March 25, 2012 |
Fashion exhibitions at museums, like the "Alexander McQueen: Savage Beauty" show that set attendance records at the Metropolitan Museum of Art in 2011, are more popular than ever. Here is a selection of what's on now and what's coming soon, in the U.S. and abroad. Diana Vreeland After Diana Vreeland | Dedicated to the style and passion of the late fashion icon, editor, traveler and Metropolitan Museum of Art Costume Institute curator. Vreeland also worked as a special consultant to the museum from 1972 to the time of her death in 1989, setting the international standard for costume exhibitions.
December 28, 1995 |
If there was ever a doubt that jazz musicians are the pinnacle of cool, William Claxton's black-and-white photographs at Fahey/Klein dispel it. Here is a typical image: It's the morning after in Times Square, in 1960. A man in a dressy black suit blows on his sax, which glints like gold in the sun. A smiling woman embraces him, seduced by the music. Oblivious to the early-morning traffic, the neon signs and the passersby, he is lost in the moment, in thrall to his own music.
June 20, 1996 |
City-funded galleries, as a rule, shy away from exhibitions that could generate controversy among the taxpayers. So it may come as a surprise that the City of Brea Gallery has taken AIDS as the theme for an exhibit that opens Saturday night with an artists' reception. "I think this is a daring show for this community to do," agreed gallery director and curator Georgia Freedman-Harvey. "And the community has been really supportive of it."
November 25, 1990 |
FACES "I work in all different materials, but I think each means something and has its own specific codes," says sculptor Rita McBride, who has three large pieces made of her latest material, rattan, on view at Margo Leavin Gallery on North Hilldale Avenue, through Dec. 22. "In some ways, rattan is very cheap and inelegant. It has kind of a trendy, '60s connotation--everybody has it in their home," says the spunky McBride, 30.
June 30, 2002 |
A lot of people will hear Tom Petty's upcoming album, "The Last DJ," as an indictment of the music business. The title song, for example, decries the centralization and depersonalization of radio programming. "Money Becomes King" is the narrative of a disheartened fan who watches a rock hero's values and art get lost in a sea of commercialism, to a point where the fan feels that "all the music gave me was a craving for lite beer." Petty, however, advises fans not to take things too literally.
December 27, 1987 |
Jazz has been through some apocalyptic developments during the past two decades. It has found new courses to chart, given rise to new related idioms such as fusion and New Age and grown immensely in the number of men and women studying it at colleges and performing it at concert halls and festivals worldwide. A glance at the first "Golden Feather Awards" column, which appeared in these pages Jan. 2, 1966, points up some of these changes.
September 22, 2000 |
It's time for our semiannual look at jazz on the Web. And with the proliferation of sites taking place, twice a year is barely often enough to cover some of the more interesting destinations. Record Companies. The news here, unfortunately, is not exactly encouraging, which is surprising, given that the Web has become such a powerful source of information for consumers. But Blue Note's Web site (http://www.bluenote.com) is cumbersome, generally out of date and often lacking in pertinent detail.
October 2, 1988 |
The extent to which a musician's life can mirror the evolution of society in 20th-Century America has never been more graphically illustrated than in "Bass Lines: The Stories and Photographs of Milt Hinton" (Temple University Press: $39.95, 328 pages). His family links go back to antebellum days (his mother's mother was a slave on a Vicksburg plantation) and to Africa (his father came here with a missionary group from Monrovia).
February 28, 1999 |
It is possibly the reddest article of clothing on the planet. Peggy Moffitt's vinyl raincoat, ankle length, lined in brown sheared mink, moving along the bright white way of Sunset Plaza like a maraschino cherry bobbing in a flute of champagne. She's in it, of course, holding a matching purse and discussing the coat's various merits, only one of which is protection from a still chill, though no longer rainy, morning. "It really is just the thing when I'm traveling," she says.