Update 4/15/16: Confirmed today by his nephew, Malick Sidibé has died of undisclosed causes, having been ill for some time. He was 80.
Malick Sidibé, the Malian photographer celebrated for chronicling his country’s flourishing culture and style following independence from France in 1960, sees his sixth solo exhibition at Jack Shainman gallery in New York. The show traces Sidibé's illustrious career with a diverse selection of vintage and recent black-and-white prints, some of which have never been exhibited.
While internationally acclaimed for his formal portraits and candid shots of exuberant parties and nightclubs, capturing a sense of freedom and modernity among youth in post-colonial Mali, Sidibé also presents lesser-known works. Street scenes and interiors show everyday Malians in their element.
Malick Sidibé, March 17 – April 23, 2016, Jack Shainman Gallery, 513 W 20th St, NYC
As the once-moribund realm of haute couture enjoys renewed interest, and as the world of ready-to-wear already encompasses some of the most luxurious and fanciful clothing anywhere (fast fashion notwithstanding), one can't help but wonder what exactly is the difference between the two crafts.
A new exhibition in Belgium examines the modern relationship between couture and ready-to-wear, and the cross-pollination between them. A selection of standout silhouettes and accessories from a variety of designers and houses — from Chanel and Valentino to Dries Van Noten and Viktor & Rolf — is on view for the marveling masses. In the internet age, these are pieces that must be seen in person to appreciate their full glory.
Haute-à-Porter, April 2 - September 11, 2016, Modemuseum Hasselt, Belgium
There's no shortage of nuttiness in fashion, but Bas Kosters really busts the nut-o-meter. Rather than clothes, the Dutch designer makes what he calls soft sculptures, or what others might call life-size piñatas — all hand-crafted through photo collage, decoupage, embroidery, and what's officially known in fashion as gluing on found shiny things.
Kosters also dabbles in doll-making, jewelry design, performance art, and product collaborations (Bugaboo, Heineken, Wehkamp). All of which will make for a particularly colorful retrospective at Museum Arnhem this summer (in partnership with stylist and curator Maarten Spruyt), where his oft-overlooked subtext — gender fluidity, race parity, ideals of beauty — will be explored.
Currently portraying the celebrated, oft-quoted Oscar Wilde in the play The Judas Kiss in Toronto (which will travel to New York's BAM in May), Rupert Everett is also planning to star in a biopic he wrote about the playwright.
The film, which looks at Wilde’s life in exile, after serving two years hard labor for 'indecent' acts with other men, will begin shooting in September. Everett says, however, it’s already been eight years in the making due to his trouble securing financing. “The sad thing for me was, if I had written it probably three years before, I would have found it easier,” he explained. “But I was past my sell-by date, so it just wasn’t that easy. I was very lucky to have theater as the next string to my bow because everything else kind of folded up on me.”
It all began in 1960 when Issey Miyake, a student in the graphic design department at Tama Art University, sent a letter to the World Design Conference, which was being held for the first time in Japan. The letter took issue with the fact that fashion design was not included in the event.
At the Paris collections, all eyes were on Balenciaga, as newly envisioned by Demna Gvasalia, of the label Vetements. But a new exhibition in Antwerp takes a look at the master couturier's influence and legacy.
The exhibition of 100 or so garments examines at the groundbreaking work of Cristóbal Balenciaga, architect of innovation, whose midcentury marvels created a radically loose silhouette and furthered women's liberation from the corset.
In July of 2014, months before David Bowie's death, Taschen released a book of photos by Mick Rock, the official photographer of Bowie's Ziggy Stardust period. The images have taken on new importance since Bowie's passing, thus Taschen Gallery in L.A. opened Starman Remembered, an exhibit of 45 photos from the book, many of them previously unseen.
From spectacular stage shots to intimate backstage scenes, Mick Rock’s images immortalized the many facets of Bowie’s creativity. We see the sparkling phenomenon of Ziggy Stardust performing before rapturous crowds, as well as behind-the-scenes moments that few could have predicted would become iconic images.
When viewing Catherine Opie's new works, photographs of Elizabeth Taylor's Bel-Air home around the time of her death, the viewer is struck by a paradox — that although she was a Hollywood demigod, she was, underneath all that glitz and glamour, a human and a humanitarian.
Inspired by intimate images of Elvis Presley’s Graceland by William Eggleston, Opie carefully cataloged rooms, closets, shoes, clothing, and jewelry, created an personal composite of the actress — although the two never met. In all, Opie spent six months in the beginning of 2011 capturing roughly 3,000 images of her residence and belongings.
Context is everything. In the spirit of artistic relativism, Taschen is reprinting Pages from the Glossies, a book of Helmut Newton photos as they initially appeared in magazines, from Vogue and Elle to Queen and Stern, between 1956 and 1998. Which is to say, these images — many of which have acquired iconic status — remain true to their source, retaining all the accoutrements of their original glory: headlines, text, captions, and so on.
In tandem, the Helmut Newton Foundation in Berlin will present blowups from the softcover book beginning December 4, 2015, showcasing more than 230 magazine pages.