Last night, the Council of Fashion Designers of America (CFDA) held their annual CFDA Fashion Awards, sponsored by Swarovski, at Alice Tully Hall, Lincoln Center in New York. The organization, commemorating its 50th anniversary, awarded designers Jack McCollough and Lazaro Hernandez for Proenza Schouler as Womenswear Designer of the Year, Thom Browne as Menswear Designer of the Year and Phillip Lim for 3.1 Phillip Lim as Accessories Designer of the Year. Swarovski Awards recognizing emerging talent went to Erin Beatty and Max Osterweis for Suno (Swarovski Award for Womenswear), Dao-Yi Chow and Maxwell Osborne for Public School (Swarovski Award for Menswear) and Pamela Love (Swarovski Award for Accessories Design). Furthermore, honorees of the night included Vera Wang (Geoffrey Beene Lifetime Achievement Award), Tim Blanks (Media Award), Riccardo Tisci of Givenchy (International Award), Colleen Atwood (The Board of Director’s Tribute) and Oscar de la Renta (Founders Award).
The pieces aligning the walls of Emily Noelle Lambert’s Greenpoint studio contain within themselves entire universes of colored, layered and textured things. Large, small, flat, and three-dimensional, they hold tornadoes of moods, narratives and stories. Although her creative process is equally busy – this constant loop of collecting, connecting and building – throughout, she is quietly sensing, listening to her materials in order to guide them to their proper places. She sits at the center of this process, where she is both demiurge and medium - creating and obeying, demanding and asking for more from her stumbled-upon objects and inexhaustible color palette. She repeats that pieces within bodies of work “speak to one another.” The inanimate objects “lean into one another.” They are conversing and she is participating. Thus, the relationship between a rusty, brutal-looking scythe and a collage covered in (mostly) yellow neon paint, triangular pieces of wood, and topped with a large ceramic bowl, is one of essence as interpreted by the artist. The scythe, she found. She was interested in the scythe’s story and previous whereabouts; placing it next to a collage that she created has the effect of translating her understanding of its story to the audience. The pieces’ similar and juxtaposing elements intertwine, and the audience is invited into deeper exploration of both. More complexity appears when she responds to a question about the relevance of the delineated faces and figures that haunt her abstract pieces. She explains that her work is very “of the body,” both internal and external. Even when the figure is not literally present, she tells me, it is still there - represented by scale or maybe the sense that it has particularly ordered the objects or brush strokes. Her shows feel like small universes then, because even the spaces between the pieces are vibrating with the constant in and out movement, the looming presence of the human and all it contains within. Thus, the inquisitive viewer is most rewarded by Emily Noelle Lambert’s work. Following one angle or color to the next shape or the following shade, one moves seamlessly between narratives, becoming consumed in the artist’s color-steeped worlds. Lambert is currently at a six-week residency at the Edward F. Albee Foundation Residency in Montauk. She will return to NYC to a residency at the Lower Eastside Printshop until March 2014 where she will work on a series of silkscreen prints. She is represented by Lu Magnus Gallery.
The American-Scandinavian Foundation (ASF) at Scandinavia House: The Nordic Center in America opened its MUNCH | WARHOL and the Multiple Image exhibition, a show that serves as part of Munch 150, the international celebration marking the 150th anniversary of Munch's birth. The exhibit, which presents the lithographs of Edvard Munch and the large-scale screen prints of Andy Warhol, demonstrates the similarities between the two artists by concentrating on their variations of four of Munch’s iconic works: The Scream, Madonna, Self-Portrait with Skeleton Arm, and The Brooch. Eva Mudocci. The exhibit will be on view through July 27th, 2013.
To celebrate the opening of the exhibit When Attitudes Become Form: Bern 1969/Venice 2013, Miuccia Prada and Patrizio Bertelli hosted a private preview and lunch at Ca ‘Corner della Regina in Venice. Guests included such notable figures as Massimiliano Gioni, Thomas Campbell, Klaus Biesenbach, Francois Pinault, Hans Hulrich Obrist as well as Lawrence Weiner, Damien Hirst, Cindy Sherman and Francesco Vezzoli, among others. When Attitudes Become Form: Bern 1969/Venice 2013 is on view through November 3rd, 2013.
Coinciding with this year’s Biennale Internationale of Contemporary Art in Venice, Louis Vuitton unveiled its new cultural space in the City of the Doges along with the location’s first exhibition titled, Where Should Othello Go? Presented by Modern Art historian Adrien Goetz and curator Hervé Mikaleoff, the exhibit features the restored work of late Venetian artist Pompeo Molmenti (1819-1894) as well as an audio-visual installation by contemporary artist Tony Oursler. The exhibit seeks to pay homage to Venice by prominently showcasing The Death of Othello (1866), a masterpiece by Molmenti while Oursler’s installation entitled, Strawberry-Ecstacy-Green, encourages viewers to reassess the traditional interpretations of the art piece. The exhibit is on view through November 24th, 2013.
Bringing into focus the emerging Venetian art scene, Padiglione Crepaccio aims to give a group of ten young, innovative Venetian artists a global platform during the Venice Biennale. Yoox.com and Il Crepaccio restaurant will host an invite-only display of the artists’ works in a Venetian artist’s house during the festival’s three preview days. Additionally, each day will feature a special, guest-edited brunch, with W Magazine editor Stefano Tonchi on day one, deputy editor of Domus, Roberto Zancan on day two, and Artforum.com and New York Times contributing writer Linda Yablonski on day three. Yoox will then continue to sell the artists' work online for the entire six-month duration of the Biennale.
Overlooking the Grand Canal in the district of Santa Croce, the Venetian palace Ca ’Corner della Regina has become home of the exhibition When Attitudes Become Form: Bern 1969/Venice 2013 presented by the Fondazione Prada and curated by Germano Celant in dialogue with Thomas Demand and Rem Koolhaas. The presentation seeks to recreate the Herald Szeeman curated 1969 exhibit titled, Live in Your Head. When Attitudes Become Form., an event of historical significance for its radical approach to exhibition curation. When Attitudes Become Form: Bern 1969/Venice 2013 is on view until November 3rd, 2013.
Marcel Duchamp estimates, “If the shadow is a two-dimensional projection of the three-dimensional world, then the three-dimensional world as we know it is the projection of the four-dimensional universe.” This aphorism accompanies Steven Sebring’s gorgeous Revolution, capturing the essence of the ambitious exhibition. The artist allows us glimpses into the fourth dimension using a 4D camera rig, which is able to capture small increments of time from every angle. Thus, we get to see every moment of every movement made by a dancing Coco Rocha, playing on a gigantic screen. Duchamp’s Nude Descending the Staircase receives modern treatment in Sebring’s Nude Descending the Stairs print. Introducing the revolutionary device to the masses, Revolution was on display for two days only, May 21st – 23rd at the 69th Regiment Armory.