All America Beauty Pageant” at the Town Hall, and The Queen was released in 1968.

Fifty years after the release of The Queen, the Town Hall and the children of Flawless Mother Sabrina celebrate their legacy. This special event, hosted by Linda Simpson, will feature a rare theatrical screening of The Queen plus performances by Taylor Mac, Justin Vivian Bond with Nath Ann Carrera, The House of LaBeija, Julie Atlas Muz, Tigger!, Brandon Olson, Poison Eve, DJ Sammy Jo, and more, joined for one special night to pay homage to a New York City icon, mentor and mother.

 


Flawless Sabrina circa 1968 (© Mary Ellen Mark)

Zackary Drucker, transgender artist and producer of the TV series Transparent will be on stage to introduce the film. Says Drucker: “The Queen is an invaluable relic of a bygone era that is sparsely documented.The history of drag queens and trans people is largely an oral history, but The Queen is a rare window into our community pre-Stonewall, when it was still illegal to cross dress.”

Over the years, Flawless Sabrina served as mother and mentor to hundreds of artists and musicians like Drucker, and as an inspiration to countless more people who visited her salon/home on the Upper East Side. Flawless Sabrina’s activism and compassion for others created reverberations that can be felt and observed to this day, from the continued tradition of drag performativity on RuPaul’s Drag Race, to having influenced the U.S. government to ensure trans people could change the gender marker on their passports.

On November 18, 2017, Flawless Sabrina, one of the loudest and proudest voices for the LGBTQ community, passed away at age 78. The Town Hall event honors Sabrina’s fearless commitment to art and individuality, reflected in the motto: “If it doesn’t make you nervous, it ain’t worth doing.”


Flawless Sabrina (© Zackary Drucker)

For more information and to purchase tickets please go here

A portion of the proceeds from A Flawless Night: Long Live The Queen benefits Ali Forney Center in its mission to protect LGBTQ youths from the harms of homelessness and empower them with the tools needed to live independently. Since AFC’s launch with just six beds in a church basement in New York City, the organization has grown to become the largest agency dedicated to LGBTQ homeless youths in the country – assisting nearly 1,400 youths per year through a 24-hour Drop-In Center which provides 70,000 meals annually, medical and mental health services through an on-site clinic, and a scattered site housing program.

Olivier Lapidus Departs from Lanvin

Olivier Lapidus, photo by Pascal Le Segretain

Lanvin parted ways with its artistic director Olivier Lapidus yesterday, the French fashion house reported. Mr. Lapidus, who joined the brand in the summer of 2017, had only overseen two shows at the struggling brand. His sudden departure is one that some are calling a pattern.

Joanne Cheng, interim CEO of Lanvin told WWD, “Olivier steered the Maison through a transitional period between ownerships,” and “We thank him for that, and wish him every success for his own brand and future endeavors.” The in-house design team will be responsible for further collections until a new artistic director is found.

Last month the Maison was acquired by Fosun International, a Chinese conglomerate after a bidding war ensued to purchase and revive the brand, which has been struggling with declining sales and an identity crisis for the past several years. After the sudden firing of acclaimed designer Alber Elbaz in 2015, the company hired Bouchra Jarrar, who lasted for 16 months. Quickly afterward, Lanvin brought in Mr. Lapidus.

Alber Elbaz, photo by Inez Van Lamsweerde and Vinoodh Matadin

It seems clear that the house has been struggling to identify their customer, further reflected by the stark contrasts between the last three artistic directors. The shoes left behind by Alber Elbaz, creative director for 14 years, are indeed proving difficult to fill. Mr. Elbaz joined Lanvin in 2001 and remained the creative director until 2015. During his tenure, he is credited with finding the optimal balance between heritage and commercial success at one of the oldest couture houses in France. In addition to his unique interpretation of fashion, he was beloved for his warm heart and genial personality.

Perhaps due to the acquisition by Fosun and a desire to start with a clean slate, or maybe as a result of the harsh words of fashion critics towards Lapidus’ work, the house will need to attract new talent. We will certainly be looking forward with eager anticipation to the new chapter of this iconic house.

WHAT TISCI MEANS FOR BURBERRY


Text by Rishabh Manocha

Riccardo Tisci is no novice in the landscape of fashion. His conceptual prowess, studded with an eccentric interplay of leather, hardware, embellishment, and lace raised many eyebrows during his time as Givenchy’s creative director. Tisci hails from London’s Central St. Martins where he spent his young days mastering the art of subversive, unapologetically sexual, coarsely dramatic imagery. He will now return to the British capital to take the helm as Chief Creative Officer at Burberry.

The appointment wasn’t anticipated, but it is well known that Marco Gobetti, newly- appointed company CEO isn’t predictable either. Chief amongst Gobetti’s credits is the utter transformation of Celine and Givenchy to the forefront of Paris catwalks in recent years. Gobetti, a close friend and mentor of Tisci’s, laid out plans later last year to completely overhaul the brand character of Burberry.

The brand, which is known for its strong links to British heritage and traditions, will now inevitably face one of the most momentous transformations of our time. From being at the pinnacle of embracing technology in fashion to defining British fashion identity, Burberry has always executed timely strategy. However, as sales began to decline and the call for houses to revisit their marketing and production strategies becomes more resounding, this appointment indeed seems apt. Gobetti, in a statement last year, mentioned how Burberry had lost its distinct voice by catering to a middle-market audience. An increased supply and reduced demand indeed presented a major setback for company sales and share prices. However, he added that Burberry would now return to the rungs of true luxury catering mostly to the high-end consumer, with a renewed focus on accessories. This transition he anticipated would be rewarding.

It also means that two Italian pioneers in their respective rights will run the most significant house in British fashion. Their collaborative approach has proven to be both commercially profitable and artistically refreshing in the past. Tisci’s penchant for streetwear is bold, audacious, and revitalizing. His transformation of the sweatshirt as an object of high fashion is perhaps most reflective of his influence on contemporary culture. The collaboration with Nike to stylize the sneaker, Rihanna’s look on her Diamonds World Tour in 2013, and the dramatic designs worn by countless stars at red carpet events around the world  manifest his ability to, time and again, give us a more compelling version of his philosophy. It remains uncertain how much the superficial image of Burberry will change. However, the clash, perhaps a harmonious clash of the two schools (Burberry and Tisci) remains one of the most highly anticipated phenomena to soon unravel.

 


Givenchy Jeans Campaign


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Spring/Summer 2013 Givenchy Campaign
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Riccardo Tisci with Beyoncé, wearing Givenchy by Riccardo Tisci

Photographed by Anton Corbijn, Vogue, September 2015


March 18, 2013 – Toronto, Ontario, Canada – RIHANNA performed a sold out show at the Air Canada Centre during her ‘Diamonds World Tour.


Kim Kardashian takes a selfie with Riccardo in custom Givenchy during a fitting for her wedding at Versailles
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RICHARD AVEDON: NOTHING PERSONAL

 New York—Pace Gallery and Pace/MacGill Gallery are honored to announce their representation of The Richard Avedon Foundation with an exhibition of Richard Avedon’s photographs and extensive archival materials drawn from Nothing Personal, Avedon’s 1964 collaboration with James Baldwin. This will be the first comprehensive presentation of this period of Avedon’s work and will be on view at 537 West 24th Street from November 17, 2017 through January 13, 2018. To coincide with the occasion, TASCHEN will republish a facsimile edition of Nothing Personal with an accompanying booklet containing a new introduction by Pulitzer Prize-winning critic Hilton Als and rare and unpublished Avedon photographs.Native New Yorkers Richard Avedon (1923-2004) and James Baldwin (1924-1987) met as students at DeWitt Clinton High School in the Bronx in the late 1930s. They became friends while writing for and editing The Magpie, the school’s literary magazine. Even as teenagers, they, in their writing, dealt with profound issues of race, mortality, and, as Avedon wrote, “the future of humanity” as World War II closed in on them.

George Wallace, Governor of Alabama, November 1963 Photograph by Richard Avedon © The Richard Avedon Foundation

In January of 1963, Avedon photographed Baldwin for a magazine assignment and suggested that they work on a book about life in America. Baldwin readily agreed. “This book,” said Baldwin at the time, “examines some national and contemporary phenomena in an attempt to discover why we live the way we do. We are afflicted by an ignorance of our natures vaster and more dangerous than our ignorance of life on Mars.”

Corresponding frequently with Baldwin, Avedon traveled extensively in 1963 and 1964 photographing portraits for the book while Baldwin wrote the essay. They met up periodically to share and discuss their progress. The collaboration resulted in some of Avedon’s most pivotal portraiture of his middle career, from civil rights icons (Malcolm X) to staunch segregationists (George Wallace); to aging stars (Joe Louis) and young fame seekers (Fabian); to powerful politicians (Adam Clayton Powell) and ordinary citizens; to young idealists (Julian Bond) and elderly pacifists (Norman Thomas); to patients committed to a mental institution who seek love, comfort, and some semblance of consideration.

At the core of the photographs – almost all of which will be on view at Pace Gallery – is the question of how Americans understand race relations and their own identities, and, by extension, the identities and civil rights of others.

“Both Avedon and Baldwin cared deeply about what was (or was not) going on in America in the early 1960s. It was an explosive time, not unlike the one we live in today. The events enveloping our country provoked Avedon’s careful reflection and examination of the place and its people. There is a lot to learn from looking at this prophetic work and considering the very profound statement it makes.”—Peter MacGill

Marilyn Monroe, actress, May 1957 Photograph by Richard Avedon © The Richard Avedon Foundation

Nothing Personal was originally designed by Marvin Israel and published by Atheneum in November of 1964 under the aegis of legendary editor Simon Michael Bessie. Though denounced at the time of publication, Nothing Personal is now recognized as a masterwork whose powerful message of a confused and often compromised society seeking fleeting moments of joy, grace and occasional redemption remains equally relevant more than a half-century later.

Richard Avedon (1932–was born in New York City in 1923 and joined the Young Men’s Hebrew Association camera club at the age of 12. After serving as a Photographer’s Mate Second Class in the U.S. Merchant Marine during World War II, he began working as a freelance photographer, primarily for Harper’s Bazaar, in 1944. Under the tutelage of Alexey Brodovitch, Avedon quickly became the magazine’s lead photographer, while also creating formal portraits for many other sources, including his own portfolio.

First showcased in Edward Steichen’s Family of Man exhibition at The Museum of Modern Art in 1955, Avedon’s work has appeared in numerous exhibitions worldwide. His first retrospective was held at the Smithsonian Institution in Washington,

D.C. in 1962 and was followed by solo exhibitions at the Minneapolis Institute of Art (1970), The Museum of Modern Art, New York (1974), the Amon Carter Museum of American Art (1985), and the Whitney Museum of American Art (1994), among others. Avedon was the first living photographer to receive two shows at The Metropolitan Museum of Art in New York (1978 and 2002).

Avedon died while working on an assignment called “Democracy” for The New Yorker during the 2004 presidential election. During his lifetime, he established The Richard Avedon Foundation in New York City, which now houses his archive and works with curators and collectors around the world.

Patients in a mental institution, February 1963 Photograph by Richard Avedon © The Richard Avedon Foundation

Pace/MacGill, one of the world’s leading photography galleries has been dedicated to advancing fine art photography for over 30 years. Known for discovering artists, representinv masters, and placing important collections and archives into major public institutions, Pace/MacGill has presented some 200 exhibitions and published numerous catalogues on modern and contemporary photography. Founded in 1983 by Peter MacGill, in collaboration with Arne Glimcher of Pace and Richard Solomon of Pace Editions, Pace/MacGill is located at 32 East 57th Street in New York City.

Pace is a leading contemporary art gallery representing many of the most significant international artists and estates of the twentieth and twenty-first centuries. Founded by Arne Glimcher in Boston in 1960 and currently led by Marc Glimcher, Pace has been a constant, vital force in the art world and has introduced many renowned artists’ work to the public for the first time. Pace has mounted more than 900 exhibitions, including scholarly shows that have subsequently traveled to museums, and published over 450 exhibition catalogues. Today, Pace has nine locations worldwide: three galleries in New York; one in London; one in Palo Alto, California; one in Beijing; and spaces in Hong Kong, Paris, and Seoul. In 2016, the gallery launched Pace Art + Technology, a new program dedicated to showcasing interdisciplinary art groups, collectives and studios whose works explore the confluence of art and technology.

 Members of the Student Nonviolent Coordinating Committee, March 1963 Photograph by Richard Avedon © The Richard Avedon Foundation

Santa Monica Beach, September 1963 Photograph by Richard Avedon © The Richard Avedon Foundation

William Casby, born in slavery, March 1963 Photograph by Richard Avedon © The Richard Avedon Foundation

DAVID HOCKNEY – THE METROPOLITAN MUSEUM OF ART

For nearly 60 years, David Hockney (British, born 1937) has pursued a singular career with a love for painting and its intrinsic challenges. A major retrospective at The Metropolitan Museum of Art—the show’s only North American venue, opening November 27, 2017—honors the artist in the year of his 80th birthday by presenting his most iconic works and key moments of his career from 1960 to the present. Working in a wide range of media with equal measures of wit and intelligence, Hockney, has examined, probed, and questioned how to capture the perceived world of movement, space, and time in two dimensions. The exhibition David Hockney will offer a grand overview of the artist’s achievements across all media, including painting, drawing, photography, and video. From his early engagement with modernist abstraction and mid-career experiments with illusion and realism, to his most recent, jewel-toned landscapes, Hockney has consistently explored the nature of perception and representation with both intellectual rigor and sheer delight in the act of looking.

Born in West Yorkshire, where he attended the local Bradford School of Art, Hockney moved to London in 1959 to study at the Royal College of Art. His career is distinguished as much by early successes as by his willingness to flaunt conventions both societal and artistic. Hockney’s works from the 1960s brazenly reference homoerotic subject matter, from Walt Whitman to Physique Pictorial muscle magazines, while his dedication to figuration throughout his career runs against the grain of predominant art world trends on both sides of the Atlantic.

Many fine examples of Hockney’s work from California in the late 1960s and early 1970s, as well as his double portraits from New York, London, and Los Angeles, show the artist’s interest in the tension that exists in social relationships and the difficulty of depicting transparent material such as glass and water. By the late 1970s and early 1980s, Hockney turned to a brightly hued palette and fractured, cubistic perspective that mirrors both his interest in Pablo Picasso and his own experiments with Polaroid photography. In recent decades, Hockney has ventured outdoors to paint the changeable landscapes of his native Yorkshire across the seasons, while simultaneously returning to the study of figures in social groupings. Keenly interested in scientific innovations in the aid of art, Hockney recently experimented with an old technology: he created a series of portrait drawings using a camera lucida, first employed by artists in the Renaissance to render one-point perspective. He has also always embraced new technologies, including the possibilities for colorful composition offered by applications on the iPhone and iPad. Examples of the artist’s experiments in that medium will be included in the galleries. The exhibition ends with his most recent, near neon-toned landscapes, painted in the last three years in Southern California, where he returned to live in 2013. The Met presentation marks the first time the series will be exhibited publicly in the United States. Even to the most committed follower of Hockney’s art, the unprecedented unification of his renowned early works with the newest, will be revelatory.

David Hockney
Portrait of an Artist (Pool with Two Figures)
1972
Acrylic on canvas
The Lewis Collection
© David Hockney, Photo Credit: Art Gallery of New South Wales / Jenni Carter

David Hockney
Large Interior, Los Angeles
1988
Oil, ink on cut-and-pasted paper, on canvas
The Metropolitan Museum of Art, New York. Purchase, Natasha Gelman Gift, in honor of William S. Lieberman, 1989 (1989.279)
© David Hockney

David Hockney
“Garden, 2015”
Acrylic on canvas
48 x 72″
© David Hockney
Photo Credit: Richard Schmidt
David Hockney
Domestic Scene, Los Angeles
1963
Oil on canvas
Private collection
© David Hockney
David Hockney
Colorado River
1998
Oil on canvas
Private collection, courtesy of Richard Gray Gallery
© David Hockney, Photo Credit: Tom Van Eynde
David Hockney
Cleaning Teeth, Early Evening (10 PM) W11
1962
Oil on canvas
Astrup Fearnley Collection, Oslo, Norway
© David Hockney

 

 

 

 

 

 

 

 

 

 

David Hockney
A Bigger Splash
1967
Acrylic on canvas
Tate, purchased 1981
© David Hockney, Photo Credit: ©Tate, London 2017                                                                                                 

Exhibition Dates:
November 27, 2017– February 25, 2018
Exhibition Location:
Iris and B. Gerald Cantor Galleries,
Gallery 999


At The Met, David Hockney is curated by Ian Alteveer, Curator, with assistance from Meredith Brown, Research Associate, both in the Department of Modern and Contemporary Art.
The exhibition is made possible in part by The Horace W. Goldsmith Foundation, The Jay Pritzker Foundation, the Jane and Robert Carroll Fund, and the Aaron I. Fleischman and Lin Lougheed Fund. It is supported by an Indemnity from the Federal Council on the Arts and the Humanities. It is organized collaboratively by Tate Britain, London; the Centre Pompidou, Paris; and The Metropolitan Museum of Art, New York.


The exhibition is accompanied by a fully illustrated, scholarly catalogue published by Tate

ROSSY DE PALMA X M.A.C. COSMETICS

Rossy de Palma’s strikingly unique, Picasso-esque beauty and uninhibited, creative soul has made her one of Spanish art, fashion and cinema’s most original muses and collaborators. Now, her joie de vivre is captured in her M∙A∙C colour collection. Special packaging takes on new meaning with inspiration drawn from Rossy’s romantic glamour, and palettes featuring her eyes, nose and lips come together to form an invincible Cubist vision.

Run to the nearest MAC location near you to grab some of these fabulous and unique products, and be sure to check out our cover feature with the iconic Spanish talent here!