May 23, 2022

Cornelia Parker at Tate Britain, May 18 – October 16, 2022

“Tate Britain presents the first major survey of Cornelia Parker’s works held in London. One of Britain’s leading contemporary artists, Parker is responsible for some of the most unique and unforgettable artworks of the past thirty years. Driven by curiosity, Parker transforms seemingly everyday objects into extraordinary works of art. Through visual allusions and metaphors, Parker’s works explore contemporary issues such as violence, human rights and environmental disaster. The exhibition brings together over 90 artworks spanning immersive installations, sculptures, film, photography and drawing, to celebrate the breadth of Parker’s highly experimental and wide-ranging practice to date.

Cornelia Parker first came to prominence in the late 1980s creating large-scale suspended installations and sculptures which have captivated audiences around the world ever since. This exhibition includes several of her best-known early works including Thirty Pieces of Silver 1988-89, an installation of flattened silver objects including teapots, candle sticks and dinnerware collected from charity shops and car boot sales; and Cold Dark Matter: An Exploded View 1991, a garden shed frozen at the moment of explosion, its fragments surrounding a single lightbulb. Examples of Parker’s more recent room-sized works are included, such as War Room 2015, created from the reams of perforated red paper negatives left over from the production of British Legion remembrance poppies, and Magna Carta (An Embroidery) 2015, a thirteen-metre long collectively hand-sewn embroidery of a Wikipedia page, which involved over 200 volunteers including public figures, human rights lawyers, politicians and prisoners.” — Tate Britain

Cornelia Parker, Cold Dark Matter – An Exploded View c: An Exploded View, 1991 Tate
© Cornelia Parker 
Cornelia Parker, Cold Dark Matter installation view at Tate Britain. Photo Tate Photography Oli Cowling
Cornelia Parker, Island installation view at Tate Britain. Photo Tate Photography Oli Cowling
Cornelia Parker, Perpetual Canon, 2004. Collection of Contemporary Art Fundación “la Caixa”, Barcelona © Cornelia Parker
Cornelia Parker, Thirty Pieces of Silver installation view at Tate Britain. Photo Tate Photography Oli Cowling
Cornelia Parker, War Room, 2015. Image © the Whitworth, The University of Manchester. Photography by Michael Pollard
Cornelia Parker, The Distance (A Kiss with String Attached), 2003. Auguste Rodin’s The Kiss, 1901–4 wrapped in a mile of string © Tate Photography

Cornelia Parker is curated by Andrea Schlieker, Director of Exhibitions & Displays, Tate Britain, with Nathan Ladd, Assistant Curator, Contemporary British Art, Tate Britain.

Images courtesy Tate Britain.

May 22, 2022

Analog City: New York B.C. (Before Computers) at Museum of the City of New York, May 20 – December 31, 2022  

“A new exhibition at Museum of the City of New York takes visitors on a visit to pre-digital New York, where analog innovations, professions, and industries fueled the city’s growth and status. On view from May 20, 2022-December 31, 2022, Analog City: New York B.C. (Before Computers) presents more than 100 photographs and once-pioneering objects, from rotary phones to pneumatic tubes, offering an opportunity for visitors to reflect on the city’s history of progress and interact with many of the inventions that led the way for contemporary networks and industries.

New York thrived as a center of finance, news, research, and real estate in an era before personal computers and the internet. Historical artifacts, images, audio, video, and hands-on interactives will immerse visitors in the sights and sounds of the pre-digital city. Analog City will take a special look at New York City institutions such as The New York Times, the New York Public Library and the Brooklyn Public Library, and the New York Stock Exchange, among many others, to examine how the analog systems born between the 1870s and the 1970s changed these institutions, and how they served and impacted New Yorkers across the five boroughs.” — Museum of the City of New York

Installation views of Analog City: New York B.C. (Before Computers) at Museum of the City of New York. Photos by Corrado Serra.

 “New York has always been a city on the cutting edge, and this exhibition allows us to marvel at both how advanced these analog tools were in their time, and how far we’ve now progressed in the Internet era,” said Whitney Donhauser, Ronay Menschel Director and President of the Museum of the City of New York. “Whether you remember speaking with a telephone operator, or you’re too young to know the origin of ‘hang up the phone,’ Analog City offers a fascinating dive into New York’s leading industries and the inventions that made them run.”

Analog City is organized by curator Lilly Tuttle and designed by Abbott Miller of Pentagram.

May 15, 2022

Revitalized Northwest Coast Hall at American Museum of Natural History, May 13, 2022

“The iconic Northwest Coast Hall at the American Museum of Natural History returns to public view on May 13 with new exhibits developed with Indigenous communities from the Pacific Northwest Coast. The Hall presents more than 1,000 cultural treasures that are installed throughout the gallery and in 50 display cases, many of which afford nearly 360-degree views of the treasures within.

Showcasing the creativity, scholarship, and history of the living cultures of the Pacific Northwest, the Northwest Coast Hall reopens in the Museum’s oldest gallery, which in 1899 became home to its first permanent exhibit dedicated to the interpretation of cultures. More than 120 years later, the Hall has been fully revitalized, with curation by Peter Whiteley, curator of North American Ethnology at the Museum, and Co-Curator Ḥaa’yuups, Nuu-chah-nulth scholar and cultural historian, working in collaboration with a group of Consulting Curators from the Coast Salish, Gitxsan, Haida, Haíłzaqv, Kwakwaka’wakw, Nuu-chah-nulth, Nuxalk, Tlingit, and Tsimshian communities.” — American Museum of Natural History

Installation views of Northwell Coast Hall at American Museum of Natural History. Photos by Corrado Serra.

“It started with us listening. The strong voices of the Northwest Coast cultures are vibrantly amplified through the new installation of objects, presented in the round and with contextual relationships to one another,” said Kulapat Yantrasast, founder and creative director of WHY. “As an architect, the opportunity to really spend time absorbing and conversing with the multiple cultures represented in our project has greatly informed how we were able to bring out a fresh design, one that provides clarity and sense of place while respecting and responding to the deep context and diverse stories that the meaningful art objects present.”

Kulapat Yantrasast of WHY Architects developed the concept design for the revitalization of the Hall, working closely with the Museum’s award-winning Exhibition Department, led by Lauri Halderman, vice president for exhibition.

May 10, 2022

Outsider Art: from the Jessica Weber Collection at The Century Association, May 12- July 29, 2022

Outsider Art: from the collection of Jessica Weber opens at The Century Association on May 12. The exhibition captures the achievement and diversity of self taught artists. The works using different materials and techniques confront personal and social concerns. The exhibit showcases 24 works of Minnie Adkins, Clementine Hunter, David Butler, Sister Gertrude Morgan, B.F. Perkins, Jimmy Lee Sudduth, Mose Tolliver, and Terry Turrell.

“About thirty years ago I was mesmerized by a wooden sculpture of an angel in a gallery window on Madison Avenue. It stopped me in my tracks and I could not take my eyes off of it. I was surprised by the unfamiliar yet striking intimacy I felt. I had never seen such raw power in such a common object. There was an innocence and unabashed self expression in it that touched my heart.” — Jessica Weber

Minnie Adkins (1934– ). Guardian Angel, 1995. 22”(ht) x 13”(w), carved, painted basswood
Clementine Hunter (1886–1988). Girl Pulling Peach Cart with Chicken, late 1960s. 9.5”(ht) x 11.75”(w),oil on canvas board
David Butler (1898–1997). Untitled – Spirit Window. 27”(ht) x 27.75”(w), cut tin and house paint
Sister Gertrude Morgan (1900–1980). Holy Bible, Book Devine. 12.5”(ht) x 9”(w), pencil, watercolor, gouache and ink on paper
B.F. Perkins (1904–1993). A Great Nation, 2/2/92. 23.25”(ht) x 35.25”9W), oil/acrylic on canvas
Jimmy Lee Sudduth (1910–2007). Untitled, c.1985. 23.25” x 24”, mud, sugar water, acrylic, craft paint on board
Mose Tolliver (1915–2006). (Left) Erotic Painted Gourd, c. 1990, 10” (ht) x 9” (w). (Right) Painted Birdhouse, c.1990. 8” (ht)
Terry Turrell (1946– ) . Cacti, 2007.14.5”(ht) x 15.5”(w), mixed media on paper and board

Images courtesy Jessica Weber.

May 6, 2022

In America: An Anthology of Fashion at The Met’s American Wing, May 7 – September 5, 2022 

“The Costume Institute’s 2022 spring exhibition, In America: An Anthology of Fashion—the second of a two-part presentation—explores the foundations of American fashion through a series of sartorial displays featuring individual designers and dressmakers who worked in the United States from the 19th to the mid-late 20th century. 

The exhibition features approximately 100 examples of men’s and women’s dress dating from the 19th to the mid-late 20th century that reveal unfinished stories about American fashion. The garments are presented within the rich atmospheric setting of The Met’s American Wing period rooms, or historical interiors, which encapsulate a curated survey of more than a century of American domestic life and reveal a variety of stories—from the personal to the political, the stylistic to the cultural, and the aesthetic to the ideological. The complicated social, cultural, and artistic narratives of these spaces amplify and contextualize the exhibition’s key themes—the inception of an identifiable American style, and the emergence of the named designer, who is recognized for distinct artistic vision.” — The Met

Case Study, Gallery 723. Image © The Metropolitan Museum of Art.
The Baltimore Dining Room. Director: Autumn de Wilde. Image © The Metropolitan Museum of Art.
The Benkard Room. Director: Autumn de Wilde. Image © The Metropolitan Museum of Art.
Richmond Room. Director: Regina King. Image courtesy of The Metropolitan Museum of Art, BFA.com/Matteo Prandoni
Haverhill Room. Director: Radha Blank. Image courtesy of The Metropolitan Museum of Art, BFA.com/Matteo Prandoni
Shaker Retiring Room. Director: Chloé Zhao. Image © The Metropolitan Museum of Art.
Vanderlyn Panorama. Director: Tom Ford. Image © The Metropolitan Museum of Art.
Renaissance Revival Room. Director: Julie Dash. Image © The Metropolitan Museum of Art.
Greek Revival Parlor. Director: Julie Dash. Image © The Metropolitan Museum of Art.
Rococo Revival Parlor. Director: Janicza Bravo. Image © The Metropolitan Museum of Art.
Gothic Revival Library. Director: Janicza Bravo. Image © The Metropolitan Museum of Art.
McKim, Mead & White Stair Hall. Director: Sofia Coppola. Image © The Metropolitan Museum of Art.
Worsham-Rockefeller Dressing Room. Director: Sofia Coppola. Image © The Metropolitan Museum of Art.
Frank Lloyd Wright Room. Director: Martin Scorsese. Image © The Metropolitan Museum of Art.

Part Two is organized by Andrew Bolton; Jessica Regan, Associate Curator of The Costume Institute; and Amelia Peck, the Marica F. Vilcek Curator of American Decorative Arts and Supervising Curator of the Ratti Textile Center, with the support of Sylvia Yount. 

LAMB Design Studio’s Shane Valentino oversaw the design of both parts with The Met’s Design Department. Cinematographer Bradford Young worked with Valentino on the lighting. Franklin Leonard acted as advisor on the exhibition.

Images courtesy The Metropolitan Museum of Art.

May 3, 2022

Kazuko Miyamoto: To perform a line at Japan Society, April 29 – July 24, 2022

“Kazuko Miyamoto: To perform a line is the first institutional exhibition to survey the significant artist Kazuko Miyamoto (b. 1942). The exhibition brings together key bodies of the artist’s work, beginning with her contributions to (and subversion of) the Minimalism movement through early paintings and drawings from the late 1960s and moving to her increasingly spatial string constructions of the 1970s, culminating with her kimono series from 1987 through the 2000s. A number of the works that are on view have never been shown together nor been exhibited since they were first created, offering a crucial opportunity for the public to encounter Miyamoto’s rich oeuvre for the first time and providing an overdue re-examination of this singular artist.” — Japan Society

Installation views of Kazuko Miyamoto: To perform a line at Japan Society. Photos by Corrado Serra.

Kazuko Miyamoto: To perform a line was curated by Tiffany Lambert. The exhibition design was by New York-based Ransmeier, Inc.

April 20, 2022

Surrealism and Magic: Enchanted Modernity at Peggy Guggenheim Collection, Venice, through September 26, 2022 

 “[Magic is] the means of approaching the unknown by other ways than those of science or religion.” Max Ernst, 1946

“From April 9 through September 26, 2022 the Peggy Guggenheim Collection presents Surrealism and Magic: Enchanted Modernity, curated by Gražina Subelytė, Associate Curator, Peggy Guggenheim Collection. This is the first large-scale international loan exhibition to focus on the Surrealists’ interest in magic, alchemy, and the occult, and it includes about 60 works by more than 20 artists, from 40 international lenders, including prestigious museums and private collections. Chronologically, it ranges from the ‘metaphysical painting’ of Giorgio de Chirico around 1915, through iconic paintings such as Max Ernst’s Attirement of the Bride (1940) and Victor Brauner’s The Lovers (1947), to the occult symbolism of the late works of Leonora Carrington and Remedios Varo.

The exhibition’s point of departure is the world-class Surrealist holdings of the Peggy Guggenheim Collection, containing emblematic paintings that reflect the Surrealists’ dialogue with the occult tradition. Many artists represented in this show were exhibited by Peggy Guggenheim, who emerged as one of the most energetic collectors and patrons of Surrealism in the late 1930s. Having familiarized herself with Surrealism during her stay in Paris between the wars, she was on intimate terms with Max Ernst and Breton.” — Peggy Guggenheim Collection

Victor Brauner, The Surrealist, 1947, Oil on canvas, 60 x 45 cm. Peggy Guggenheim Collection, Venice (Solomon R. Guggenheim Foundation, New York) © Victor Brauner, by SIAE 2022
Max Ernst, Attirement of the Bride, 1940, Oil on canvas, 129.6 × 96.3 cm. Peggy Guggenheim Collection, Venice (Solomon R. Guggenheim Foundation, New York) © Max Ernst, by SIAE 2022

The exhibition is organized by the Peggy Guggenheim Collection, Venice, and the Museum Barberini, Potsdam. There, it will be on view from October 22, 2022 to January 29, 2023, curated by Daniel Zamani, Curator, Museum Barberini, Potsdam.

Images courtesy Peggy Guggenheim Collection.

April 19, 2022

Picture the Dream: The Story of the Civil Rights Movement through Children’s Books at New-York Historical Society, April 1 – July 24, 2022

“The New-York Historical Society, New York’s first museum, presents an exhibition that explores the civil rights movement through one of the most emotionally compelling forms of visual expression—the children’s picture book. Picture the Dream: The Story of the Civil Rights Movement through Children’s Books, on view April 1 – July 24, 2022, highlights some of the most consequential moments in American history that continue to impact the nation today. Through illustrations and objects, the exhibition traces the legacy of social justice, thoughtfully presented for young audiences, and provides a jumping off point for important conversations about race, justice, and America’s past. The exhibition is co-organized by the High Museum of Art, Atlanta, where it debuted in August 2020, and The Eric Carle Museum of Picture Book Art, Amherst, Massachusetts.” — New-York Historical Society

“Through an immersive tapestry of images and ideas, the artworks in Picture the Dream: The Story of the Civil Rights Movement through Children’s Books take viewers by the hand and guide them through times of bravery and triumph,” said New York Times bestselling author Andrea Davis Pinkney, the exhibition’s curator and award-winning children’s book creator. “It’s an honor to collaborate on this experience that delivers a front-row seat to the dramatic events that continue to shape our world.” 

Installation views of Picture the Dream: The Story of the Civil Rights Movement through Children’s Books at New-York Historical Society. Photos by Corrado Serra.

“We’re so pleased to welcome Picture the Dream: The Story of the Civil Rights Movement through Children’s Books to New York so that our audience can gain a powerful new perspective on the long march towards social justice,” said Dr. Louise Mirrer, president and CEO of New-York Historical. “By showing how the civil rights movement has been interpreted for children throughout the decades, the exhibition demonstrates the important role young people have played and highlights the influential figures and moments that are working towards moving our society forward.” 

Picture the Dream: The Story of the Civil Rights Movement through Children’s Books is curated by award-winning children’s book author Andrea Davis Pinkney, and is coordinated at New-York Historical by Alice Stevenson, vice president and director of the DiMenna Children’s History Museum, and Alexandra Krueger, manager of museum affairs.

April 18, 2022

Guadalupe Maravilla: Tierra Blanca Joven at Brooklyn Museum, April 8 – September 18, 2022  

“In the 1980s, eight-year-old Guadalupe Maravilla fled the violence of El Salvador’s civil war and made a perilous, unaccompanied journey through Central America to the United States, where he reunited with undocumented family members. Nearly two decades later, while preparing for his M.F.A. thesis exhibition at Hunter College in New York City, he learned that he had stage-three cancer and began a grueling course of treatments.

To combat residual pain from the treatment, he was introduced to many types of ancient healing practices including a form of sound-as-medicine, which employs the vibrations and frequencies of gongs to release toxins in the body. Following his recovery, Maravilla devoted his artistic practice—which includes sculptures, drawings, paintings, choreography, sound, and performance—to healing. In his work, the artist engages particularly with the cancer and the undocumented communities of which he is a part, and whose collective trauma has given rise to a great need for care.” — Brooklyn Museum

“Tierra Blanca Joven addresses displacement of my people and our ancestors from the same land across several different points in history; the civil war, gang violence and government corruption, cataclysmic natural disasters, and the trade of cultural artifacts have all exiled Salvadoran and Maya peoples from present-day El Salvador,” says Maravilla. “The exhibition brings together representations of past, present, and future into one room—where the latest sculpture from my Disease Thrower series will meet ancient terracotta healers from the Museum’s collection, for example—as a reflection on intergenerational communal healing. Together, they share our history of displacement, while creating new visual narratives for the entangled genealogies of other border crossing communities.”

Installation views of Guadalupe Maravilla: Tierra Blanca Joven at Brooklyn Museum. Photos by Corrado Serra.

“This is an important moment of recognition for Maravilla, the first contemporary Central American artist to present a solo show at the Brooklyn Museum. His practice speaks eloquently to the urgent need for healing felt by individuals and communities as they seek to recover a sense of physical and psychological equilibrium resulting from the trauma of a global pandemic, political upheaval, and the effects of climate change,” says Eugenie Tsai, John and Barbara Vogelstein Senior Curator, Contemporary Art, Brooklyn Museum.

Guadalupe Maravilla: Tierra Blanca Joven is organized by Eugenie Tsai, John and Barbara Vogelstein Senior Curator, Contemporary Art, Brooklyn Museum, as part of Mindscapes, Wellcome’s international cultural program about mental health.

April 4, 2022

Whitney Biennial 2022: Quiet as It’s Kept at Whitney Museum of American Art, April 6 – September 5, 2022

“In 2022, the Whitney will present the eightieth edition of its flagship exhibition, the Whitney Biennial. Established in 1932 by the Museum’s founder Gertrude Vanderbilt Whitney, it is the longest-running exhibition of its kind. Featuring sixty-three artists and collectives from a variety of generations, working across disciplines and media, the 2022 Biennial takes full advantage of the Museum’s unique architecture to present an exhibition that takes a look at the current state of contemporary art in America.

A constellation of the most relevant art and ideas of our time, the 2022 Whitney Biennial is co-organized by David Breslin, DeMartini Family Curator and Director of Curatorial Initiatives, and Adrienne Edwards, Engell Speyer Family Curator and Director of Curatorial Affairs, with Mia Matthias, Curatorial Assistant, Gabriel Almeida Baroja, Curatorial Project Assistant, and Margaret Kross, former Senior Curatorial Assistant.” — Whitney Museum

Installation views of Whitney Biennial 2022: Quiet as It’s Kept. Photos by Corrado Serra.

March 24, 2022

Assembly Required at Pulitzer Arts Foundation, March 4 – July 31, 2022

“The Pulitzer Arts Foundation presents Assembly Required, an exhibition of work by nine artists who invite the public to shape and co-produce their artworks. The artists—Francis Alÿs, Rasheed Araeen, Siah Armajani, Tania Bruguera/INSTAR, Lygia Clark, Hélio Oiticica, Yoko Ono, Lygia Pape, and Franz Erhard Walther—were selected for their shared belief in public action and its role in transforming society. Taken as a whole, the work in Assembly Required poses vital questions about how art enables us to imagine new ways of being in the world.

Created between the 1960s and the present, the artworks in Assembly Required respond to distinct social and political moments and issues, from the unrest in the United States during the Vietnam War to Peru’s military dictatorship in the 1990s, and more. Each artist offers unique perspectives on social change, addressing the need for optimism and hope in the face of global tensions.” — Pulitzer Arts Foundation  

“Every possible happening is there in potential, ready to be realized in the act. Then for the first time, anyone is fit for the act of creating.” — Lygia Clark

Francis Alÿs. When Faith Moves Mountains (Cuando la fe mueve montañas), Lima, 2002. In collaboration with Cuauhtémoc Medina and Rafael Ortega Video (36 minutes) and photographic documentation of an action, ‘making of’ video (15 minutes) © Francis Alÿs. Courtesy the artist and David Zwirner
Lygia Clark’s Diálogo: Oculos, or “Dialogue: Goggles,” originally created in 1968. © O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro Photo: © Brita d’Agostino
Lygia Clark. Bicho Pássaro do Espaço (Critter Bird in Space), 1960. Aluminum, 19 3/4 x 20 x 3/8 inches (50.2 x 50.8 x 1 cm). San Francisco Museum of Modern Art, Purchase, by exchange, through a gift of Peggy Guggenheim. © O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro. Photograph: Katherine Du Tiel
Yoko Ono. Typescript for Grapefruit , 1963–64. Typewritten cards, some with ink additions. Each: 5 1/2 x 4 1/8 inches. From book proposing 151 simple instructions, or “scores,” for performing an artwork © Yoko Ono
Hélio Oiticica. Penetrável Macaléia, 1978. Stainless steel, colored metal screens, sand, gravel, bricks, and plants. Cube: 86 1/2 x 86 1/2 x 86 1/2 inches (220 x 220 x 220 cm). Overall install dimensions variable. Edition of 5 © Hélio Oiticica. Courtesy Lisson Gallery
Lygia Pape. Divisor, 1968. Performance at Museu de Arte Moderna, Rio de Janeiro, Brazil, 2010 © Projeto Lygia Pape. Courtesy Projeto Lygia Pape and Hauser & Wirth
Franz Erhard Walther. Vier Koerpergewichte (counterbalancing body weights) Single Element No. 42 of 1. Werksatz, 1968. Photograph courtesy of Galerie Jocelyn Wolff and Peter Freeman, Inc. © 2022 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

Assembly Required has been curated by Pulitzer Arts Foundation Curator Stephanie Weissberg.

Images courtesy Pulitzer Arts Foundation.

March 20, 2022

Garmenting: Costume as Contemporary Art at Museum of Arts and Design (MAD), March 14 – August 14, 2022

“The Museum of Arts and Design (MAD) presents Garmenting: Costume as Contemporary Art, the first global survey exhibition dedicated to the use of clothing as a medium of visual art. On view March 12 to August 14, 2022, the exhibition examines work by thirty-five international contemporary artists, from established names to emerging voices, several of whom will be exhibiting for the first time in the United States. By either making or altering clothing for expressive purposes, these artists create garments, sculpture, installation, and performance art that transforms dress into a critical tool for exploring issues of subjectivity, identity, and difference.

Garmenting as an artistic strategy emerged during the 1960s and 1970s. Its rise is linked to performance art, as garments used in installations often double as costumes in live and video- based performances. The practice came to increased prominence during the 1990s, its flourishing paralleling the emerging effects of globalization. With its emphasis on craft and the unique object, garmenting has been adopted globally by artists seeking ways to respond to the twenty-first-century blurring of socioeconomic boundaries, cultures, and identities. While some celebrate the hybridization of cultures resulting from globalization, others protest the fading of regional and ethnic traditions and communities; and many do both simultaneously. No matter their perspective, all these artists’ practices were shaped by transnational creative—and commercial—exchange.” — MAD

Installation view of Garmenting: Costume as Contemporary Art at the Museum of Arts and Design, New York. Photo by Jenna Bascom; courtesy the Museum of Arts and Design
Installation view of Garmenting: Costume as Contemporary Art at the Museum of Arts and Design, New York. Photo by Jenna Bascom; courtesy the Museum of Arts and Design
Installation view of Garmenting: Costume as Contemporary Art at the Museum of Arts and Design, New York. Photo by Jenna Bascom; courtesy the Museum of Arts and Design
Mary Sibande. The Domba Dance, 2019. Life-size fiberglass, bronze, cotton, and silicone, 157 1/2 × 98 × 118 1/8 in. (400.1 × 248.9 × 300 cm).
Installation view of Garmenting: Costume as Contemporary Art at the Museum of Arts and Design, New York. Photo by Jenna Bascom; courtesy the Museum of Arts and Design
Nick Cave. Left: Soundsuit, 2018. Mixed media including vintage textile and sequined appliqués, metal and mannequin Center: Hustle Coat, 2017. Mixed media including trench coat, cast bronze hand, metal, costume jewelry, watches and chains Right: Soundsuit, 2006. Easter grass, mirrors, cotton, paint, appliqué. Photo by Jenna Bascom; courtesy the Museum of Arts and Design
Devan Shimoyama. February II, 2019. Silk flowers, rhinestones, jewelry, sequins, and embroidered patch on cotton hoodie with steel armature, coated wire and fishing line, 45 × 72 × 12 in. (114.3 × 182.9 × 30.5 cm). Courtesy Private Collection and De Buck Gallery, New York. Photo: Phoebe dHeurle
Installation view of Garmenting: Costume as Contemporary Art at the Museum of Arts and Design, New York. Photo by Jenna Bascom; courtesy the Museum of Arts and Design
Installation view of Garmenting: Costume as Contemporary Art at the Museum of Arts and Design, New York. Photo by Jenna Bascom; courtesy the Museum of Arts and Design
Jeffrey Gibson. The Anthropophagic Effect, Garment no. 4, 2019. Canvas, satin, cotton, brass grommets, nylon thread, artificial sinew, split reed, glass and plastic beads, nylon ribbon, 58 × 72 in. (147.3 × 182.9 cm). Courtesy the artist and Sikkema Jenkins Co., New York.
Jaamil Olawale Kosoko. Chameleon (a visual album), 2020. Digital video. Photo by Jenna Bascom; courtesy the Museum of Arts and Design
A young Yu. DMZ Performance (performance still), 2020. Courtesy the artist. Photo: Matthew Yu
Saya Woolfalk, Expedition to the ChimaCloud. Digital video installation, textiles, painted metal, and 3D prints, 300 × 36 × 267 in. (762 × 91.4 × 678.1 cm). As installed March 1–September 1, 2019, in the Project Space at the Nelson-Atkins Museum of Art, Kansas City, MO. Courtesy Nelson-Atkins Media Services. Photo: Dana Anderson

“Despite the current ubiquity of garmenting as a visual arts practice, it has not previously been examined or theorized. This exhibition centers contemporary artists’ exploration of dress as a formal trope and critical tool, using the language of fashion to address fundamental aspects of subjectivity, including gender, class, race, and ethnicity.” — Alexandra Schwartz

The exhibition is guest curated by Alexandra Schwartz, a New York-based art historian, curator, and adjunct professor in the School of Graduate Studies at SUNY | Fashion Institute of Technology. 

Images courtesy Museum of Arts and Design.