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See The Met’s Newest Exhibition, Which Boldly Mixes Fashion and Frank Lloyd Wright


Each spring, The Metropolitan Museum of Art’s Costume Institute exhibitions appear more and more bold in scale and idea. While latest reveals, such because the 2019 “Camp: Notes on Fashion,” have charted new territory in visualizing summary subject material, others, together with the 2015 “China: Through the Looking Glass” and the 2018 “Heavenly Bodies: Fashion and the Catholic Imagination,” have transported guests across the museum, and, in concept, the world.

Opening on May 7, The Met’s newest cross-departmental exhibition is “In America: An Anthology of Fashion,” a collaboration between the Costume Institute and the American Wing. “Anthology” serves as a complement to “In America: A Lexicon of Fashion,” which is working concurrently, and is the ultimate exhibition in a trilogy of reveals staged in The Met’s famend interval rooms—first, in 2004, “Dangerous Liaisons” within the Wrightsman Galleries for French Decorative Arts; and in 2006, “AngloMania” within the Annie Laurie Aitken Galleries of English Decorative Arts. Marking the Costume Institute’s seventy fifth anniversary, “Anthology” brings roughly 100 clothes to 13 of the American Wing’s 20 interval rooms, of which it has greater than another division.

The Charles Engelhard Court within the American Wing.

Photo: Anna-Marie Kellen / © The Metropolitan Museum of Art.

“When the American Wing opened in 1924, it was [entirely composed of] period rooms. In an era of great immigration, the idea was to show people American life,” Amelia Peck, the Marica F. Vilcek curator of American ornamental arts and supervising curator of the Antonio Ratti Textile Center, instructed AD PRO through Zoom. Peck admits, nevertheless, that as academic and awe-inspiring because the interval rooms stay immediately, they aren’t with out issues. As sharing inclusive, numerous histories has change into very important for truthful storytelling, the significance of shining a lightweight on untold narratives that unite the American Wing and the Costume Institute was a conviction shared throughout departments. “We need to tell more stories than the white-man-who-lived-in-this-house,” says Peck. The consequence: “Anthology,” an enchanting sequence of interconnected vignettes that includes 18th-century to modern costume in interiors spanning circa 1805 to 1915. To additional enrich and activate the rooms, The Met tapped 9 administrators, together with Radha Blank, Janicza Bravo, Autumn de Wilde, Julie Dash, Tom Ford, Regina King, Martin Scorsese, and Chloé Zhao, who conceived the curations as “freeze frames.”

“The context of the period rooms is much richer than when we’re starting with a blank gallery. The interaction between the fashions and the rooms really enhances the presentation of both,” Costume Institute affiliate curator Jessica Regan instructed AD PRO over Zoom. In its earliest shows, historic costume was paired with interiors or ornamental arts from the identical period—a mixture which might really feel static and stuffy to immediately’s museumgoer. Instead, Peck, Regan, and Andrew Bolton, the Wendy Yu curator in command of the Costume Institute, sought to make hyperlinks that transcended chronology.



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