Christopher Bollen

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  passages November 14, 2014

  David Armstrong (1954–2014)

  “HI, DOLL,” was David’s usual greeting when I saw him. “Hi, doll,” or “my dear darling,” or, if he was feeling inclined toward the black-and-white cinematic, a crooning “fix the kids a drink, George” (this is a line from Who’s Afraid of Virginia Woolf?), or just as often, some trademark Davidism such as, “I’ve just spent Christmas in a deep and probing excursion into the world of emotional extortion and psychic depravity—good times.” It occurs to me now that David was the only friend whom I greeted with a kiss on the lips. It wasn’t sexual—I wasn’t his type. It was a soft peck, an intimate

• previews May 2014

  “Halston and Warhol: Silver and Suede”

  The New York fashion designer Halston is first mentioned in The Andy Warhol Diaries on page three—and from then on his name appears more than two hundred times in the course of Andy’s exhaustive record of the 1970s and ’80s artistic jet set. The lifelong friendship and mutual admiration of these two creative legends attests to the deep-rooted symbiosis of art and fashion, which we often think a recent phenomenon. Cocurated by Lesley Frowick, Halston’s niece, “Halston and Warhol” will mingle the Pop master’s paintings, films, and photographs with

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  previews January 2013

  “Juergen Teller: Woo”

  “If there is a conflation in photography today among the private, the public, and the unabashedly commercial, such anxiety can partly be tracked to the success of Juergen Teller, whose career skyrocketed in the mid-1990s with the distinctly overly lit, awkward but glamorously posed, comic but almost aggressively intimate portraits of models, musicians, and friends that he produced for advertising, editorial, and art contexts without modifying his style.”

  If there is a conflation in photography today among the private, the public, and the unabashedly commercial, such anxiety can partly be tracked to the success of Juergen Teller, whose career skyrocketed in the mid-1990s with the distinctly overly lit, awkward but glamorously posed, comic but almost aggressively intimate portraits of models, musicians, and friends that he produced for advertising, editorial, and art contexts without modifying his style. As much environmental studies of outsize eccentricity as they are portraits of the weird and the beautiful, Teller’s works

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  print October 2010

  Work of Art

  “LIFE IS AN UNENDING CONTEST,” Frantz Fanon concluded in his famous book The Wretched of the Earth. What Fanon could not have predicted is how entertaining that contest would be for twenty-first-century spectators watching from the safe remove of their sofas—or, moreover, how the atomization of this mortal competition into its constituent parts would go on to fill so many hours of television programming. Among the reality-based television contests we have now witnessed in prime time are those involving vacation travel, matchmaking, cooking, corporate takeovers, fashion design, the leisure time

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  previews September 2010

  Not in Fashion: Fashion and Photography in the 90s

  When the addictively chic French magazine Purple first appeared in 1992, editors Olivier Zahm and Elein Fleiss seemed to be reacting against the ’80s proclivity for vacuous maximalism.

  When the addictively chic French magazine Purple first appeared in 1992, editors Olivier Zahm and Elein Fleiss seemed to be reacting against the ’80s proclivity for vacuous maximalism. The publication went on to generate an elite cult following unseen since ’70s Interview, becoming an outlet for a new sexy realist photo style—intensely intimate, decidedly less-clothes-the-better—that helped launch the careers of photographers such as Terry Richardson and Mario Sorrenti. This exhibition uses the journal as a jumping-off point to explore the originality and exaggerated

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  previews May 2008

  The House of Viktor & Rolf

  The Barbican Art Gallery will present some sixty assemblages, videos, and prized clothing items from the pair's collections past and present, in addition to a spectacular major installation.

  Shoppers at H&M stores and perfume counters are now acquainted with the mass-marketed version of Viktor & Rolf, but for years the idiosyncratic Dutch duo Viktor Horsting and Rolf Snoeren were known primarily as the apogee of fashion's avant-garde. Having met in art school in the late 1980s, the look-alike designers presented their first womenswear collection in 1993. Since then, their performance-heavy antics have included piling ten dresses on one model and fogging up a runway so that their bell-adorned clothing could be better heard than seen. The Barbican Art Gallery

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  print March 2008

  MATIAS FALDBAKKEN

  “NOTHING DOING,” Matias Faldbakken’s solo show last year at Standard gallery in Oslo, was accompanied by a koanlike statement of intent. “This is not thought made visible but nought made visible,” wrote the thirty-four-year-old Norwegian artist. “This is information exodus. This is aphasia. . . . The Eskimos have two hundred ways to say snow. I have three million ways to say no.” The artist exhibited a series of blown-up edges and blanks from newspapers, the nearly monochromatic images’ only subject the scarce, unreadable print bleeding through from the other side of the page. But this insistence

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  previews May 2007

  Lincoln Kirstein

  Sometimes, in the world of art, friendships are what define a person’s legacy—or so this exhibition, which celebrates the social circle of the late Lincoln Kirstein on the centenary of his birth, would have it.

  Sometimes, in the world of art, friendships are what define a person’s legacy—or so this exhibition, which celebrates the social circle of the late Lincoln Kirstein on the centenary of his birth, would have it. A cultural ringleader, a writer, a tastemaker, and a ballet devotee, Kirstein brought Russian choreographer George Balanchine to the United States in 1933, and fifteen years later the two founded the New York City Ballet. Kirstein also built up the careers of many artist friends, like sensationalist painter Paul Cadmus; photographer Walker Evans, whose first show at MoMA Kirstein curated

• previews May 2007

  Making It New: The Art and Style of Sara and Gerald Murphy

  Today, only seven canvases by modernist painter Gerald Murphy survive. Nevertheless, he and his wife, Sara, remain two significant figures in the history of modernism. In 1921, the wealthy American couple immigrated to France and, shuffling between Paris and the Riviera, became the ultimate expatriate bons vivants. Defining their artistic agenda as that of living well in the eccentric circles of the avant-garde, the couple befriended, patronized, and served as muses for such greats as Picasso, Hemingway, and Léger. Intermixing eighty-five artworks (Murphy’s seven

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  previews May 2006

  “AngloMania: Tradition and Transgression in British Fashion”

  Perhaps it was a desire for revision that brought curators Bolton and Koda to position more than sixty pieces by sixteen contemporary British designers—transgressors like Westwood and Alexander McQueen, as well as traditionalists like Burberry’s Christopher Bailey—in the museum’s eighteenth-century English period rooms according to atavistic themes like the dandy and the English garden. But despite this exhibition’s dainty setting, the chief tradition in British fashion is transgression.

  British fashion smacks of social revolt: Doesn’t punk doyenne Vivienne
  
  Westwood, who dressed the Sex Pistols in the ’70s, embody the national approach? Perhaps it was a desire for revision that brought curators Bolton and Koda to position more than sixty pieces by sixteen contemporary British designers—transgressors like Westwood and Alexander McQueen, as well as traditionalists like Burberry’s Christopher Bailey—in the museum’s eighteenth-century English period rooms according to atavistic themes like the dandy and the English garden. But let’s

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  print May 2006

  Christian Holstad

  IN HIS ESSAY “On the Shortness of Life,” the Roman stoic Seneca writes: “We are in the habit of saying that it was not in our power to choose the parents who were allotted to us. . . . But we can choose whose children we would like to be.” To any individual who does not identify with dominant culture, Seneca’s pronouncement is particularly instructive. Reinvented genealogies are part and parcel of the personal lives of different-drummer children, who often align themselves with others according to political perspective, cultural subgenre, or—to cite that lodestone taken up by artist Christian

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  previews January 2006

  David Hockney

  Co-organized by London's National Portrait Gallery, this exhibition dives into Hockney's output, through 162 portraits spanning fifty years that show Hockney's relatives, lovers, and celebrity friends in their swimming pools and failing relationships.

  One cannot trace the history of Pop art without visiting David Hockney's pastel-and-Polaroid-strewn studio. The British-born, Los Angeles-based artist helped pioneer the movement in the '06s, though his work—particularly his portraiture—is imbued with a warm intimacy distinct from the mass-market flash embraced by his Pop peers. Co-organized by London's National Portrait Gallery, this exhibition dives into Hockney's output, through 162 portraits spanning fifty years that show Hockney's relatives, lovers, and celebrity friends in their