Tilda Swinton is nothing if not a creature of curiosity and study. Last night, beginning a week-long performative collaboration with fashion curator Olivier Saillard, director of Palais Galliera in Paris, the actress communed with the jackets and coats left for her by the audience before taking their seats. Silently, she then gently stroked, folded, cradled, and crawled under or laid beside them for nearly an hour, contemplating their stories and channeling their "spirits," she said later.
Handling each piece with forensic care, Swinton would occasionally leave a keepsake. These included a scented envelope in a pocket, a lipstick-blotted tissue with a biker jacket, and a strand of her hair on a lapel. She thereby insinuated a little of herself in the item's life story, to the delight of the objects' owners, who included Alber Elbaz, Pierre Bergé, Charlotte Rampling, Haider Ackermann, Christian Lacroix, and Stella Tennant.
Cloakroom is the latest performance conceived by Swinton and Saillard as part of the annual Festival d’Automne in Paris. Last year their performance, Eternity Dress, consisted of Saillard measuring the actress onstage and the two of the constructing a garment for her to wear on the spot. In the Impossible Wardrobe the year before that, Swinton donned several items of historical dress — sometimes centuries old — from the Palais Galliera’s archives.
Cloakroom — Vestiaire Obligatoire, November 22-29, 2014, Palais Galliera, 10 avenue Pierre, Paris
Newton nuts, rejoice! When the photographic master established his foundation in Berlin a decade ago, he donated several hundred original photographs for the foundation's permanent collection. Later this month, for its tenth anniversary, the Helmut Newton Foundation will exhibit roughly 200 of them, in all their glorious sensuality and dramatic seductiveness.
Organized by the three main genres of Newton's oeuvre — portraits, nudes, fashion — the works on display will consist of personalities Catherine Deneuve, David Bowie, and Karl Lagerfeld, as well as magazine editorials primarily from the 1970s and 1980s. The much-anticipated nudes, meanwhile, hail from a specific time and place: 1980 Paris. These Big Nudes, as they're affectionately called, are considered the best examples of the artist's renowned erotic-urban style. Some of them will be life-sized, for the full uncensored, unapologetic Newton experience.
Permanent Loan Selection, Nov 27, 2014 - May 17, 2015, Helmut Newton Foundation, Jebensstrasse 2, Berlin
Helmut Newton, David Lynch and Isabella Rossellini, Los Angeles, 1983 © Helmut Newton Estate
Helmut Newton, Catherine Deneuve for a Photo-Essay in Nouvel Observateur, Paris, 1983 © Helmut Newton Estate
Helmut Newton, David Bowie, Monte Carlo, 1983 © Helmut Newton Estate
Helmut Newton, Arielle After a Haircut, Paris, 1982 © Helmut Newton Estate
Helmut Newton, Sigourney Weaver, Los Angeles, 1983 © Helmut Newton Estate
Since her discovery in 1988, at 14, Kate Moss has become the world's ultimate fashion model, easily surviving any blight that's come her way, whether a drug scandal, body-image fury, or the obsolescence threatening her supermodel compatriots.
Later this month, an exhibition in Berlin will bring together early-90s portraits of the doe-eyed, baby-faced icon, when no one could have foreseen her global domination some 25 years later — and counting. Noticeably absent are her seminal photographs with Corinne Day, her earliest champion. Aside from that, the list of early adopters is fairly exhaustive: Albert Watson, Jurgen Ostarhild, Pamela Hanson, Michel Haddi, Marc Hispard, Roxanne Lowit, Satoshi Saikusa, and David Ross Elliott, who created Moss's first test shots.
Kate Moss: The Icon, November 28, 2014 - February 21, 2015, Galerie Hiltawsky, Berlin
Kate Moss by Jurgen Osterhild, Camber Sands, South England (1991)
Kate Moss by Albert Watson, Morocco (1993)
Kate Moss by Satoshi Saikusa
Kate Moss by Satoshi Saikusa
It's no coincidence that the most famous artist of the 20th century, Pablo Picasso, was also its most photographed. The Spaniard himself used the medium extensively. You could say that, after painting and his many mistresses, it was a great passion of his. The Cubist took an enormous amount of photos, not only to create studies for artworks in other media, but also to court celebrity and document his colorful life and career.
This intricate relationship with the camera is the focus of a revealing retrospective at the redesigned Gagosian Gallery on 21st Street, in partnership with his grandson, Bernard Ruiz-Picasso, who only began exhibiting his collection of original Picassos (the largest in the world) in 2000. The show includes some 200 never-before-seen photographs taken by the artist, as well as related sculptures, paintings, drawings, and films spanning his sixty years of production. In addition, curator John Richardson — nonagenarian Picasso biographer and close friend of the family — was brought on board.
Films also played a central role in Picasso's life. He filmed home movies of his family and friends, and worked with celebrated filmmakers Luciano Emmer and Henri-Georges Clouzot to capture his artistic process, as well as Jean Cocteau, Cecil Beaton, Man Ray, and Lee Miller. The resulting body of photographs and films have left a legacy far richer than most dearly departed artists of the last century — exactly as Picasso intended.
Picasso and the Camera, October 28, 2014 – January 3, 2015, Gagosian Gallery, 522 W. 21st Street, NYC
Whatever humannequins are, they'll be at a Hood By Air "performance masquerading as a party" at MoMA, part of the museum's new PopRally program. The part-theater, part-virtual event builds on designer Shayne Oliver's spring 2015 shows in Paris and New York, the first and second parts, respectively, of his three-part Superego/Ego/Id series. To jog your memory, Superego was the collection held at the top of a disused glass office building, where seemingly every guest tweeted the spectacular view of the Eiffel Tower. Even by fashion standards, models looked aloof and detached as they rolled around in office chairs wearing deconstructed suits, platform boots, and executive-realness long hair. Maybe they're the same humannequins we'll see in Id at MoMA. Other performers include Boychild, Mykki Blanco, plus surprise guests. There may be no better way to celebrate Halloween.
October 30, 8:00 pm, $25 (includes open bar), MoMA, 11 W. 53 Street
You might wonder what sort of accoutrement a leather daddy, a term we use fondly, would collect and if that's something you really want to see. In the case of Peter Marino — that swaggering biker-clad bear of a designer and architect behind unexpectedly opulent boutiques for Chanel, Dior, and Louis Vuitton, among countless other projects, fashion and otherwise — the answers are: art and yes.
Beginning during Art Basel Miami, the Bass Museum of Art will present an exhibition exploring "the renowned American architect’s multifaceted relationship with art." Curated by the equally unorthodox Jérôme Sans, the show will address the intersection of Marino’s architectural designs and his private collection of modern and contemporary works by the likes of Pierpaolo Ferrari, Keith Haring, Damien Hirst, Thomas Houseago, Anselm Kiefer, Robert Mapplethorpe, Steven Meisel, Walter Pfeiffer, Richard Prince, Tom Sachs, Richard Serra, Christopher Wool, and Andy Warhol, a mentor of Marinos' from way back when.
In addition to his own recent series of large cast-bronze boxes, newly commissioned works by Guy Limone, Farhad Moshiri, Jean-Michel Othoniel and Erwin Wurm will also go on view, beginning with Gregor Hildebrandt's Orphische Schatten (Orphic Shadows). The site-specific installation employing hundreds of videotape strips culled from copies of Jean Cocteau’s classic film Orphée will guide visitors from room to room. The show ends with a recreation of Christophe Willibald Gluck’s contemporary opera Orfeo ed Euridice, a collaboration between Marino, his wife Jane Trapnell, the house of Christian Dior, Michal Rovner, and Francesco Clemente originally staged in Marino’s New York home in 2013.
One Way: Peter Marino, Dec 4, 2014 – Mar 29, 2015, Bass Museum of Art, Miami
Guy Limone, Red, Black and Grey-White Tapestry, 2014; Andy Warhol, Human Heart, circa 1979
Detail of Guy's Limone's Red, Black and Grey-White Tapestry
Leather Biker Jacket, 2010 (left: Ronnie Cutrone, middle: Lee Quinones, right: Nate Lowman)
A loyalist, Hedi Slimane has traditionally shown his photography only in Almine Rech Gallery in Paris and Brussels. But now he's branching out — just a little.
Bowing in September (just before the spring collections), the Saint Laurent designer-photographer will present Sonic, an exhibition of his more significant rock portraits over the years — think Lou Reed, Amy Winehouse, and Keith Richards.
Hand-picked by himself, naturally, the images will go on display in the intimate Pierre Bergé - Yves Saint Laurent Foundation in Paris, culminating in a video installation juxtaposing the now-Angeleno's London series (2003 - 2007) with his California series (2007 - present).
Sonic, September 18, 2014 - January 11, 2015, Fondation Pierre Bergé - Yves Saint Laurent, 3 rue Léonce Reynaud, Paris
Before Boyhood, the gritty new coming-of-age film from Richard Linklater that everyone is crowing about, there was Dazed & Confused — which brought both Matthew McConaughey and Milla Jovovich to the collective consciousness — and before that, Slacker. Both of those seminal works from Linklater and many more (sadly, not Before Sunrise) will screen at the Anthology Film Archives through the rest of July as part of a tribute to his friend, the avant-garde filmmaker James Benning.
Visit Anthology Film Archives
The Brooklyn-based and still-nascent label Hood by Air has already scored a museum exhibition, NYC Makers, part of the MAD Biennial. In the compact yet ambitious show at the Museum of Arts and Design, designer Shayne Oliver's laced-up two-piece masterwork for HBA — a parachute Jacket and flight shorts for spring 2014 — counts among the items loaned by 100 artists who call the city home, including Laurie Anderson, Aisen Caro Chacin, Chris Pellettieri, and Rafael de Cárdenas. It's the first exhibition organized under the aegis of MAD's new director, Glenn Adamson — an auspicious new beginning.
NYC Makers, July 1 - October 12, 2014, Museum of Arts and Design, 2 Columbus Circle, NYC