Enfilade

Press release (9 March 2018) from The Met:

Heavenly Bodies: Fashion and the Catholic Imagination
The Metropolitan Museum of Art and The Met Cloisters, New York, 10 May — 8 October 2018

Curated by Andrew Bolton, with C. Griffith Mann, Barbara Drake Boehm, Helen Evans, and Melanie Holcomb

The Costume Institute’s spring 2018 exhibition, Heavenly Bodies: Fashion and the Catholic Imagination, on view from May 10 through October 8, 2018 (preceded on May 7 by The Costume Institute Benefit) will be presented in two Metropolitan Museum of Art locations: at The Met Fifth Avenue—in the medieval galleries, Mary and Michael Jaharis Galleries for Byzantine Art, part of The Robert Lehman Wing, and the Anna Wintour Costume Center—and uptown at The Met Cloisters. The thematic exhibition will feature a dialogue between fashion and masterworks of medieval art in The Met collection to examine fashion’s ongoing engagement with the devotional practices and traditions of Catholicism. A group of papal robes and accessories from the Vatican will travel to the United States to serve as the cornerstone of the exhibition, highlighting the enduring influence of liturgical vestments on designers.

“The Catholic imagination is rooted in and sustained by artistic practice, and fashion’s embrace of sacred images, objects, and customs continues the ever-evolving relationship between art and religion,” said Daniel H. Weiss, President and CEO of The Met. “The Museum’s collection of Byzantine and western medieval art, in combination with the architecture and galleries that house these collections at The Met, provide the perfect context for these remarkable fashions.”

In celebration of the opening, the Museum’s Costume Institute Benefit, also known as The Met Gala, will take place on Monday, May 7, 2018. The evening’s co-chairs will be Amal Clooney, Rihanna, Donatella Versace, and Anna Wintour. Christine and Stephen A. Schwarzman will serve as Honorary Chairs. The event is The Costume Institute’s main source of annual funding for exhibitions, publications, acquisitions, and capital improvements.

“Fashion and religion have long been intertwined, mutually inspiring and informing one another,” said Andrew Bolton, Curator in Charge of The Costume Institute. “Although this relationship has been complex and sometimes contested, it has produced some of the most inventive and innovative creations in the history of fashion.”

The exhibition will feature approximately 40 ecclesiastical masterworks from the Sistine Chapel sacristy, many of which have never been seen outside the Vatican. These will be on view in the Anna Wintour Costume Center galleries and will include papal vestments and accessories, such as rings and tiaras, from the 18th to the early 21st century, encompassing more than 15 papacies. The last time the Vatican sent a loan of this magnitude to The Met was in 1983, for The Vatican Collections exhibition, which is the Museum’s third most-visited show.

In addition, more than 150 ensembles, primarily womenswear, from the early 20th century to the present will be shown in the Byzantine and medieval galleries, part of the Robert Lehman Wing, and at The Met Cloisters alongside medieval art from The Met collection, providing an interpretative context for fashion’s engagement with Catholicism. The presentation situates these designs within the broader context of religious artistic production to analyze their connection to the historiography of material Christianity and their contribution to the construction of the Catholic imagination.

Designers in the exhibition will include A.F.Vandevorst, Azzedine Alaïa, Cristobal Balenciaga, Geoffrey Beene, Marc Bohan (for House of Dior), Thom Browne, Roberto Capucci, Jean Charles de Castelbajac, Gabrielle “Coco” Chanel, Ann Demeulemeester, Sorelle Fontana, Domenico Dolce and Stefano Gabbana (for Dolce & Gabbana), John Galliano (for House of Dior), Gattinoni, Jean Paul Gaultier, Craig Green, Madame Grès (Alix Barton), Demna Gvasalia (for Balenciaga), Rosella Jardini (for Moschino), Stephen Jones, Christopher Kane, Christian Lacroix, Karl Lagerfeld (for House of Chanel), Jeanne Lanvin, Shaun Leane, Claire McCardell, Mariuccia Mandelli (for Krizia), Laura and Kate Mulleavy (for Rodarte), Thierry Mugler, Rick Owens, Carli Pearson (for Cimone), Maria Grazia Chiuri and Pierpaolo Piccioli (for Valentino), Pierpaolo Piccioli (for Valentino), Stefano Pilati (for Saint Laurent), Gareth Pugh, Simone Rocha, Yves Saint Laurent, Elsa Schiaparelli, Raf Simons (for his own label and House of Dior), Viktor Horsting and Rolf Snoeren (for Viktor & Rolf), Olivier Theyskens, Josephus Thimister, Riccardo Tisci, Jun Takahashi (for Undercover), Philip Treacy, Donatella Versace (for Versace), Gianni Versace, Valentina, and Madeleine Vionnet.

The exhibition—a collaboration between The Costume Institute and the Department of Medieval Art and The Cloisters—is organized by Andrew Bolton, Curator in Charge of The Costume Institute, working together with colleagues in The Met’s Medieval department: C. Griffith Mann, Michel David-Weill Curator in Charge of the Department of Medieval Art and The Cloisters; Barbara Drake Boehm, Paul and Jill Ruddock Senior Curator for The Met Cloisters; Helen C. Evans, Mary and Michael Jaharis Curator of Byzantine Art; and Melanie Holcomb, Curator. The interdisciplinary architecture and design firm Diller Scofidio + Renfro (DS+R) will create the exhibition design with The Met’s Design Department. Raul Avila will produce the gala décor, which he has done since 2007.

A publication by Andrew Bolton will accompany the exhibition and will include texts by Barbara Drake Boehm, Marzia Cataldi Gallo, C. Griffith Mann, David Morgan, Gianfranco Cardinal Ravasi, and David Tracy in addition to new images by Katerina Jebb. It will be published by The Metropolitan Museum of Art and distributed by Yale University Press.

Andrew Bolton, ed., Heavenly Bodies: Fashion and the Catholic Imagination (New York: The Metropolitan Museum of Art, 2018), 336 pages, ISBN: 978 1588396457, $65.

Frederick de Wit, Portolan Chart Indiarum Orientalum, from Harmonia macrocosmica, plate 56 (Amsterdam, 1708).

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Press release (9 March 2018) from The Smithsonian (also see the “Curators’ Notes,” which includes helpful installation photographs, from Journal18, published in October 2017). . .

World on the Horizon: Swahili Arts across the Indian Ocean
Krannert Art Museum, University of Illinois at Urbana-Champaign, 31 August 2017 — 24 March 2018
Smithsonian National Museum of African Art, Washington, D.C., 9 May — 3 September 2018
Fowler Museum, University of California at Los Angeles, 21 October 2018 — 10 February 2019

Curated by Allyson Purpura and Prita Meier

World on the Horizon: Swahili Arts Across the Indian Ocean opens at the Smithsonian’s National Museum of African Art May 9. The exhibition, on view through September 3 in the International Gallery, reveals the diverse interchanges that break down barriers between Africa and Asia in a space that physically connects the Smithsonian’s African and Asian art museums.

The Swahili coast, where East Africa meets the Indian Ocean, has long been a significant cultural, diplomatic, and commercial intersection for Africa, Asia, and Europe for millennia. World on the Horizon offers audiences an unprecedented opportunity to view over 160 artworks brought together from public and private collections from four continents. The artworks, through an intricate network of trade and diplomacy, have historically deep and enduring connections to eastern and central Africa, the port towns of the western Indian Ocean, Europe, and the eastern seaboard of the United States. One-of-a-kind objects loaned from the National Museums of Kenya and the Bait Al Zubair Museum in Oman will make their debut to North American audiences. The exhibition is thematically organized and features objects and images recognized for not only their artistic excellence, but also how they visualize wide-reaching networks of mobility and encounter. Ranging from intimate pieces of jewelry to impressive architectural elements, the exhibition includes exquisitely illuminated Qur’ans, carved doorposts, furniture, maps, and other works.

Door frame, detail, Kenya, Pate Island, Siyu, ca. 18th–19th century, African mahogany wood (Lamu Museum, National Museums of Kenya; photo: chrisbrownphoto.com).

“The arts of Africa are truly global, inspiring artists across the world,” said National Museum of African Art Director Gus Casely-Hayford. “But that inspiration also moves in multiple directions, and it includes African artists’ awareness and reflection of the aesthetic vision of other cultures. As the stunning and surprising works on view in this exhibition reveal, the seemingly rigid frontiers that have come to define places like Africa and Asia are in fact remarkably fluid, connected through the intersections of art, commerce, and culture.”

Swahili objects embody multiple cultural histories and aesthetic trends that are themselves itinerant and open to interpretation. World on the Horizon demonstrates how the Swahili coast is a vibrant site of global cultural convergence and to Africa’s contributions to the artistic vocabulary of the wider Indian Ocean world.

The exhibition is curated by Allyson Purpura, senior curator and curator of Global African Art at Krannert Art Museum in Urbana-Champaign, Illinois, and Prita Meier, assistant professor of art history at New York University, and overseen in Washington by Kevin Dumouchelle, curator at the National Museum of African Art. The exhibition opened at the Krannert in August 2017, and following its showing at the National Museum of African Art, it will travel to the Fowler Museum at UCLA in fall 2018.

“World on the Horizon is the exciting realization of years of research, collaboration and relationship building in the Swahili coast,” Dumouchelle said. “Loans secured from public and private collections in Kenya, Tanzania, Oman, Europe and the United States represent a once-in-a-lifetime opportunity for our audiences to see these artworks together in conversation.”

Allyson Purpura is senior curator and curator of Global African Art at the Krannert Art Museum at the University of Illinois at Urbana-Champaign. Her research on the politics of Islamic knowledge practices in Zanzibar led to her current interest in the broader connections between knowledge and power, particularly as they play out in the representational practices of museums. In addition to her teaching and curatorial practice, Purpura has published on a range of topics, including Islamic charisma and piety in Zanzibar, script and image in African art, ‘undisciplined’ knowledge, ephemeral art, and the politics of exhibiting African art. She has a Ph.D. from CUNY Graduate Center.

Prita S. Meier is assistant professor of art history at New York University. Her research focuses on the arts and architectures of east African port cities and the histories of transcontinental exchange and conflict. She is the author of Swahili Port Cities: The Architecture of Elsewhere (Indiana University Press, 2016). Meier is working on a new book about the social and aesthetic history of photography in Zanzibar and Mombasa. She is currently the William C. Seitz Senior Fellow at the Center for Advanced Study of the Visual Arts at the National Gallery of Art (Washington, D.C.). Meier has a Ph.D. from Harvard University.

Kevin D. Dumouchelle has served as curator at the National Museum of African Art since October 2016. He was the lead curator for Visionary: Viewpoints on Africa’s Arts (2017), the museum’s most recent, comprehensive presentation of its permanent collection. From 2007 to 2016, he was the Brooklyn Museum’s curator in charge of its African and Pacific Islands collections. At Brooklyn, he conceived two award-winning reinstallations of the African collection: African Innovations (2014) and Double Take: African Innovations (2014). He has written books and articles and curated a range of exhibitions on contemporary and historical African art, including Power Incarnate: Allan Stone’s Collection of Sculpture from the Congo (2011) at the Bruce Museum, and the Brooklyn Museum presentations of Gravity and Grace: Monumental Works by El Anatsui (2013) and Disguise: Masks and Global African Art (2016). Dumouchelle has a Ph.D. from Columbia University.

The catalogue is distributed by the University of Washington Press:

Prita Meier and Allyson Purpura, eds., World on the Horizon: Swahili Arts across the Indian Ocean (Seattle: University of Washington Press, 2018), 368 pages, ISBN: 9781883015497, $50.

With contributions by Edward A. Alpers, Heike Behrend, Ann Biersteker, Fahad Bishara, Allan deSouza, Jeffrey Fleisher, Athman Hussein, Paola Ivanov, Sarah Longair, Pedro Machado, Rebecca Gearhart Mafazy, Nidhi Mahajan, Janet McIntosh, Jeremy Prestholdt, Allen F. Roberts, Stephen J. Rockel, MacKenzie Moon Ryan, and Nancy Um

Accompanying the World on the Horizon exhibition organized by Krannert Art Museum, this book is the first interdisciplinary study of Swahili visual arts and their historically deep and enduring connections to eastern and central Africa, the port towns of the western Indian Ocean, Europe, and the United States. At once exhibition catalogue and scholarly inquiry, the publication features eighteen essays in a mix of formats—personal reflections, object biographies, as well as more in-depth critical treatments—and includes never before published images of works from the National Museums of Kenya and Bait Al Zubair Museum in Oman. By approaching the east African coast as a vibrant arena of global cultural convergence, these essays offer compelling new perspectives on the situated yet mobile and deeply networked social lives of Swahili objects. Moving between the broader structural relations of political economic change to more intimate narratives through which such change is experienced, the essays throw light on the ways in which the material fabric of the arts structure Swahili people’s sense of self and community in an ever-changing world of oceanic and terrestrial movement.

Press release from The Met:

Like Life: Sculpture, Color, and the Body, 1300–Now
The Met Breuer, New York, 21 March — 22 July 2018

Curated by Luke Syson and Sheena Wagstaff, with Brinda Kumar, Emerson Bowyer, and Elyse Nelson

Seven hundred years of sculptural practice—from 14th-century Europe to the global present—will be examined anew in the groundbreaking exhibition Like Life: Sculpture, Color, and the Body (1300–Now). On view at The Met Breuer from March 21 through July 22, 2018, the exhibition will explore expanded narratives of sculpture through works in which artists have sought to replicate the literal, living presence of the human body. A major international loan exhibition of approximately 120 works, Like Life will draw on The Metropolitan Museum of Art’s rich collection of European sculpture and modern and contemporary art, while also featuring a selection of important works from national and international museums and private collections.

Just how perfectly should figurative sculpture resemble the human body? Histories and theories of Western sculpture have typically favored idealized representations, as exemplified by the austere, white marble statuary of the classical tradition. Such works create the fiction of bodies existing outside time, space, and personal or cultural experience. This exhibition, by contrast, will place key sculptures from different eras in conversation with each other in order to examine the age-old problem of realism and the different strategies deployed by artists to blur the distinctions between original and copy, and life and art. Foremost among these is the application of color to imitate skin and flesh. Other tactics include the use of casts taken from real bodies, dressing sculpted figures in clothing, constructing movable limbs and automated bodies, even incorporating human blood, hair, teeth, and bones. Uncanny in their approximation of life, such works have the potential to unsettle and disarm observers, forcing us to consider how we see ourselves and others, and to think deeply about our shared humanity.

Thomas Southwood Smith and Jacques Talrich, ‘Auto-Icon’ of Jeremy Bentham (1748–1832), wax figure built around Bentham’s own skeleton, with human hair, wool, cotton, linen textiles, straw hat, glasses, wood walking stick, table, and chair (London: UCL).

Juxtaposing well-known masterpieces with surprising and little-seen works, the exhibition brings together sculptures by artists from Donatello, El Greco, Jean-Léon Gérôme, Antonio Canova, Auguste Rodin, and Edgar Degas to Louise Bourgeois, Meret Oppenheim, Isa Genzken, Charles Ray, Fred Wilson, Robert Gober, Bharti Kher, Duane Hanson, Jeff Koons, and Yinka Shonibare MBE, as well as wax effigies, reliquaries, mannequins, and anatomical models. Together these works will highlight the continuing anxieties and pleasures attendant upon the three-dimensional simulation of the human body.

Like Life: Sculpture, Color, and the Body (1300–Now) is curated by Luke Syson, Iris and B. Gerald Cantor Chairman of European Sculpture and Decorative Arts, and Sheena Wagstaff, Leonard A. Lauder Chairman of Modern and Contemporary Art, both at The Met, with Brinda Kumar, Assistant Curator of Modern and Contemporary Art, The Met, and Emerson Bowyer, Searle Associate Curator of European Painting and Sculpture at the Art Institute of Chicago, with the assistance of Elyse Nelson, Research Associate, European Sculpture and Decorative Arts, The Met. The catalogue is made possible by the Mary C. and James W. Fosburgh Publications Fund.

Luke Syson and Sheena Wagstaff, with Emerson Bowyer, Brinda Kumar, Barti Kher, Jeff Koons, Schwartz Hillel, Marina Warner, and Fred Wilson, Like Life: Sculpture, Color, and the Body (New York: The Metroplitan Museum of Art, 2018), 312 pages, ISBN: 978 1588396440, $65.

A symposium explores themes raised by the exhibition on Saturday, 14 April 2018, from 10:30am until 6:30pm.