T LOunge for September 13th, 2021

Posted on September 13, 2021

Les Jardins du Presbourg Bar and Restaurant – Paris, France


Darlings, come spend the day in an imaginary garden in Paris. Doesn’t that just sound better than whatever it was you had planned for today? It’s MONDAY and your un-humble hosts are sitting on a metric ton of red carpet coverage, thanks to the Venice Film Festival, VMAs and the freaking Met Gala all overlapping. We’re off to go judge famous people in expensive outfits. You just sit there and enjoy yourself. Ciao!


Inside “In America: A Lexicon of Fashion” With Andrew Bolton
What does American fashion mean? Andrew Bolton, the Wendy Yu Curator in Charge of the Costume Institute, already seems a little exasperated by the question when I arrive for a preview of his new exhibition, “In America: A Lexicon of Fashion.” It’s not that Bolton doesn’t want to define it—he settles on heterogeneity, diversity, and pluralism as three words to define American fashion—but it’s more that he thinks “the idea of reducing American fashion down to one definition is totally antithetical to what the exhibition is about.” Instead of delivering a single, biting thesis, Bolton wants his exhibition to offer “a more nuanced definition of American fashion. In a way, when you walk around the show, it could be 104 different definitions, because each piece is a different expression, a different emotion.” The better question for this show, the first in a two-part exhibition whose counterpart, “In America: An Anthology of Fashion,” opens in May 2022, would be: How does American fashion make you feel?


Bill Cunningham’s Body of Work Is Brought to Life With an Immersive Exhibition
“Dress for Bill,” the invitation instructed invitees to the exhibition, Experience the Times of Bill Cunningham, which made its debut last night in Manhattan’s Seaport District. Housed inside a former Abercrombie & Fitch storefront, the immersive experience is decidedly more high fashion, showcasing a lifetime of photos taken by Bill Cunningham alongside footage from the documentary, The Times of Bill Cunningham, directed by Mark Bozek.


How to Get a New Job in a Virtual World
Your Zoom game has never been stronger.

But what does the job search actually look like when in-person interviews are replaced with Zoom calls and a company’s culture is practically indiscernible without setting foot inside an office? Marie Claire enlisted six leading career experts to help guide job seekers through today’s virtual world, including how to prepare for a video interview, red flags to consider when a company discusses its culture, and how to negotiate salary and benefits in an employee-driven market.


Tarana Burke on the Past and Future of #MeToo
In her new memoir, Unbound, the activist examines how the movement was built. Here, she reflects on where #MeToo goes now.

“I know this because I’m ugly,” Tarana Burke writes in the first few pages of Unbound: My Story of Liberation and the Birth of the Me Too Movement. The words epitomize the affecting, no-holds-barred nature of Burke’s first memoir—available on September 14—a place where the activist continuously bares her soul and dissects the ways in which the actions of others, and sometimes of herself, have exposed her to the ugly truths of the world. Throughout the pages of her book, Burke shares the circumstances of her upbringing that led to activating the #MeToo movement and how confronting those hard-learned truths allowed her to become the changemaker she is today.


The Meaning of Jasper Johns
For decades, people have tried to get inside the mind of one of America’s most visionary, enigmatic artists. Now, they finally get their chance.

To say that Jasper Johns is ambivalent about having to discuss the intentions or meanings behind his art would imply that there is some part of it he doesn’t find distasteful. Johns has always been reluctant (and unwilling) to “explain” himself or his work. He isn’t humorless; in fact, he’s the opposite. He has just never been interested in the public parts of being an artist that involve submitting himself as a specimen for examination. Johns has developed a Zen-like threshold for uncomfortable silences—a skill that, at 91, he has refined to an art in itself. (In the 1990s, he had a rubber stamp made that said “Regrets, Jasper Johns,” which he’d use to decline invitations and requests; the stamp found its way into a series of works shown at the Museum of Modern Art in 2014 under the title “Regrets.”) During the pandemic, Johns took the opportunity at his estate in Sharon, Connecticut, to toil away unfettered on the multiple projects he always has going—or at least less fettered than usual. “I was able to work in the studio without as much interruption as typically occurs,” Johns says. “Most of the time was spent on a painting and a few drawings and a print that took more time than usual to resolve and is now, finally, being printed—I hope!”


Inside “Christian Dior: Designer of Dreams” at the Brooklyn Museum
The Brooklyn Museum’s Christian Dior: Designer of Dreams, curated by Florence Müller in collaboration with Matthew Yokobosky, and excitingly designed by Nathalie Crinière, brings eight decades of high style to the storied establishment.
The exhibition includes some of the impressively theatrical devices that Müller first explored in the 2017 blockbuster iteration of this show at Paris’s Musée des Arts Décoratifs, and subsequently in America at the Dallas Museum of Art, and the Denver Art Museum (where Müller is the Avenir Foundation Curator of Textile Art and Fashion). For instance, there’s a wall of ghostly white toiles, reinforcing the power of craft and the hand in the house’s haute couture, and a curving wall containing accessories, clothes and enchanting doll-sized reproductions of some iconic Dior garments brilliantly arranged in a dazzling shaded rainbow of color.


Michael Kors Shares His Life in Parties
As he celebrates a major milestone, the designer reflects on teenage nights at Studio 54, Paris fashion shows, and wedding cake at home.

In 1978, Michael Kors dropped out of the Fashion Institute of Technology after attending for nine months. He launched his namesake line at Bergdorf Goodman in 1981, and wound up in Vogue for the first time that same year (above, with models wearing his designs), all while working out of the Manhattan loft in which he lived. “I always knew what I wanted to do, but I was sort of astounded that it was happening at the time,” he says. Since then, Kors has been wowing devotees with his cheerful, wearable designs—and delighting them with his mischievous wit. Earlier this year, to commemorate his brand’s 40th anniversary, Kors opted for a presentation featuring a runway down the middle of 45th Street. “A lot of people think fashion has to be doom and gloom to be considered worthy of discussion,” he says. “That’s not how I approach it. The show was a tribute to what we’ve been missing from life: live performance, being with other people, and a sense of community.”


In defense of the “gentrification building”
The new multifamily buildings in your neighborhood actually slow displacement.

Displacement, the disappearance of cultural landmarks, inequality in our cities — these are very serious issues that policymakers should be working on day in and day out.
That discussion of gentrification is instead frequently diverted to what the buildings look like is a massive coup on behalf of existing property owners. Those current owners often want to maintain aesthetic control, sometimes as a means of blocking new homes from being built (experts have found that historic preservation is often weaponized to prevent new, more affordable housing options).
It is fine to dislike the way a home looks; not all art is for everyone. But the convergence of aesthetic preferences and physical displacement under the same “gentrification” banner only serves to maintain the current system of housing development, one that has made housing prohibitively expensive for many Americans and displaced people under countless different architectural styles.


Grass is good. Lawns are terrible.
Grasslands are anything but wastelands.

Most lawns are resource-intensive monocultures of invasive plants. Each year, Americans douse their lawns and gardens with almost 3 trillion gallons of water and, as of 2012, 59 million pounds of pesticides. That’s to say nothing of the carbon pumped into the air by lawn equipment. All those inputs provide very little in return other than a bright patch of green. Manicured lawns are the real wastelands.
The tallgrass prairie of the Great Plains or the tropical savanna in the Cerrado of Brazil, by contrast, are natural grasslands full of life. In just a quarter of an acre in the Cerrado, for example, scientists have recorded 230 species of plants. Those plants in turn feed countless animals, from the critically endangered blue-eyed ground-dove to the lanky maned wolf. Research has found that natural grasslands — loosely defined as open ecosystems with low-lying vegetation and few trees — harbor a similar number of vertebrate species, like birds and mammals, as forests.


A treasure trove of British history up for grabs as the Sitwells auction contents of Weston Hall
A love letter to Napoleon’s younger sister, notes on a dream found in the secret compartment of a cabinet and numerous artworks previously exhibited at the National Portrait Gallery are all included in this important auction at Dreweatts

For three centuries, the Sitwells have dominated the literary and artistic landscapes, with generation after generation of writers, eccentrics and creatives amongst their number. Since the 18th century Weston Hall in Northamptonshire has been the family seat, until it was sold earlier this year. Now, its contents are making up a landmark auction at Dreweatts, charting not only the fascinating history of this important family, but also of England itself.


A Birdwatcher’s Eye View
Seeing the feathered members of our collection through an expert’s eyes

As artistic styles and attitudes towards nature have evolved, so have works of art that depict birds—from medieval manuscripts featuring imaginary winged creatures to photographs that take a scientist’s eye to a variety of avian species.
But how would a birdwatcher—someone who observes birds in the wild and is intimately familiar with their true personalities and habitats—react to artists’ representations of birds?
To answer that question, we turned to Cindy Hardin, Director of Outdoor Education at the Los Angeles Audubon Society. She took a look at works of art from Getty’s collection and offered a few fascinating insights into how these works of art compare to the real world of birds.


Irises at the Getty
A new online exhibition celebrates the iris in art and in nature

Irises have always been unique flowers with a profound meaning and an intriguing history.
Artists have found inspiration in these expressive flowers for centuries, and among the most famous depictions of irises is one of the most beloved paintings in the Getty Museum’s collection: Van Gogh’s Irises.
The Dutch painter associated these flowers with Provence, a region in southern France where they grow in abundance, and Japan, a country Van Gogh never visited but whose prints of irises he admired.
Van Gogh was fascinated by complementary contrast: the idea that a color looks brighter and more vivid if paired with its opposite on the color wheel. As paintings curator Scott Allan writes, “Irises is all about the play of complementaries: the pale green leaves against the reddish earth, and the blue-violet irises against the orange and yellow flowers in the background. Amidst these strong colors, a lone white iris stands out. Is its purpose mainly pictorial, to provide a moment of visual respite and contrast? Or is it symbolic of something deeper, a figure perhaps for Van Gogh’s own loneliness, isolation, and spiritual suffering, as many people like to think?”




[Photo Credit: mbds.com]

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