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Heavenly Bodies: Fashion and the Catholic Imagination at The Metropolitan Museum of Art. Andrew Bolton, the Curator in Charge of The Costume Institute since 2015, spoke of the intention behind the exhibition: "Throughout the history of the Catholic Church, dress has affirmed religious allegiances, asserted religious differences, and functioned to distinguish hierarchies as well as gender.
Consisting of 150 garments, the exhibition will be the largest ever, and possibly the most controversial.
2018: Heavenly Bodies: Fashion and the Catholic Imagination (May 10 – October 8, 2018) 2019: Camp: Notes on Fashion (May 8 – September 9, 2019) 2020: About Time: Fashion and Duration; 2021–2022 In America: A Lexicon of Fashion (Part one of a two part exhibition) 2022 In America: An Anthology of Fashion (Part two of a two part exhibition)
2018: Heavenly Bodies: Fashion and the Catholic Imagination (May 10 – October 8, 2018) [85] 2019: Camp: Notes on Fashion (May 8 – September 9, 2019) [86] 2020: About Time: Fashion and Duration [87] 2021–2022 In America: A Lexicon of Fashion (part one of a two part exhibition) [88]
Colorful displays of clothing in the Camp: Notes on Fashion exhibition. Camp: Notes on Fashion was the 2019 high fashion art exhibition of the Anna Wintour Costume Center, a wing of the Metropolitan Museum of Art in New York that houses the collection of the Costume Institute.
Exhibits may focus on a single artist, an artistic movement, a publication medium or style, or any other topic of interest. Items which are on exhibit are clearly flagged in the online catalog as temporarily unavailable for use. The Watson Library is named for Thomas J. Watson, former chairman and CEO of IBM. [3]
Continuing McQueen's dual fascination with religion and violence, it was inspired by imagery of persecution, most significantly the 1431 martyrdom of French Catholic saint Joan of Arc, who was burned at the stake. The collection's palette was mainly red, black, and silver; colours which evoked notions of warfare, death, blood, and flames.
Montebello claimed that the idea for the guide "to present a profile of the Met in terms of its strengths and weaknesses", came from the museum's senior editor Kathleen Howard in 1978 and took 5 years to make, based on a pocket-sized format inspired by the guidebook from the Germanisches Nationalmuseum of Nuremberg. [3]
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