Helmut Lang: I’m not talking about the fashion brand that you find racked at Neiman Marcus, the eponymous designer departed his namesake label back in 2005 after selling it to the Prada Group, I’m talking about Helmut Lang the artist. Fast forward 10+ years since selling his business Mr Lang has quietly and patiently been creating sculptures in his East Hampton studio, and in February, I had the opportunity to meet with Mr Lang at his home and tour his studio.
I cannot believe I’ve been a board member at the Dallas Contemporary for just over 5 years, holding strong with a couple other long-term members I’ve supported the organisation through thick and thin: tumultuous, controversial, sad, and super-exciting. Whilst many in Dallas choose to focus on the negative of a fledgeling institution, I only choose to reflect on the positive, and all the amazing triumphs and successes that this edgy institution has provided the Dallas community. Exhibitions by artists such as Robb Pruitt, Jennifer Rubell, Inez Van Lamsveerde + Vinoodh Matadin, Juergen Teller and Erza Petronio, Erwin Wurm, Gabriel Dawe, Joseph Havel, and K8 Hardy.
So, what’s next? During the Dallas Art Fair frenzy, next Friday the Dallas Contemporary will open its latest exhibition by Belgium menswear designer Walter Van Beirendonck—coined the Cultural Ambassador of Flanders.
Hot pink just rocks! This past Thursday morning, I listened to Maxwell Anderson— Director of the Dallas Museum of Art, Gabriel Ritter—The Nancy and Tim Hanley Assistant Curator of Contemporary Art, and Eva Respini—Associate Curator at MOMA articulate full disclosure on artist Cindy Sherman and her enlightening disposition, at the exhibition preview at the Dallas Museum of Art.
Ask for a character reference on Sherman, and you will become bemused with the utter array of eccentric characters that she has portrayed throughout her career. The exhibition, a huge success in New York is now exhibiting in Dallas replete with macabre and perplexing portraits of insidious characters that represent the very cultural identity of today’s pop culture.
During the Golden Era of Glamour in the 1950s, Coco Chanel returned to Paris after her post-war excursion, Hubert de Givenchy opened his own fashion house—dressing Audrey Hepburn in the movie Sabrina in 1954, and the ‘New Look’ created by Christian Dior—nipped-waist, with a full skirt and mid-calf length was the silhouette de rigueur.
Four courses, four galleries and plenty to chew on—how could I turn down that invitation? Last Friday I attended the unique Moveable Feast with other Board Members from the Dallas Contemporary—a special invitation to view new exhibitions at these fine galleries—a day prior to their opening.
The brain child of Conduit Gallery owner Nancy Whitenack—rallied up local gallerists Cris Worley, Missy Finger and Holly Johnson, to share an intimate gathering with exhibition artists.
First Course: Conduit Gallery + FT33. Nancy Whitenack served up the first course with FT33, a new restaurant due to open in the Design District this fall, needless to say, the hors d’oeuvre was delicious. Two new exhibitions are open for only a month, and both artist Susan and Mimi shared insight into their inspiration. Both complementary and juxtaposed—one conjured from thoughts of dreams, the other taken from the elements of everyday life in Japan.
Worthy of some whimsy, view Susan Kae Grant: Theatrical Realms of the Whimsical & Tragic, and snap back to reality with Mimi Kato: One Ordinary Day of an Ordinary Town. Open September 8 — October 6, 2012. Conduit Gallery: 1626 Hi Line Dr. #C, visit: Conduit Gallery.
Circa 1994—I remember that time well when I lived in London and revered The Face magazine. Grunge was in full throttle, with images of dirty realism that filtered editorial fashion stories, and a skinny Kate Moss rocked the heroin chic look that typified the standard, arbitrary dress code.
The Face, 1994, For Your Pleasure: Well Basically Basuco is Coke Mixed with Kerosine…
In complete contrast, fashion photographers Inez Van Lamsweerde and Vinoodh Matadin catapulted into notoriety, as a digitally savvy duo with the glossy fashion story, titled, “For Your Pleasure.” Featured in the British fashion and pop culture magazine The Face, in early ‘94, the story featured a highly stylized, explosion of explicit glamour and expression of pure hedonism—uniquely composed of stock photos and hyper-real backdrops.