Emilio Pucci, scarf, "La Caccia," 1959. Gift of Murph Damron (2009.26)

Fashion designer and Italian aristocrat, Emilio Pucci is perhaps best known for his brilliant, sinuous prints. Inspired first by the atmosphere on the Island of Capri, Marchese Emilio Pucci di Barsento (1914-1992) began designing clothing for women in 1949, opening a small shop a few years later. Preoccupied with the absurd constraints popular clothing of the time imposed on women; he re-conceptualized menswear for women, as resort wear. Loose fitting shift dresses, palazzo pants and blouses, created out of luxurious hand-painted silks. The instantly recognizable Pucci brand was highly sought after for much of the 1950s and 1960s.

Emilio regularly looked to his heritage for inspiration; his ancestry can be traced back to both Lorenzo de Medici and Catherine the Great.  “Possibly the greatest misconception about Emilio Pucci is that the prints that made the brand famous are abstract. In fact, they are drawings, often simply inspired by objects, or Pucci’s home surroundings…” (Pucci: Fashion Story, 2010, pg. 107)

Considered a Renaissance man by many , he was “… fascinated by his roots, and art and architecture; you can actually see it in his work. On my honeymoon in Capri in 1953, I remember going to his shop and being struck by how much the designs resembled Florentine mosaics. It was really extraordinary, although I don’t think a lot of people realized it.” –Rosita Missoni (Pucci: Fashion Story, 2010, pg. 42)

In 2009, the IMA acquired a silk scarf by Emilio Pucci, titled La Caccia or The Chase from his Botticelliana Collection, 1959.  The motif for the scarf is inspired by the Stories of Nastagio degli Onesti by Sandro Botticelli.

Silk twill cocktail dress featuring the caccia motif. From the Botticelliana Collection, Spring/Summer 1959. Photo © Giulio Guzzoni/Emilio Pucci Archive, Florence. Image scan: (Pucci: Fashion Story, 2010, pg. 133)

In 1483 Sandro Botticelli was hired by the Florentine nobleman Antonio Pucci (a 15th century relative of Emilio’s) to create a series of paintings in celebration of the marriage of Pucci’s son Giannozzo to Lucrezia Bini. The paintings illustrate a tale from Boccaccio’s Decameron (1353), a collection of stories related by a group of characters over the course of ten days to amuse themselves as they fled Florence to escape from an outbreak of the plague.

Botticelli’s paintings tell the story of Nastagio degli Onesti, related by the character of Filomena on the fifth day of the Decameron. Nastagio is a young man from Ravenna who has fallen in love with a woman but been rejected. Despondent, he heads to the outskirts of the city to lick his wounds.

Sandro Botticelli, "The Story of Nastagio degli Onesti: The Encounter with the Damned in the Pine Forest," 1483. Tempera and oil on panel, 83 x 138 cm. Museo del Prado, Madrid.

The first painting shows Nastagio in the forest, where he sees a nude woman being chased by dogs and a man on horseback.  The man, Guido del Anastagi, fell in love with the woman but, like Nastagio, was rejected by her.  He was so shattered by her rejection that he committed suicide. Nastagio is witnessing the duo’s eternal punishment—Guido sinned by committing suicide, and his beloved sinned by rejecting his love. They are condemned to repeat a “caccia infernale” (infernal hunt)—Guido chases her down and disembowels her, and feeds her heart and entrails to his dogs. The hunt is repeated over and over again, without end.

Sandro Botticelli, "The Story of Nastagio degli Onesti: The Infernal Hunt," 1483. Tempera and oil on panel, 82 x 138 cm. Museo del Prado, Madrid.

In the second painting, Nastagio flees from the violent scene as we see the hunt begin again in the background.

Sandro Botticelli, "The Story of Nastagio degli Onesti: The Banquet in the Pine Forest," 1483. Tempera and oil on panel, 84 x 142 cm. Museo del Prado, Madrid.

Nastagio is horrified by the violence he has seen, but at the same time inspired—he realizes that he can use the other couple’s punishment to convince his own beloved to end his torment.  In the third painting, Nastagio has invited the object of his affection and her family to a banquet in the forest, knowing that it will be interrupted by the damned lovers’ chase. Nastagio’s beloved, to the left in a white dress, is understandably traumatized.  After witnessing the violent torment rewarded to the woman who had rejected Guido’s love, she changes her mind about Nastagio. On the right, her servant tells Nastagio that his beloved will accept his proposal.

Sandro Botticelli, "The Story of Nastagio degli Onesti: The Wedding Banquet," 1483. Tempera and oil on panel, 82 x 142 cm. Private collection, Florence.

The final painting shows their sumptuous wedding banquet, with fashionably-dressed women seated on the left and the men on the right, while servants carry in platters of food. Portraits of Antonio Pucci and his patron Lorenzo de’ Medici are included amongst the men, and the Pucci, Medici, and Bini coats of arms are displayed above, along with branches of myrtle to symbolize love.

To a modern audience, the story of Nastagio seems like a rather gruesome and off-putting wedding gift for Giannzzo Pucci and Lucrezia Bini. It is perfectly in accord, however, with Renaissance notions of decorum, and familial and civic duty.  In patriarchal Florentine society, Nastagio’s beloved was wrong to reject his suit, showing arrogance and independence which were not admirable qualities in a woman. The story reveals the importance of marriage in ensuring an organized society—neither man nor woman is meant to live in an unmarried state, and both should accept their respective roles in society, whatever their personal sacrifices may be, for the stability of their families and of Florence.

In 1967, Emilio purchased the painting upon learning The Wedding Banquet, 1483, was to be sold at an English auction house, and brought it back to Florence.

“He had been talking about that painting since we got married. I think it was probably his greatest achievement: to get back what his family had sold.  To bring it home.” -Marchesa Christina Pucci

(click to enlarge)

Like Botticelli’s paintings, Pucci’s story of La Caccia is divided into four sections. Although less gruesome, this version also depicts a chase, but in Pucci’s tale the prey is a stag or deer, rather than the ill-fated lover of Guido del Anastagi. In the first scene, lords, hunting dogs and horses prepare for a long journey into the hills of Italy. The horn sounds and the hunt begins.

(click to enlarge)

In the second scene, the once unsuspecting, feeding deer become alarmed and try to escape, but the lords and hunting dogs are adept.

(click to enlarge)

This scene portrays the victorious hunters ambling home with their game in tow.

(click to enlarge)

The final scene, much like Botticelli’s fourth painting, The Wedding Banquet, depicts lords and ladies at an elaborate banquet in the woods feasting on the day’s kill. Servants attend to the couples while others prepare the leftovers. Note the Pucci coat of arms, on the table, center front, also visible in Botticelli’s paintings, The Banquet in the Pine Forest, and The Wedding Banquet, and the castle in the background, perhaps a reference to the Palazzo Pucci in Florence.

It is really quite exciting; allow me to share just a few reasons why.

While researching the American textile collection, I delighted in studying our 1930s and 1940s textiles, a few of which were designed and produced as part of the Milwaukee WPA Handicraft project. This was a highly successful WPA venture that provided work for under-skilled people. The project engaged workers in a multitude of handcraft practices, instructed by designer- technicians drawn from graduates of the Milwaukee State Teachers College art department.

In the IMA’s collection, we have two examples of textiles that were produced as the result of this highly successful project; both designed by Florence Kawa.

The Reapers, Florence Kawa (39.41)

The Workers, Florence Kawa (39.42)

Other noteworthy 1930s and 1940s textiles in the collection (not associated with the WPA movement) were designed by Ruth Reeves, an illustrator and textile designer, known for her Art Deco imagery, as well as Dorothy Trout and Tom Lamb. Examples of their work were included in the 1931 publication, ANNUAL OF AMERICAN DESIGN.

The Circus, Ruth Reeves for Morley Fletcher, Ltd. (48.32)

Ruth Reeves, design for a children’s room (47.173)

Dorothy Trout (47.179)

(Note Dorothy’s signature)

Tom Lamb (47.180)

The IMA also houses textiles manufactured by the Waverly Division of F. Schumacher & Co., a fifth generation, family-owned interior design company founded in 1889. Waverly is a division of F. Schumacher & Co. launched in 1923.

One example, designed by William Domaratius is entitled MidSummer. Note the swatches attached at the top, providing alternate colorways or complimentary designs. As the company grew they added a wallpaper line, as well as commissioned works from famous European designers such as, Lalique, Brandt, Seguy, Follot and Poiret.

MidSummer, William Domaratius for F. Schmacher & Co., Waverly Division (TR1700)

The last examples I will share are by Jullian Tomchin and Margaret King (who also designed for F. Schumacher). Jullian Tomchin designed this piece to commemorate the birthday of fashion designer, Norman Norell. Along the selvage note the stamp that reads “Designed especially for A PARTY FOR NORMAN on October 23, 1967”.

Jullian Tomchin (S6587.87.1)

King’s design, entitled Cross Country, depicts 8 historic landmarks throughout the state of Indiana, manufactured by F. Schumacher & Co. for L.S. Ayres & Co.

Indiana buildings featured: Soldiers & Sailors Monument, Indianapolis; Indiana University Student Building, Bloomington; Whitcomb Riley’s birthplace, Greenfield; a covered bridge, Raccoon; Lincoln Village, Rockport; First State Capital, Corydon; Old Mill at Spring Mill Park; George Rogers Clark Memorial, Vincennes

The IMA houses additional versions of this design in blue and beige, as well as a sample of the matching wall-paper.

Cross-Country, Margaret King for F. Schumacher & Co. (47.193b)

]]> http://www.imamuseum.org/blog/2010/10/13/the-american-textile-collection/feed/ 3 The Reapers, Florence Kawa (39.41) The Workers, Florence Kawa (39.42) The Circus, Ruth Reeves for Morley Fletcher, Ltd. (48.32) Ruth Reeves, design for a childrenâ��s room (47.173) Dorothy Trout (47.179) (Note Dorothyâ��s signature) Tom Lamb (47.180) MidSummer, William Domaratius for F. Schmacher & Co., Waverly Division (TR1700) tr1700-6_cur_2010-06-18_v02 Jullian Tomchin (S6587.87.1) Jullian Tomchin (S6587.87.1) Jullian Tomchin (S6587.87.1) 47-193b_cur_2010-06-30_v01 http://www.imamuseum.org/blog/2010/06/24/call-for-entries/ http://www.imamuseum.org/blog/2010/06/24/call-for-entries/#comments Thu, 24 Jun 2010 15:29:50 +0000 Petra http://www.imamuseum.org/blog/?p=13132 Some of you might remember, we hosted a fashion show in 2008, called Project IMA, and it was a resounding success. But if you missed it, or really wished you participated, hang on to your hats! Because we’re planning another one.

(Image: Melissa Glenn, www.melissaglenn.com/default4.asp)

Project IMA: Fashion Unbound, is a runway fashion show organized by the IMA and will take place on Friday October 22, 2010 at the IMA in the Toby Theater.

But first, things first…..
We are also pleased to announce that the Indianapolis Museum of Art is inviting artists and fashion designers to submit original, one-of-a kind-works for inclusion in this spectacular, one-night only event. The theme for Project IMA: Fashion Unbound is uncanny silhouettes and unexpected materials. Utilizing re-purposed or used materials is strongly encouraged.

So if that sounds like you, please fill out the application form and submit all the materials to ProjectIMA@imamuseum.org by August 20, 2010.
Oh! And tell your friends.

Official details are below.

Call for Entries
Project IMA: Fashion Unbound
Indianapolis Museum of Art
October 22, 2010 / 7 pm

(Image: IMA flickr)

The Indianapolis Museum of Art is inviting artists and fashion designers to submit original, one-of-a kind-works for inclusion in Project IMA: Fashion Unbound, a runway fashion show organized by the IMA. The theme for Project IMA: Fashion Unbound is uncanny silhouettes and unexpected materials. Utilizing re-purposed or used materials is strongly encouraged.

Eligibility
Project IMA: Fashion Unbound is open to all artists ages 18 or above. Entries must be the exclusive work of the submitter or submitting team, completed within the last three years or created for this show. All works must be wearable objects to be modeled on a runway, and must exhibit unique, innovative, inspirational and creative artistry.

Evaluation will be based upon creative uniqueness, the originality of the work and the quality of the overall submissions.

Submission
Application form must accompany all submissions.
The application is limited to two entries; one or both may be used in the final runway show. Submissions must be accompanied by high quality digital images or proposed in illustrations accompanied by written descriptions. All submissions should identify artist, contact information, and primary construction materials.
Please submit all materials to ProjectIMA@imamuseum.org by August 20, 2010.

Requirements
Models for the runway show must be provided by the artists.
Mandatory attendance for both artists and models:
Run-Through / Wednesday, October 20, 2010 from 3-5 pm
Runway Show / Friday, October 22, 2010, from 4:30 pm to the close of the event
Artists must be willing to participate in collaboration with any and all IMA staff in regard to video recording, interviews, blog postings, and any other supplemental activities deemed appropriate by the IMA Public Affairs, New Media, or Textile and Fashion Arts departments.

Awards
Best of Show: A juried award of $500 will be presented the night of the fashion show
Audience Choice: One entry will be selected for recognition by the audience (Award TBA)
*Best in Show and Audience Choice may be awarded to the same artist.

Calendar

• August 20, 2010 Entries must be received electronically by Indianapolis Museum of Art.
• August 27, 2010 Notification of acceptance sent to artists by e-mail
• October 20, 2010 / 3-5 pm RUN-THROUGH (mandatory)
• October 22, 2010 / 7 pm Project IMA: Fashion Unbound (4:30 pm call for models and artists)

Download the application form HERE.

A while back I wrote a post on mannequin preparation for our exhibition, Body Unbound. Around the same time, I began working on short behind-the-scenes video with the Nugget Factory. Welcome to my first IMA TV interview.

Filming turned out to be a bit nerve-racking for me. “Act naturally,” is a phrase easier said than done. Nonetheless, I hope you enjoy witnessing what exactly we do to prepare for an exhibition.

Body Unbound is now on open and looks fantastic. Be sure to stop by the IMA before January 2011 and see for yourself.

No mannequins were harmed during the making of this video:

One of the most exciting and rewarding aspects of my job is researching, planning and finally, mounting an exhibition. I liken it to what a performer or musician must feel when they step onto stage after months of practice. One of the nuances of this feeling though, is each exhibition has a personality. Moreover, getting to know that personality is at times a joy, or a challenge, or both. Some exhibitions are straightforward and others will throw you for a loop. Nevertheless, these quirks are what propel an exhibition team forward – together. And… like any great performance or concert, it takes a group of people utilizing their aptitude in a variety of ways. Every exhibition at the IMA is supported by a team, made up of members representing different departments, each responsible for an aspect of its’ planning and execution. The upcoming fashion arts exhibition, Body Unbound, Contemporary Couture from the IMA’s Collection, is no different.

Body Unbound, explores the varied approaches modern fashion designers use to manipulate materials and experiment with construction; producing garments that liberate the female body while maintaining a desired aesthetic. Due in part to the emphasis on the body, this exhibit offered us an opportunity to reconsider how we wanted to show the pieces.

Fashion in Bloom deinstall. Notice the stark white mannequins. We use the carts in the foreground to transport mannequins around the museum

This focus on the body is what led our Chief Exhibition Designer to propose a unique suggestion for our mannequins. His idea is to present the mannequins in such a way that the concept of flesh is readily apparent, but executed so that the “skin color” represented is of no one real person. Traditionally in a museum setting, mannequins remain neutral or are painted to tie into the overall design of the space. Done so, frankly, because mannequins are not people and while they represent the physical qualities of a person, it is only because the attributes of the objects, clothing, require specific support. Think of it this way, mannequins are like frames or pedestals, complimenting an artwork or providing a base. Therefore, as if you might choose an appropriate mat color or frame for a photograph, we choose individual mannequins and their colors.

Curator of Textile and Fashion Arts, Chief Designer, Textile Conservator and me picking out colors for mannequins based on the garments

Concurrently, because we chose precise colors for particular objects we needed to be sure that those pieces fit on specific mannequins. Mannequins are primarily chosen for their ability to provide the best support. The second criterion is the appropriate stance or pose. Now, for all you fashion historians who also mount exhibitions, you know how time consuming and challenging mounting clothing can be. (Look for a later post on dressing and undressing mannequins). Most people (myself included, before working with fashion and textiles) think that all one has to do is drape a piece on a form and walk away.

This is not the case.

Bare in mind, these garments were made for people, real people – with short torsos, long arms or wide hips. For that reason, we pad out, slim down, or adjust each mannequin in a way to best fill and support the object. Concerning most, we can manipulate the forms by building upon an existing mannequin using archival materials to create the desired “body.”

Background: Mannequin with reset arm to better display a garment) (Foreground: Mannequin had breasts cut off and filled with Marvelseal® 360 and Ethafoam® 220

However, in other instances, we have to take measures that are more drastic. Such was the case for one of our Rudi Gernreich dresses from 1961, included in the exhibition because of its cutout sides. The dress fit perfectly on a slender mannequin with protruding hips, great for the style of the dress, but sad because her bust was too low. The mannequin had a natural (lower) bust line, more appropriate to exhibit pieces from the 1970s, not the high “bullet” silhouette popular in the 1950s and early 1960s. The decision was made to give the mannequin a reduction.

We called upon on our exhibition preparator, who specializes in mount building. The preparator worked closely with our textile conservator to adjust the body of the mannequin so that it can be used again and so the adjustment is not harmful to the garment when it is exhibited.

Mannequin with sides cut out to accommodate a dress with 22.5-inch waist

Mannequin is the same as above, but here you can see Ethafoam® 220 inserts

After selecting all the mannequins and paint colors, the mannequins were painted individually, in advance, to allow time for off gassing. “Off gassing” is the term used by conservators to describe the release of volatile compounds emitted by the paint as it dries completely over time.” (Thanks Kathleen and Richard!) Thus, each mannequin must sit and dry for at least two weeks before any objects come near them.

Mannequins freshly painted, off gassing

After all the mannequins “off-gas,” we will dress each accordingly. Stay tuned for the second installment of this discussion on exhibition preparation and mounting.

In the meantime, mark your calendars for Body Unbound, Contemporary Couture from the IMA’s Collection, opening April 10.

It’s gonna be a good one!

Miller House (via IMA Photography Department)

IMA TV was there as Bradley Brooks, IMA’s Director of Historic Resources, first opened a box of textiles and design plans belonging to Alexander Girard, interior designer for Miller House in Columbus, IN.

Here’s a little background on Miller House:

The IMA recently acquired the landmark Miller House and Garden in Columbus, Indiana. One of the country’s most highly regarded examples of mid-century Modernist residences, the Miller House was designed by Eero Saarinen, with interiors by Alexander Girard, and landscape design by Daniel Urban Kiley. Read more about it (and see some amazing images) here.

Pay close attention to facial expressions in this video, and you’ll just see how significant this seemingly small discovery is:

The first weekend of December, Niloo Paydar, Curator of Textile and Fashion Arts and I traveled to New York for the Fashion Institute of Technology’s annual symposium, entitled American Style. The symposium was hosted in conjunction with the exhibition American Beauty, Aesthetics and Innovation in Fashion, on view until April 10, 2010 at the Museum of FIT.

Kleibacker on stage at FIT with his model, photo taken by me

Oh! And there is a catalogue too!!

The conference addressed many facets of what one might deem “American Style.” Professor Van Dyk Lewis spoke about Hip-Hop fashion while Holly George Warren, the former editor for Rolling Stone magazine, gave an insightful lecture on what she affectionately called “Cowboy Couture.” *I am enraptured with Manuel, by the way.  While the last lecture discussing American sub-cultural styles, was presented by David Colman on the phenomenon of Prep revival. And… we all know someone who is doing this, whether it involves popped collars or cardigans, everyone knows someone with just a little bit of Preppy in them.

The two talks I found most interesting, were presentations on Claire McCardell vs. Valentina and Mr. John.  The first, The Small Town Girl and the Femme Fatale: Clare McCardell and Valentina succinctly presented by Kohle Yohannan was delightfully informative. Mr. Yohannan presented a thoroughly researched and relevant comparison of two female designers who blazed similar trails to success utilizing very different approaches. McCardell kept her price point low and her materials realistic, while Valentina’s were exorbitant, utilizing only the most luxurious materials. However, both women frequently (in the case of Valentina, solely) modeled their own clothes and shared many of the same elite clientele.

The second, Mr. John, the Mad Hatter, was a presentation I was excited to hear before arriving in NYC. You see, the IMA has a relatively large and extensive hat collection, and we are lucky to have hats designed by Mr. John who also worked under the label John Fredrics.

hat by Mr. John (Designer)

The presentation was informative and full of lively images of Mr. John, his salon and the presenter, Assistant Curator of Accessories at FIT, Coleen Hill, amused her audience with quips about the milliner, his design philosophy and customers. Rounding out the symposium were discussions with designers, Yeohlee, Christian Cota, and the late Charles Kleibacker.

Mr. John at home (via Coleen Hill’s presentation)

In hindsight, I am most thankful for the opportunity to see Mr. Kleibacker give his draping demonstration on a live model while discussing personal milestones. Here is his favorite image, a Kleibacker dress featured in Vogue, 1965.

(via Mr. Kleibacker’s presentation)

After two days of taking it all in, I spent Sunday with friends in Brooklyn (stylists, one for J. Crew and the other with Ralph Lauren).  Over breakfast, we discussed what I had learned and we continued to challenge each other’s notions of “American Style” all the way to Beacon’s Closet. As I am rummaging around, elbows deep in second-hand winter coats, I bump into the woman next to me, only to realize that I am excusing myself to Cynthia Nixon who’s with her teenage daughter foraging for roller skates.

How’s that for American Style?

Happy New Year! 2010 is shaping up to be a year filled with greatness. As I’ve been working on all of the marketing plans over the last few months, I’ve gotten really fired up about the new year at the IMA. Here are some of the things that I’m most looking forward to (in no particular order):

1. So You Think You Can Blog? – Want to write for the IMA? We’re taking applications now. Deadline is January 15. Check it out.
2. @imamuseum – Yep, we’re on Twitter. We’re starting out slow, but I guarantee there will be some exciting stuff along the way. Around here, it’s all an experiment, so you never know what you’ll find if you follow us.
3. IMA-produced Content Starring YOU – From the makers of ArtBabble, TAP: Sacred Spain, and all things cool at the IMA, comes completely in-house produced television and radio advertising. And the best part – we want you to be in them. Stay tuned in the coming weeks for a call for participation in IMA-produced spots.
4. The launch of the new IMA Web site (coming soon!) – The IMA’s brilliant Web team has been working on this for a long time. It’s gonna be amazing!
5. Touch of Evil introduced by Peter Bogdanovich – I love old movies. I adore Orson Welles. Mark this on your calendar as  date night at The Toby.
6. Oldfields Picnics – When the weather gets warm this spring and the flowers begin to bloom on Oldfields estate, I’m looking forward to grabbing lunch at Nourish Café and heading to a bench for a mini break during the work day. I may even take the bocce ball set that I keep in my office and challenge a few passersby (true story).
7. Summer Nights – The schedule is still top secret, but I’ve seen the proposed movies, and let me tell you, this might be the best summer yet.
8. Body Unbound: Contemporary Couture from the IMA’s Collection – I love the IMA’s Textile and Fashion Arts Collection. This exhibition will feature some beautiful, sexy, and iconic pieces created from 1960-2007. Jean-Paul Gaultier and Gianni Versace? Yes, please!
9. 100 Acres: The Virginia B. Fairbanks Art & Nature Park – We’ve been working and talking about it for years and now it is only 6 months away. Mark your calendar for June 20 when 100 Acres will open to the public. I’m pretty sure this is going to blow you away.
10. Unexpected Discoveries in the Galleries – Every time I go into the galleries, I discover something new. This is partly due to the fact that the collections often rotate on display and partly due to the fact that every day I have a different perspective that helps me to see new things. Whatever the reason, I’ll be spending a lot of time in the permanent collection in 2010 searching for new favorites.

The Pharmacy prescribes the following links to combat Monday online anemia.

I SAID... Leggo my Eggo! (thepancakeproject.blogspot.com)

Blog: The Pancake Project

We’re really into food blogs around here, can you tell? Heart-shaped pancakes are for newbs. Take your pancaking skills to the next level… then submit your creations to this blog… and then eat them.

ArtBabble Video: Bari Kumar – The Making of Blind Faith, 2009

IMA Work of Art:

evening ensemble by Norman Norell (Designer)

Tweet:

danielincandela: ArtBabble has made it’s way onto Wikipedia: http://bit.ly/8j6YMM

The Pharmacy prescribes the following links to combat Monday online anemia.

astridandinez.com/blog

Blog: astrid & inez

astrid & inez is really just one person, Jessica, who claims, “I’m no expert on design or web graphics.  I couldn’t even say that I’m a two-bit designer–I may only be a one-bit.  I just love graphic design and handmade things, and sharing them with other people.” Check out her blog for all things design and DIY .

ArtBabble Video: Eleanor Antin: ‘Helen’s Odyssey‘

Art21 presents: Eleanor Antin’s exhibition Helen’s Odyssey (2007) installed at Ronald Feldman Fine Arts in New York. Antin discusses the historical figure Helen of Troy, and how she became the inspiration for photographic works such as Constructing Helen (2007).

IMA Work of Art:

dress by Gernreich, Rudi (Designer)

Tweet:

MattressFactory: Just uploaded new MF #iPhone & #iPod wallpaper feat. Greer Lankton: http://bit.ly/3pYq5