Henri Lédéchaux bred the French hybrid rose Madame Ferdinand Janin in 1875. It was imported into the United States in 1886, where it was renamed American Beauty.
The National Museum of Mathematics (aka MoMath) might not be a venue where one would expect to also find an art gallery, but they have one: and in the case of sculptor Anton Bakker, the venue is ideally suited.
Bakker is a contemporary artist specializing in sculpture and its digital possibilities. He has been influenced by his life experiences in the Netherlands, France and now the US, where his artist practice has been based for more than ten years. Mo Math’s Composite Gallery is currently hosting Alternative Perspectives, an exciting exhibit of Bakker’s work — including several monumental pieces — that is complemented by the inclusion of nine rare works by the artist’s biggest influence, the legendary MC Escher.
Richly-colored blown glass in the Bohemian taste, ornamented with cutting and engraving, attracted the American public beginning in the mid-nineteenth century. This whiskey decanter (from the Boston and Sandwich Glass Company), in a shape typical of the 1860s and 1870s, is distinguished by its brilliant faceting and detailed depiction of fruit, revealing the skill of the engraver, George Franklin Lapham . As a testament to its quality, Lapham signed and dated the work.
Photographed in the Metropolitan Museum of Art in NYC.
Do you like monumental sculpture? I sure do. If that also happens to be your thing, and you’ve been looking for an excuse to head back over to the Chelsea Gallery District, you will want to know that Gladstone Gallery is currently hosting an exhibition of new sculptures by Ugo Rondinone from the artist’s latest body of work, nuns + monks — and these things are massive.
Christian Germanaz is a French industrial designer and maker of furniture who studied, and still works, in Paris. Created in 1982, his Comedia Chair is comprised of foam over a metal frame construction, with a seasonal/interchangeable slipcover in bright red. The chair’s dimensions are 29 inches tall by 35 inches deep by 40 inches wide.
We understand that it sits as comfortably as you would expect by the look of the sumptuous, multitudes of pleats and folds in the chair’s slipcover. Comparisons to the appearance of the wrinkly puppy known as the Shar Pei are not unwarranted.
Perfect for curling up with a good book, or your iPad!
Photographed at Demisch Danant, Located at 30 West 12th Street in the West Village, NYC.
New York’s Museum of Natural History always has one or two special exhibits that require purchase of an extra ticket above the standard price of admission, but that’s because they are worth it. One of the museum’s current special exhibits is called The Nature of Color, and it is just fantastic. The exhibit is immersive and contains many different galleries and rooms. For example, the Red Room highlights how the color red can mean status, power, and fertility while simultaneously representing sports teams, political parties, and religions. The centerpiece of this room is a flowing Red Silk Chiffon and Organza Gown created especially for the The Nature of Color by fashion designer Brandon Maxwell.
Post Continues With More Photos, After The Jump!
The Spring 2018 exhibition from The Met’s Costume Institute, entitled Heavenly Bodies: Fashion and the Catholic Imagination, ended its five-month run on October 8th, and broke all kinds attendance records, surpassing even that of 2011’s Alexander McQueen exhibition. Over these past few months, I’ve enjoyed bringing you design posts featuring some of my favorite highlights from the exhibit, seen at both its Met Fifth Avenue and Met Cloisters locations. I still have many photos that have not been publicshed, so I may be bringing you #MetHeavenlyBodies designs well into 2019! You’re welcome!
One of my vary favorite outfits, photographed over at the Met Cloisters is this Thom Browne-designed Wedding Ensemble with its cloud-like skirt, from his Spring/Summer 2018 collection. Created from a variety of materials including white mink, white silk organza, ribbons of white nylon tulle, embroidered white silk thread, gold bullion, pearls, crystals, clear glass, and mother-of-pearl, it was quite the show stopper!
It’s no accident that this piece was installed near the museum’s famous Unicorn tapestries, as you can see in the above photo where a Unicorn Head and Horn are formed with twisted tulle and gold bullion on the garment’s bodice.
And on the back, yes, there they are, the subtle stab wounds that we see in the tapestries.
What may be even more striking than this ornate dress is the mannequin’s vibrant red hairpiece by celebrated hair stylist and wig-maker Shay Ashual, who designed all of the wigs for the exhibit. To quote Catherine Addington for Weekly Standard Dot Com, “In Ashual’s most stunning work, red-violet streaks matted to the face of the mannequin wearing a Thom Browne wedding dress conjure blood and beauty at once. Set against The Unicorn in Captivity, a tapestry that has often been interpreted as Passion symbolism, the hairpiece turns an otherwise enigmatic ensemble into the heavenly wedding garment of a martyr.”