Tag: art museum

Special to Independent Newsmedia

Arizona Costume Institute will host its annual holiday luncheon, a fashion fundraising event for the Phoenix Art Museum.

The event raises vital support for fashion-design exhibitions, education programs, and acquisitions at the museum. This year’s event will feature designer Jonathan Simkhai and will celebrate the philanthropic efforts and achievements of Honorary Chair Eileen Yeung.

The luncheon takes place at 10:30 a.m. Monday, Dec. 4 inside Cummings Great Hall at the Phoenix Art Museum, 1625 N. Central Ave.

Tables of 10 for the luncheon are sold out. Individual tickets are available at https://phxart.org/special-events-series/aci-holidayluncheon2023/.

Yeung is a Phoenix native, a graduate of the University of Arizona, and a longtime supporter of the Phoenix Art Museum.

She served on the Phoenix Art Museum board of trustees from 1996 to 2011 and was also active in the museum’s Circles of Support program during that time period. From 2013–2018, she was a member of the museum’s Asian Arts Council, during which time she served as both president of the support group and co-chair of its gala.


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Tracksuits and kicks are some of the most iconic expressions of hip-hop culture. These fashion items will be on display at the St. Louis Art Museum’s upcoming exhibition honoring the 50th anniversary of hip-hop’s birth.

The 2022 acrylic on canvas painting “It was all a dream” by artist Zeh Palito.

Zeh Palito


Simões de Assis and Luce Gallery

The 2022 acrylic on canvas painting “It was all a dream,” by artist Zeh Palito

“The Culture: Hip Hop and Contemporary Art in the 21st Century” is a multimedia exhibition that showcases the depth of hip-hop culture and its influence on contemporary art, including fashion.

Hannah Klemm, former associate curator of modern and contemporary art at the St. Louis Art Museum, said the exhibition balances the local roots of hip-hop and the many ways it became a global phenomenon.

“There’s nobody in the world these days who doesn’t somehow come in contact with something that was influenced by hip-hop. The breadth and depth and reach of hip-hop, I think, became really visible to all of us,” explained Klemm, who is one of four curators of the exhibition that was co-organized with the Baltimore Museum of Art.

St. Louis has its own hip-hop roots and cultural expressions, said writer and curator Rikki Byrd. Byrd is a former curatorial research fellow with the Baltimore Museum of Art and contributed to “The Culture.” She grew up in St. Louis when Nelly’s “Air Force Ones” music video helped shape the culture of the city.

“It gave us a cultural object, but quite literally a fashion object to unite around, to feel seen around,” Byrd said.

On display in the exhibition is a large sculpture of Air Force 1 shoes made by St. Louis artist Aaron Fowler, a representation of how “big of a moment that was for Black youth in the city during that time,” she said.

When selecting fashion

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Behind the scenes at art museums in Wichita thousands of pieces are preserved, waiting to go on display.

Prints are stored in flat drawers, framed oil paintings on racks, and sculptures on shelves – or anywhere they can find space. Taking photos is not allowed in the storage rooms to best preserve the pieces.

At the Ulrich Museum of Art at Wichita State University, Jo Reinert is the collections manager and oversees the approximately 7,000 pieces in the museum’s collection that are on display … and off.

 Ksenya Gurshtein Jo Reinert Ulrich Museum of Art
Ksenya Gurshtein (left) and Jo Reinert (right) discuss pieces displayed in the Dr. Sam and Jacque Kouri Collection Study Center — an area in the Ulrich Museum that allows visitors to study specific pieces of art.

“Every single object in our collection has a file with as much information as we can pack into it about the piece itself and how we acquired it,” she said.

Out of the thousands of pieces the Ulrich has in its collection, only a fraction of them are actually on display in the museum or on campus.

Before a piece of art is acquired, the museum’s curator, Ksenya Gurshtein, said a lot of thought and consideration go into figuring out what works the Ulrich wants to have in its collection.

“I think our goals now have to do with representing the present moment, that contemporary moment, although we still sort of strategically tried to fill in gaps and how we can tell the story of art since the 1900s,” she said.

Acquiring a piece of art or pulling one out of the collection for public view requires an incredible amount of coordination and communication.

The Wichita Art Museum has a team of staff members that help preserve and display it's 12,000 piece collection. The team stands in front of "Living History" a sculpture by Beth Lipman commissioned for the museum. From left to right: Chris Mackie, Kristi Reese, Tera Hedrick, Rebecca Williams, Mason Monigold
The Wichita Art Museum has a team of staff members that help preserve and display it’s 12,000 piece collection. The team
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The Metropolitan Museum of Art’s show on Van Gogh’s paintings of cypresses was, for me, a huge success because it made me feel insane. The show takes you through his early efforts to draw the beguiling trees and catalogs his obsession with them in his letters to his brother.

We see them in the backgrounds of happier works like shadows, but they’re something he’s putting off. They’re out of focus. Then it’s failure after failure. We’re taken through his falling out with Gauguin, and his commitment to the hospital in Arles—at which point we’re as eager to see them depicted as he is. When he finally pulls it off, it’s elating, but by then, you’re so down his rabbit hole that his whorls might as well have been painted around your head.

Francis Cotes (English, 1726-1770), ‘Miss Frances Lee’ (detail), 1769. Oil on canvas. 36 × 28¼ in. (91.44 × 71.76 cm). Gift of Mr. and Mrs. William D. Vogel, M1964.5. Photo by Larry Sanders

A new show at the Milwaukee Art Museum, “A Very Strong Likeness of Her,” benefits from a similarly singular focus. Its subject is just one painting: Miss Frances Lee by Francis Cotes (1769), with the rest of the exhibit dedicated to ephemera and literature unpacking its significance.

The portrait of the 11-year-old was commissioned by her uncle Joseph—her closest family while she attended boarding school in England—for the benefit of her father Robert in Jamaica. Portraits were, of course, the selfies of the era, and Cotes was an in-demand member of the Royal Academy, having been commissioned by Queen Charlotte to paint her infant daughter Charlotte, the Princess Royal, two years prior in 1767. He died at 44, a year after completing his portrait of Fanny Lee, “after drinking a potion that he had

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Growing up in the Midwest, Helen Jean knew of Geoffrey Beene as the name on the designer-licensed shirts and neckties her father purchased at the mall.

It was only after she began her education in fashion that she came to see and understand the creativity and artistry of the revered American designer.

In her role as the Jacquie Dorrance Curator for Fashion Design at Phoenix Art Museum, she is the public face of the institution’s current exhibition “MOVE: The Modern Cut of Geoffrey Beene,” which is on display through July 23.

The show can be seen in three rooms on the second floor of the museum. In the large Harnett Gallery, mannequins posed as ballerinas dance in breathtaking evening gowns, watched by dress forms bearing sporty jumpsuits, chic officewear, and a gaggle of cheerful, polka-dotted garments. In the next gallery, a collection of inventive evening gowns faces a rainbow of coats and bolero jackets. In the final room, objects on loan from the Geoffrey Beene archives share space with one very special dress, a sequin-and-ostrich-feather minidress from the 1960s that was one of the first pieces in Phoenix Art Museum’s fashion collection.

Most of the items in “MOVE” come from the wardrobe of New York City philanthropist and publisher Patsy Tarr, a longtime client of Beene’s before his death in 2004.

As Jean explains, Ellen Katz, a major donor and supporter of the museum, who hails from New York, convinced her friend Tarr to donate the bulk of her Beene garments to Phoenix Art Museum in 2019. (Tarr had already loaned the museum a number of items for a 2009 exhibition titled “Geoffrey Beene: Trapeze.”)

“We’re very, very fortunate that she chose our museum,” Jean says. “Of course, it was very intentional on her part, sharing this story and these

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ALLENTOWN, Pa. – The Allentown Art Museum’s “Fashion as Experiment: The 60’s” is a trip back in time to an era that transformed what was happening in American culture into wearable ideologies.

“Young people, protesting against racism and sexism in their society, young people who enjoy the ecological movement, and more. Generally, this desire for greater freedom and authenticity and daily life,” said Claire McRee, the museum’s Assistant Curator.

The exhibit is broken into two components. The first focuses on disruptive youth styles with bold colors, oh-so-high hemlines, hot pants, and the pop art influence of Warhol’s Campbell soup cans.

But it didn’t limit itself to the ladies.

“We also see the influence of what’s called the peacock revolution on menswear. By the mid to late 60s young men in particular were beginning to experiment with clothing that was in styles conventionally considered to be feminine in western fashion,” said MRee.

These disruptive styles lay the groundwork for the items in the second part of the exhibition, the hippie movement, the idea of clothing being a means of protest and how it could connect us with our heritage.

“With garments like the dashiki, which is something adopted by many young African Americans in this era, along with natural hair as a way of celebrating heritage and celebrating difference,” said McRee.

As part of the exhibition, the Allentown Art Museum is asking the community to share pictures of their families and their fashion from the 60’s to show how these trends and political movements were interpreted in the Lehigh Valley.

The exhibition runs through Sept. 24. Admission is free.

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The Allentown Art Museum is the place to be with its groovy new exhibition, “Fashion as Experiment: The ’60s.”

The exhibit, which opened Saturday and runs through Sunday, Sept. 24, explores clothing as a tool for change and focuses on the mid-1960s styles that offered young people of the era a laboratory for imagination and play as well as a growing sense of activism.

The new exhibition will be structured in two parts and will feature more than 100 garments and accessories from the museum’s vast collection, some of which by iconic designers such as Geoffrey Beene, Emilio Pucci, Bonnie Cashin, and André Courrèges.

I recently spoke with museum curator Claire McRee about the upcoming exhibition and more in this exclusive new interview.

Q: What was the inspiration behind the new exhibition, “Fashion as Experiment: The ‘60s”?

Claire McRee: We have a strong 1960s area in our fashion collection with a lot of depth and interesting garments. That was really the inspiration. Then as we thought about the issues and conversations that were happening during the 60s we realized a lot of the ideas about things like gender, race and the environment still resonate today. It felt like a great moment to take a closer look at this important era in history.

Josefa (Mexican, 19192010), Dress, 1972, natural cotton and ribbons. Allentown Art Museum: transferred from American Textile History Museum, Gift of Ellen Pinzur, 2017.
Josefa (Mexican, 1919–2010), Dress, 1972, natural cotton and ribbons. Allentown Art Museum: transferred from American Textile History Museum, Gift of Ellen Pinzur, 2017.

Q: What can visitors to the exhibition expect to see?

McRee: This exhibition is larger in scale than some of the other fashion exhibits we’ve done in the past and will take up the entire second floor of the museum. We’ll have two main groups with the larger one fitting into the category of disruptive youth. It contains styles that are mod, streamlined, minimalist and

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