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Tag: metropolitan museum of art

  • A Collector’s Guide to Non-Cash Museum Donations

    Crypto philanthropy is emerging as a meaningful funding stream, particularly among younger and wealthier donor demographics. Photo by Nikolas Kokovlis/NurPhoto via Getty Images

    In the past year, the Toledo Museum of Art received several dozen works on paper by the Pop artist Marisol, a series of black-and-white photographs by Brett Weston, two sculptures by Roxy Paine, a painting by Richard Diebenkorn, four sculptural works by Martin Puryear and a linoleum-cut print by Kara Walker, among other artworks. Most donations to the museum, of course, came in the form of cash—such as the gift from one local family that funded free parking for visitors for 10 years—but not all. Other gifts included shares in startup businesses (a pharmaceutical and a tech company among them), an estate and cryptocurrencies such as Bitcoin, Ethereum, Litecoin, Solana, and others.

    “There is a lot of flexibility in the kinds of donations we will accept,” Adam Levine, the museum’s director, told Observer. The museum’s board determines the types of gifts the institution will accept, and it becomes the development department’s job to figure out what to do with donations that aren’t artworks or cash. “We don’t have people on staff with expertise in real estate and crypto and startup companies,” he said, adding that the museum can “accept a variety of things, generally liquidating them immediately.”

    The estate, for instance, was turned over to realtors who sold the house and property for $800,000, while the crypto was deposited in an account at The Giving Block, a Pennsylvania-based platform that helps nonprofits convert cryptocurrency donations into usable cash. The Toledo Museum of Art began accepting crypto in 2023, with donations amounting to more than $100,000 in 2025, “and that amount has been growing every year,” Levine said.

    A growing percentage of gifts to museums arrive in the form of “real estate, pension plans, life insurance payouts, boats, cars, crypto—you name it,” said Ken Cerini, managing partner of Cerini & Associates, which helps not-for-profit groups value and make use of non-cash donations. “I tell people who want to donate crypto to a nonprofit to reach out to the organization to see if they will take it. Most organizations will find a way to make it happen, particularly if it will be a sizeable donation.”

    Among high-profile museums that accept non-cash donations are the Metropolitan Museum of Art, which accepts cryptocurrency; the Museum of Modern Art in New York City, which accepts appreciated securities; and the Philadelphia Museum of Art, which accepts real estate. All three, along with others such as the Guggenheim, accept donations of stock.

    The High Museum of Art in Atlanta, according to a spokesperson, accepts stock (“several times each month”) and real estate (“that’s a bit more rare”), as well as wine donations from winemakers for its annual wine auction. “But at this time we don’t accept Bitcoin,” the spokesperson added. As one might expect, the online-only Museum of Crypto Art does.

    Receiving a crypto or other non-cash donation requires more than simply deciding to accept it. The Giving Block, a crypto fundraising platform, works with close to 30 museums and cultural institutions across the U.S., including the Smithsonian Institution and the Los Angeles County Museum of Art. Over $1.2 million in crypto was donated to museums and cultural institutions in 2025—a nearly 50 percent increase from 2024. “When a crypto donation is received, we instantly convert the crypto to U.S. dollars to capture the full donation value and then send the U.S. dollars directly to the organization’s bank account,” a spokesperson told Observer. Unsurprisingly, crypto donors tend to “skew younger than traditional major donors”—millennials and younger Gen X—“but they also tend to be meaningfully wealthier than the average online donor.”

    Making non-cash gifts offers tax benefits to donors, Cerini said, noting that “with the uptick in the stock market and cryptocurrencies realizing significant gains, there is real value in the donation of these assets, as donors get the benefit of a charitable contribution for the fair market value of the asset” without having to sell it and incur capital gains tax.

    Chris Haydon, founder of Crypto Appraisal Pro, which provides IRS-compliant appraisals for cryptocurrency donations, stated that more than 70 percent of the top charities in the U.S., as ranked by Forbes, accept cryptocurrency donations. “That’s up from just 12 percent in 2020.” Donations of crypto have more than tripled in the past year, driven by the fact that cryptocurrencies have “created enormous wealth. Bitcoin alone has gone from under $1,000 in 2017 to over $90,000 today. Early holders are sitting on massive unrealized gains.” He added that “five years ago, accepting crypto was a novelty. Today, for major charities, universities and hospitals, it’s becoming standard practice.”

    As with any other non-cash charitable donation—such as artwork or an antique—donors may receive a tax deduction (usually 30 percent of the item’s fair market value) if the asset has been held for more than one year, with the value assessed at the time of the gift. According to IRS rules, if the charitable contribution deduction claimed exceeds $5,000, a qualified appraisal is required.

    Finding an appraiser with crypto expertise who is qualified to submit an IRS-compliant valuation is not easy. None of the members of the two largest appraiser associations—the Appraisers Association of America and the American Society of Appraisers—list crypto as a specialty. While some nonprofit staff may suggest a name, most follow Adam Levine’s policy: “We don’t recommend appraisers for art or crypto or anything. That’s something for the donors to take care of… we don’t want to get embroiled with the IRS.”

    Linda Selvin, executive director of the Appraisers Association of America, recommends seeking out individuals identified as “business appraisers” to conduct qualified crypto appraisals. Some companies that offer appraisal services for non-cash assets include Charitable Solutions, Havenwood Holdings, AppraiseItNow.com and Sickler, Tarpey & Associates. Platforms that enable crypto donations—such as The Giving Block, Dechomai and Fidelity—can also provide recommendations. Appraisal fees vary with the value of the gift: Randy Tarpey, a CPA and partner at Sickler, Tarpey & Associates, charges $120 for donations in the $5,000 range and $995 for donations above $500,000. Joe Kattan, owner of AppraiseItNow.com, said his fees range from $400 to $2,000.

    Perhaps one of the defining features of crypto is its volatility, rising and falling in value rapidly since—unlike the U.S. dollar—it is not pegged to other currencies or backed by a central bank. Still, Haydon argued, “crypto is easier to appraise than art or collectibles. With a Picasso or a rare antique, you’re making subjective judgments about condition, provenance and comparable sales that may be years apart. With Bitcoin or Ethereum, you have transparent, real-time pricing market data across multiple exchanges, 24 hours a day. The asset’s value at any given moment is publicly verifiable.” CNBC provides daily pricing data for Bitcoin, Ethereum and other cryptocurrencies; no one can tell you what that Picasso is worth today versus tomorrow.

    More for art collectors

    A Collector’s Guide to Non-Cash Museum Donations

    Daniel Grant

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  • The next Met Gala exhibit will spotlight fashion across art history

    NEW YORK (AP) — If there’s been one uniting theme of all the blockbuster fashion exhibits at the Metropolitan Museum of Art, it’s the simple idea that fashion is art.

    “Costume Art,” announced Monday as the next big show at the museum’s Costume Institute — launched by the starry Met Gala in 2026 — aims to make that connection more literal than ever, pairing garments with objects from across the museum to show how fashion has long been intertwined with different art forms.

    Max Hollein, CEO and director of the Met, said in an interview ahead of Monday’s announcement that he hopes the exhibit will take visitors to the New York museum on a (very fashionable) journey through art history, where they will see connections throughout.

    “It’s a show that can really live in fascinating ways at the museum and can pull from all different areas of our collection — paintings, sculpture, drawings,” Hollein said.

    “I hope we all agree that fashion is art,” Hollein added. “But actually I think the exhibition … will make it obvious how fashion is actually happening, so to say, all across the museum and in all different mediums already.”

    The new show will examine the dressed body, and will be organized thematically by different body types, according to the Costume Institute’s curator in charge, Andrew Bolton. It will include the “Naked Body” and the “Classical Body,” for example, but also less expected themes like the “Pregnant Body” and the “Aging Body.”

    “Bustle” by Charles James, right, is displayed at the announcement. (AP Photo/Richard Drew)

    A spandex bodysuit by Belgian designer Walter Van Beirendonck from a 2009 collection, right, is displayed during the announcement, at the Metropolitan Museum of Art, in New York, Monday, Nov. 17, 2025, about the next spring fashion exhibit "Costume Art," which is set to launch at the Met Gala in 2026. (AP Photo/Richard Drew)

    A spandex bodysuit by Belgian designer Walter Van Beirendonck from a 2009 collection, right, is displayed during the announcement. (AP Photo/Richard Drew)

    The connections that will be drawn between artworks and garments will range, curators said in a statement, “from the formal to the conceptual, the aesthetic to the political, the individual to the universal, the illustrative to the symbolic, and the playful to the profound.”

    One example: in the “Naked Body” section, a 1504 print from German artist Albrecht Dürer will be paired with spandex bodysuits by Belgian designer Walter Van Beirendonck from a 2009 collection that revisits the story of Adam and Eve in the Garden of Eden.

    On hand for Monday’s announcement was Misty Copeland, who recently retired from American Ballet Theatre after a trailblazing career that saw her become the company’s first Black female principal dancer. In her remarks, she spoke of the interplay between fashion and dance and said the show makes a “powerful case for the body, in all its forms, as a work of art, worthy of being seen, elevated, and celebrated.”

    “Of course, both fashion and dance have long held up an ‘ideal’ body, one that has historically meant thin, white, and female. That bias shaped my own experience,” she said. “Early in my career, I was made to feel that my body didn’t fit the mold. My skin was too dark, my muscles too defined. Being a Black woman and a ballerina was presented almost as a contradiction.”

    Copeland said she fought to challenge that idea and stood “firmly in the value and beauty of my body, and of the many Black and brown dancers whose bodies have so often been overlooked.” The new exhibit — following the lauded “Superfine: Tailoring Black Style,” which focused on Black menswear — adds to that conversation, Copeland said.

    It’s also a show that will have a new home. “Costume Art,” which opens to the public May 10, will inaugurate new gallery space occupying some 12,000 square feet (1,115 square meters), right off the museum’s Great Hall.

    That means that when the A-listers come up the main steps on May 4 at the Met Gala — perhaps dressed to channel famous objects of art — they will be only feet from the exhibit, making it easier to view the art before sipping and socializing. (Gala details — such as the celebrity hosts and specific dress code — will be shared later.)

    Hollein said the museum was mainly concerned with giving fashion a more prominent home — and giving regular visitors a smoother experience. In past years, long lines for fashion exhibits would snake through other galleries and create bottlenecks in inconvenient places.

    The new Conde M. Nast galleries — created from what was formerly the museum’s retail store — will house not only all spring Costume Institute exhibits to come, but other shows from different parts of the museum.

    Bolton said in a statement that the gallery space “will mark a pivotal moment for the department, one that acknowledges the critical role fashion plays not only within art history but also within contemporary culture.”

    “Costume Art” opens to the public May 10, 2026, and runs until Jan. 10, 2027.

    ___

    This story has been updated to correct the date of the 2026 Met Gala. It’s May 4, not May 5.

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  • Video: A Haunted Tour of the Met Museum

    new video loaded: A Haunted Tour of the Met Museum

    Zachary Small, culture reporter, takes us on a tour of his four favorite spooky artworks at The Metropolitan Museum of Art. You’re in for a scare: they include a decapitation platter and a sculpture of a rumored cannibal.

    By Zachary Small, Edward Vega, David Seekamp and Joey Sendaydiego

    October 31, 2025

    Zachary Small, Edward Vega, David Seekamp and Joey Sendaydiego

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  • In the Latest Genesis Facade Commission, Jeffrey Gibson Calls for Awareness Beyond the Human

    The latest Genesis Facade Commission, “Jeffrey Gibson, The Animal Therefore I Am.” Courtesy the artist. Image credit: The Metropolitan Museum of Art, Photo by Eugenia Burnett Tinsley

    Following the explosion of color from his kaleidoscopic takeover of the U.S. Pavilion during the last Venice Biennale, Jeffrey Gibson unveiled his works for the Metropolitan Museum of Art’s latest Genesis Facade Commission last week. Titled “The Animal That Therefore I Am,” Gibson’s intervention features a series of monumental bronze sculptures, marking his first time working with the material at such scale within a public institution and platform.

    The title of the installation is highly evocative and symbolic, suggesting a move away from a human-centric worldview toward a more fluid, hybrid identification with other species and the environment. It originates from a series of lectures by French-Algerian philosopher Jacques Derrida that Gibson first encountered in the late 1990s, the artist told Observer after the unveiling. Titled “The Autobiographical Animal,” Derrida’s lecture—originally a ten-hour seminar he delivered in 1997 at the Cerisy conference—was later published in French as L’animal que donc je suis (à suivre) and in English as The Animal That Therefore I Am.

    Jeffrey Gibson stands on the steps of the Met in a patterned yellow jacket, with one of his bronze animal sculptures behind him at the museum’s facade.Jeffrey Gibson stands on the steps of the Met in a patterned yellow jacket, with one of his bronze animal sculptures behind him at the museum’s facade.
    Jeffrey Gibson. Photo: Eileen Travell

    In his lecture, Derrida argued that animals possess a form of subjectivity and autonomous intellect—certainly more than the Western philosophical tradition has typically allowed—and asserts that, “For the most part, the philosophers … have refused the animal all kinds of attributes that one recognizes in oneself, such as the ability to respond, the ability to suffer, the ability to be aware.” For the philosopher, the relational and existential confrontation with an animal’s gaze provokes a fundamental destabilization of the human subject. “I often ask myself, just to see, who I am—and who I am when, caught naked, in silence, by the gaze of an animal, for example, the eyes of a cat, I have trouble, a bad time overcoming my embarrassment.”

    For the French philosopher, the animal gaze already reveals an unsettling glimpse into the abyssal boundary of the human—the inhuman or the ahuman, the ends of man. “I have been aware of Indigenous worldviews and kinship philosophies that honor animals, plant life and other living beings for some time,” Gibson explained. “I find that other animal species are rarely acknowledged as having their own independent intellect and autonomous relationship with the larger world.”

    For the artist, Derrida’s lectures offered a vital revelation: humans routinely fail to extend equitable respect to other animals. “This lack of respect reflects a loss of empathy, which ultimately allows for an indulgence in violent behavior toward other living beings,” he reflected, echoing Derrida’s argument that denying animals the capacity to respond reveals a broader failure of respect and responsibility in our relationship with life itself.

    A close-up of Jeffrey Gibson’s bronze animal sculpture on the Met’s facade, depicting a regal creature adorned with elaborate jewelry and sacred garments.A close-up of Jeffrey Gibson’s bronze animal sculpture on the Met’s facade, depicting a regal creature adorned with elaborate jewelry and sacred garments.
    Jeffrey Gibson, they are witty and transform themselves in order to guide us nashoba holba / wayaha / coyote. Courtesy the artist. Image credit: The Metropolitan Museum of Art, Photo by Eugenia Burnett Tinsley

    Rising with an auratic, totemic presence before the Met’s historic facade—rooted in Western ideals of beauty and order, shaped by Classical art and framed by Neoclassicism and Beaux-Arts—Gibson’s sculptures serve as a symbolic call to shift the prevailing paradigm and narrative, challenging the cultural canons embodied by the building itself.

    Drawing on the culture, traditions and spirituality of the Mississippi Band of Choctaw Indians and his Cherokee heritage, these reimagined monuments summon the power of nature over humans, offering a resonant return to the primordial essence of interconnected existence within a broader, yet increasingly fragile, ecosystem. At the same time, they remain deeply anchored in their immediate context. Gibson pointed out that the animals depicted in the sculptures all live in Central Park—creatures he also encounters in the Hudson Valley. “I began thinking about animals as teachers, or as models for how to engage with the world. These four animals—the hawk, the deer, the squirrel and the coyote—all navigate their ecosystems differently and can offer us, as humans, new approaches to the way in which we navigate our own world.”

    A monumental bronze squirrel sculpture by Jeffrey Gibson on the Met’s facade, adorned with a crown of acorns and a turquoise cloak, holding a large acorn in its hands.A monumental bronze squirrel sculpture by Jeffrey Gibson on the Met’s facade, adorned with a crown of acorns and a turquoise cloak, holding a large acorn in its hands.
    Jeffrey Gibson, they plan and prepare for the future, fvni /sa lo li/squirrel. Courtesy the artist. Image credit: The Metropolitan Museum of Art, Photo by Eugenia Burnett Tinsley

    Gibson’s commission arrives amid a growing institutional and curatorial interest in Indigenous artistic expression—first across museums and biennials, and increasingly within the market. Adorned with sacred vests and ceremonial ornaments and standing with the dignity and solemnity of long-venerated statues of heroes or deities, his animals simultaneously challenge the anthropocentric thinking that those human figures once embodied. Alternatively, they point toward an animistic awareness and spirituality—foregrounded by many ancient cultures but gradually erased in the course of so-called “civilization.” With their potent symbolic presence, the sculptures emerge as shamanic guides, redirecting humanity’s path toward a more sustainable and harmonious future—reconnecting with nature, the primal source of all things.

    Jeffrey Gibson, The Animal That Therefore I Am” is at the Met through June 9, 2026.

    In the Latest Genesis Facade Commission, Jeffrey Gibson Calls for Awareness Beyond the Human

    Elisa Carollo

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  • Observer’s Top Five Pieces Not to Miss at the 2025 Armory Show

    The Pit Gallery at The Armory Show 2025. Photo by Sean Zanni/Patrick McMullan via Getty Images

    The Armory Show is New York City’s longest-running art fair, so it’s a little disappointing that recent years have seen it staged at the Jacob K. Javits Convention Center. Originally hosted by the intimate Gramercy Park Hotel, the show now barely inhabits this cavernous glass undulation, which seems more designed to be driven past than entered. Does Frieze stage the Armory Show at the Javits Center because it’s the only building on the island of Manhattan that’s worse than The Shed? It does make the venue for their brand-name fair seem better by comparison. Emily Gould memorably called the Javits “an airport with no scheduled departures,” and despite its absurd proportions, the building can induce claustrophobia if the art is bad. But this year the art wasn’t bad at all—in fact, it may have been the opposite of bad. Below are the five pieces that spoke to me the most, and it’s noteworthy that the five are among many others that I liked quite a bit.

    TARWUK, MRTISKLAAH_enecS_laniF_ehT (2025), White Cube

    TARWUK, MRTISKLAAH_enecS_laniF_ehT, 2025. Photo: Dan Duray for Observer

    Normally, blue-chip galleries organize their art fair booths the way roadside diners organize their menus. They like it dense and diverse, in a way that allows the visitor to know each and every treat that is available to them, from souvlaki to challah French toast. White Cube’s booth at Armory this year was instead given over to Ivana Vukšić and Bruno Pogačnik Tremow, a.k.a. the artist duo TARWUK. It was hard to pick a favorite among them because all were well executed and distinct. In this and other ways, they reminded me of the Metropolitan Museum of Art’s recent exhibition “Siena: The Rise of Painting, 1300–1350,” which lived up to the title’s promise of explaining the very origins of the medium’s vernacular. Here we see TARWUK using these older dialects to discuss contemporary issues. The painting I selected sees a varied cast of characters sitting around a compelling crater that feels to me like X, a.k.a. Twitter, a.k.a. The Everything App. They have no control over their apocalypse but are each dressed in a very appealing and bespoke way.

    Nikita Gale, INTERCEPTOR (2025), 56 Henry

    Nikita Gale, INTERCEPTOR, 2025. Photo: Dan Duray for Observer

    Two disclosures: I have worked with Bridget Finn and love Ellie Rines, both of whom have been major champions of Nikita Gale. But you don’t need to be biased to love this work; just about everyone lingered near it. I suppose that if I’m going to complain so much about architecture, that’s the angle from which I should first compliment this work—it’s a booth you cannot enter. It speaks to the obvious love-hate relationship we all have with fairs, no matter where they’re staged. Speaking of stages, this work sees Gale returning to the materials and themes that tend to run through her work, which is interested in the technical aesthetics of audio production. You can’t make it out in this photo so well, but dangled up in those meaty wires are empty mic stands at casual and organic angles. The language on the 56 Henry website seems to imply that this work also resonates with the barricades of the French Revolution, but that doesn’t sound right to me. I think recent years have proven that there’s pretty much nothing you could do to modern-day Americans that would ever make them revolt.

    RF. Alvarez, We’re Still Here! (2025), Martha’s

    RF. Alvarez, We’re Still Here!, 2025. Photo: Dan Duray for Observer

    I showed a photo of this work to a friend at an opening, and she asked, “Is that a scene from Sinners?” It’s a fair enough question, but instead of being vampires, everyone’s just secretly gay. The work was inspired by Paul Cadmus’s famous and excellent The Fleet’s In! (1934), “one of the earliest known cases of censorship of a gay artist in the United States,” per the Met. One of the subtly queer elements in that work is the proposition via cigarette, so it’s appropriate that the artist himself appears in the center, lighting that other guy’s cigarette. The light is one of the many things to like about this painting, even if you don’t care about identity politics. Alvarez paints the whole surface black first, then seems to enjoy the challenge of dealing with this. Everyone’s clothes and skin seem to cling to them as they’re explored by the light. Look at that gleam on the edge of the pool table.

    Brittney Leeanne Williams, Interruption 8: Integration (2025), Alexander Berggruen

    Brittney Leeanne Williams, Interruption 8: Integration, 2025. Photo: Dan Duray for Observer

    Red is a difficult color. Beloved by collectors of the more thuggish variety, many painters avoid it because it’s too dominant. Williams doesn’t fight the red’s power, opting to mitigate it with trompe l’oeil. Her folds are so realistic that when you first approach it, you don’t even think of it as surreal. You see the rocks, the clothes and the reflections, and your brain registers this life-sized silhouette as a person. This is a dramatic and cinematic work without any faces in it. It’s suggestive of the cover of a romance novel from the 1990s, or perhaps a stained glass window. The robe does seem like something Jesus would wear, and the light source does seem to suggest that it’s coming from the non-existent head. It’s appealing how dark and shiny this work becomes near the bottom. It seems to suggest that this work could be many different ways, if it wanted to be

    Joel Gaitan, Portadora De Ibeyi (2025), The Pit

    Joel Gaitan, Portadora De Ibeyi, 2025. Photo: Dan Duray for Observer

    This booth featured a number of similar pseudo-Mesoamerican artifacts, which delve into the Miami-based artist’s Nicaraguan heritage, but this should appeal to anyone who likes sculpture, ceramics or the color blue. What I love about the symmetry of this piece is that it breaks, in the folds of fat on the belly, the lower-hanging breast, and in the curious golden snake scarf, which isn’t quite the same on both sides. It adds to this creature’s undeniable charm. The sculpture’s title translates to “Bearer of the Twins,” who are exactly the same and distraught. But the bearer’s smile is the focal point of this. She is unflappable in the face of whatever seems to be happening in this piece. The hues and textures combine well here, best noticed in the way that puckered skin feeds into the golden pastie. It’s a sculpture about order, chaos and how one responds to them.

    Observer’s Top Five Pieces Not to Miss at the 2025 Armory Show

    Dan Duray

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  • Yuval Sharon to direct Met Opera’s new stagings of Wagner’s Ring Cycle and `Tristan und Isolde’

    Yuval Sharon to direct Met Opera’s new stagings of Wagner’s Ring Cycle and `Tristan und Isolde’

    NEW YORK (AP) — Yuval Sharon, an American known for innovative productions, will direct the Metropolitan Opera’s next stagings of Wagner’s Ring Cycle and “Tristan und Isolde,” both starring soprano Lise Davidsen and conducted by music director Yannick Nézet-Séguin.

    The Met also said Tuesday that Nézet-Séguin’s contract had been extended by six years through 2029-30.

    Sharon’s “Tristan” opens March 9, 2026. The Ring launches with “Das Rheingold” starting the second half of the 2027-28 season, includes “Die Walküre” and “Siegfried” in 2028-29, and will be completed with “Gotterdämmerung” in 2029-30. Davidsen will sing Brünnhilde, and there will be complete cycles in the spring of 2030.

    Sharon was chosen by Nézet-Séguin and Met general manager Peter Gelb.

    “We were both committed to a very highly theatrical Ring but we need at the Met to have something that is reaching seats that are pretty far from the stage,” Nézet-Séguin said. “After a while, it became kind of evident for us that is should be Yuval.”

    Sharon, 44, has presented a shortened version of Wagner’s “Götterdämmerung (The Twilight of the Gods)” at parking lots in Detroit and Chicago, the third act of “Die Walküre” in Los Angeles and Detroit with a green screen for animation and computer graphics, and Puccini’s “La Bohème” reversing the order of acts to portray Mimì as getting healthier rather than succumbing to illness.

    Sharon did not want to publicly discuss his Met projects, spokeswoman Amanda Ameer said.

    “He wants to have the concept fully worked out before he starts talking about it,” Gelb said. “I would put that down as his artistic eccentricity, which I can sympathize with.“

    In addition, Davidsen will star in Verdi’s “Macbeth” opening the 2026-27 season on Sept. 22, 2026, with Nézet-Séguin conducting.

    “I’m glad if Lisa Davidsen has chosen the Met as being her house of choice,” Nézet-Séguin said.

    Davidsen plans a fully staged “Tristan” before her Met production and will sing Brünnhilde in at least one of the Ring operas before New York.

    Sharon founded The Industry Opera in Los Angeles in 2010 and has been Detroit Opera’s artistic director since 2020. He became the first American to direct at the Richard Wagner Festival in Bayreuth, Germany, in 2018 with “Lohengrin.”

    Wagner’s “Der Ring des Nibelungen (The Ring of the Nibelung)” contains 15 hours of music over four days and is considered opera’s biggest, priciest challenge.

    The Met announced in February 2021 a co-production with the English National Opera directed by Richard Jones starting in 2025, with full cycles by 2026-27. The ENO scrapped the project last year halfway through because of funding uncertainty.

    Sharon’s production will replace a Robert Lepage staging that appeared in 2012, 2013 and 2019, and gained infamy for “The Machine,” a 45-ton metal structure with 24 planks that malfunctioned on several occasions. New Yorker critic Alex Ross called it “the most witless and wasteful production in modern operatic history.”

    The Met gave the Ring’s U.S. premiere in 1889 and has presented five integrated cycle productions since the start of the 20th century that include Franz Hörth directing with Hans Kautsky’s sets (1914-44), Herbert Graf directing with Lee Simonson’s sets (1948-62), Herbert Von Karajan’s staging with Günther Schneider-Siemssen’s abstract sets (1975), and Otto Schenk’s Ring with Schneider-Siemssen’s traditional sets (1989-2004).

    Met chair Ann Ziff will be lead funder of Sharon’s Ring, and Gelb said it likely will not be co-produced with another company.

    Nézet-Séguin, 49, became Met music director in 2018-19 following the end of James Levine’s 40-year tenure in 2016. A four-time Grammy Award winner, Nézet-Séguin has been music director of the Philadelphia Orchestra since 2012-13 and last year was given a contract through 2029-30. He has been music director of Montreal’s Orchestre Métropolitain since 2010.

    As part of the Met’s pivot to contemporary works, Nézet-Séguin is scheduled to conduct the company premieres of Mason Bates’ “The Amazing Adventures of Kavalier & Clay” (opening 2025-26 season on Sept. 21), Gabriela Lena Frank’s “El Último Sueño de Frida y Diego” (May 14, 2026), Missy Mazzoli’s “Lincoln in the Bardo” (Oct. 23, 2026), Carlos Simon’s “The Highlands” (March 8, 2027) and Huang Ruo’s “The Wedding Banquet” along with also a new Robert Carsen staging of Mozart’s “Le Nozze di Figaro.” He will lead revivals of Mozart’s “Don Giovanni,” Puccini’s “Tosca” and Wagner’s “Parsifal.”

    “It’s important to show a broad palette of composers,” Nézet-Séguin said. “It’s at the core actually of my mission, and this is also why I’m renewing. I feel like we just embarked on that journey.”

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  • Contemporary Art Conservation Raises Thorny Issues Around Responsibility

    Contemporary Art Conservation Raises Thorny Issues Around Responsibility

    A restorer works in the restoration studio of the Doerner Institut. Photo by Matthias Balk/picture alliance via Getty Images

    Art is long, and life is short, according to an old Roman saying, but sometimes art doesn’t hold up its end of the bargain: the canvas warps, the metal bends, and the paper turns brown. New artworks may look like old works too soon, leaving their buyers feeling as though they’ve been had. In fiction, we have the works of Vonnegut’s Rabo Karabekian, whose paintings made with Sateen Dura-Lux (which promised to “outlive the smile on the Mona Lisa”) self-destruct. In real life, similar tales abound. One collector brought back to New York City gallery owner Martina Hamilton a painting she had purchased there by the Norwegian artist Odd Nerdrum that looked as though the “painting was falling off the canvas,” the gallerist told Observer.

    Art doesn’t come with warranties, and state consumer protection statutes only cover utilitarian objects. Art is sold “as is” by galleries and artists. (Can you imagine Consumer Reports reviewing art?) Still, dealers hope to maintain the goodwill of their customers, and artists don’t want to develop a reputation for shoddy work. It is not fully clear, however, what responsibility artists bear their when it comes to conservation, especially after a piece has been sold one or more times. It is particularly the case for artists who purposefully use ephemeral materials in their art (bee pollen, banana peels, lard, elephant dung, leaves, mud, moss and newspaper clippings, to name just a few examples).

    Nerdrum, who is known for formulating his own paints (and constructing his own frames), was contacted by Hamilton about the deteriorating painting, and he directed the dealer to offer the buyer her choice of other works by him at the gallery in the same price range. The collector, however, didn’t want any other Nerdrum painting in the gallery, so the artist rehired the same model he had used originally and painted the entire image anew. The entire incident took a year to resolve.

    Nerdrum isn’t the only artist who will try to make amends for work he or she created that doesn’t hold up. Manhattan painter David Novros was asked in 2006 what to do about a 1965 acrylic lacquer painting in the Menil Collection in Houston that had extensive “cracks, canyons and fissures” all over the surface, and he decided “to remake the work with the same materials as before.” The work, 6:30, is now dated ‘1965/2006.’ It’s not the first time this kind of thing has happened to Novros. In 1990, the Museum of Modern Art came to him about a 1966 painting in its collection whose canvas had discolored and was affecting the handmade plywood stretcher, and his solution was to scrape off the old paint and put on new. The museum dates the work, titled VI.XXXII, as ‘1966 (repainted in 1990).’

    If alive and physically able, should artists be counted on to repair damage—caused by their own workmanship, shoddy materials or a collector’s mishandling—or are art’s creation and conservation so disparate that no one should attempt both? Experimentation with materials is both an element of artistic freedom and a headache for future conservators. When Pablo Picasso glued a piece of newsprint onto a canvas, producing what was first called “synthetic cubism” and then just “collage,” a monumental event in modern art history took place. On the other hand, Margaret Ellis, professor of conservation at New York University’s Institute of Fine Arts and director of conservation at the Thaw Conservation Center at the Morgan Library, told Observer that if “Picasso had called up a conservator and said, ‘What do you think of sticking some cut-out newsprint on?’ the conservator would have died.”

    There are several reasons why contemporary art may not hold up, even in the short run. Experimenting with materials is one; another is the fact that the training of artists nowadays rarely includes educating them about the properties of the materials they use. Then, there is a lack of funds. At early points in their careers, the Mexican muralist David Alfaro Siquieros and French cubist Fernand Leger both painted on burlap sacks, while Marc Chagall made designs on bed sheets and Franz Kline worked on cardboard. Beyond that is sometimes simply a lackadaisical approach to how things are made.

    A more recent instance of redoing the past occurred in 2006 when Damien Hirst’s 1991 shark-in-a-tank work The Physical Impossibility of Death in the Mind of Someone Living, which had been deteriorating badly because the artist originally hadn’t used a sufficient amount of formaldehyde, was replaced. Owned by hedge fund billionaire Steve Cohen (he bought it in 2004 for $12 million) and currently on loan to the Metropolitan Museum of Art, the work “was restored following the advice of conservators. There is only the one work under that title,” according to a spokesperson for London’s White Cube, which represented the artist. In fact, Hirst cleaned out the tank, sawed in half another shark and made sure that this one was more properly pickled. This brings up an important point: maintaining the monetary and historical value of a work of art may requires a range of counter-measures, some of which are intentionally kept vague.

    British artist Damien Hirst poses duringBritish artist Damien Hirst poses during
    Damien Hirst with one of his formaldehyde sharks at White Cube in London in 2007. CHRIS YOUNG/AFP via Getty Images

    Who’s in charge—the collector, the conservator or the artist?

    When repairing ancient objects, Old Masters works or almost anything produced by a creator long dead, the watchword for conservators is generally don’t do anything that can’t be undone by another conservator in the future. For instance, inpainting—filling in areas on a canvas where the original oil paint has chipped off—is often done with a water-based medium that can be easily removed. With contemporary artworks, especially those by living artists, conservators may work in the same way, but they may try contacting the artist to learn what materials they used and if they want to be part of the restoration.

    Tom Learner, a conservator at the Getty Conservation Institute in Los Angeles, leans toward contacting the original artist. “I believe in using the artist as a conservator, and paying the artist as an expert,” he told Observer. “The artist has a better grasp on what should be done.” He added that collectors need to know that if they “are buying works that have untested materials, these kinds of problems are part of the deal.” Maybe. Understanding the artist’s intentions and processes, as well as eliciting the artist’s opinion about a conservator’s plans for repairing the artist’s work, is all well and good, but conservators may not choose to replicate a problem that caused the work to deteriorate in the first place.

    Artworks with what conservators call “inherent vices”—defects that eventually make them fall apart—may just be too far gone for restoration. Greg Kucera, a gallery owner in Seattle, Washington, exhibited a sculptural work by Jeffry Mitchell in the 1980s: “a brilliant body of sculptural work made of thin latex, formed in muffin tins, bundt cake pans, gelatin molds and other kitchen and cookery forms.” According to Kucera, “they were incredibly smart looking, but also delicate. In the exhibition, he hung them on the wall with thumbtacks.  By the end of the show, most of them had torn at their corners and the latex had started to disintegrate. He just didn’t know then the risks of working with latex and how to protect against its failings.” The gallery had sold every work in the show and had to renegotiate each of those sales to substitute non-latex works. “It was a painful process but we believed in the artist so we did what we had to do to rescue these sales.” Luckily, the buyers were forgiving.

    But “conservators are not obligated to contact a living artist or that person’s estate,” Mary Gridley, a conservator and founder of Art Conservation Solutions in Long Island City, New York, told Observer. Since her clients are usually private and institutional collectors, she lets them make the call. However, she recommends that the artists be contacted, as it “is nearly always in the collector’s best interest to understand how an artist intends their work to look, how they feel about aging and changes in their work over time and their tolerance and approach to conservation and restoration.” An artist unhappy with the conservation of their work may create problems for a collector, as art collector Scott Mueller, the owner of Cady Noland’s 1990 Log Cabin Blank With Screw Eyes and Cafe Door, discovered when she disavowed the piece after it was “restored” with new wood without her permission or any notice of the change. That disavowal made Log Cabin largely unsellable. Conservation not only preserves a work of art but also its current and future value. Sique Spence, director of New York’s Nancy Hoffman Gallery, also recommended that living artists at least should “be consulted in how to proceed. I feel like studio repairs impact the value less than outside restoration.”

    SEE ALSO: Art Collector Spotlight – Craig Robins On Collecting Baldessari

    The law itself doesn’t give collectors clear direction. “One does not need to get an artist’s permission to restore or conserve their work,” Joshua J. Kaufman, a lawyer in Washington, D.C. who frequently is involved in art issues, told Observer. A poor job of restoration, or just one of which the artist disapproves, can back up the claim that the artwork’s owner has so damaged the piece that the creator’s esteem is adversely affected. “The collector runs the risk of damaging reputation,” since the 1990 federal statute, the Visual Artists Rights Act, “specifically gives that reputation right to the artist.”

    Kaufman said that “it would be prudent” for dealers to tell prospective buyers of artworks that may have inherent vices, although Spence didn’t think “a discussion of future problems would be such a good selling point.” Lemon laws don’t exist in the art trade, so dealers make their own decisions.

    Some artists are eager to be part of any restoration, others less so. Marc Mellon, a Redding, Connecticut-based sculptor of small and large-scale bronze works, told Observer that he is “periodically contacted by both homeowners and institutional clients with questions about care and restoration of my bronze sculptures,” and he is happy to offer some advice. However, he’d “much rather recommend a foundry or individual specializing in the restoration of bronze works, particularly if the sculpture would benefit from a more thorough cleaning and re-patination.”

    An artist’s sense of obligation to his or her work may sometimes be time-limited, contractually at times—public art commissions usually contain a clause in the agreement stipulating the artist’s responsibility for “patent or latent defects in workmanship” for between one and three years—or based on evolutionary changes in the artist’s life and work. Artist Frank Stella once said that he may be willing to help repair one of his works if “it’s not more than two or three years old.” He uses different materials for specific works, and “after two or three years, I don’t have any of the materials left over. I don’t have the expertise to deal with it; if I were to attempt a repair, I’d make a mess of it.”

    Back in the 1990s, Stella refused to take part in the restoration of a quarter-century-old sculptural painting that had been brought in for repairs to Brooklyn conservator Len Potoff, who contacted the artist as a matter of practice. “He said that he couldn’t do it,” the conservator told Observer. “He’s not where he was twenty-five years ago, and he couldn’t put himself in that zone. At the time, I was really pissed, but now I find that point of view commendable.”

    Contemporary Art Conservation Raises Thorny Issues Around Responsibility

    Daniel Grant

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  • Here’s what happens inside the Met Gala after the red carpet

    Here’s what happens inside the Met Gala after the red carpet

    On May 6, 2024, the Metropolitan Museum of Art will host its famous Met Gala to raise funds for The Costume Institute. The event will also kick off the latest costume exhibition titled “Sleeping Beauties: Reawakening Fashion,” with “The Garden of Time” as the dress code. 

    The institute was renovated in 2014 as the Anna Wintour Costume Center with the help of the Vogue editor-in-chief whose name is at its doors. A trustee of the Met, Wintour has spent decades growing the gala into what the museum calls one of the “most visible and successful charity events in the world.” 

    “It was a society event. People weren’t very excited about going to it,” Wintour recounted to “CBS Mornings” co-host Gayle King in 2023. “To take it over and try to make a night out of it was quite intimidating.”

    What is the Met Gala, exactly?

    The Met Gala is a fundraiser that brings together some of the biggest names in the most famed industries. Guests flock to New York City on the first Monday in May to show off collaborations with famous designers and brands on looks that take months to make.

    “The Met Gala, it has always had one mission, and that is to raise money for the important work,” Wintour said.

    Guests follow a yearly theme and work to reference historic garments, incorporate innovative ideas and execute intricate concepts that resonate beyond the walls of the Met. 

    “We are always interested in trying to reflect a cultural moment and what we feel is happening at the world in any given time,” Wintour said about the invitees. 

    “Every year is different and we try and curate the guest list in a way that makes sense for whatever the theme of the exhibition is,” Wintour said. 

    It’s been the setting of notable and much-discussed pop culture highlights, from Rihanna’s 2015 arrival in a lengthy Chinese cape, to Lady Gaga’s multi-faceted reveals at the 2019 Camp-themed gala. Within the last decade, fashion nerds, critics and consumers review the red carpet with keen precision to understand, through photos and videos, the efforts — and at times, mistakes— that go into preparing for the event.


    Anna Wintour unveils Karl Lagerfeld exhibition ahead of Met Gala: His work “deserves celebration”

    10:57

    What does inside the Met Gala look like?

    Though many have walked the steps into the museum and visited its exhibits, very few have done so wearing the finest pieces to party and spend thousands (sometimes millions) among titans in film, sports, business, music and society. That rarified allure is what draws many to follow and dissect the gala.

    Hanan Besovic, the post-pandemic viral voice behind Instagram’s @ideservecouture, will have a seat adjacent to the action. He will join a handful of influencers at the Mark Hotel — where many gala-goers prep and primp for the event — on the day of the gala in the Upper East Side, five blocks from the Met. 

    There, Besovic will watch the arrivals and make social content alongside a room of other fashion-obsessed creators hosted by Meta. 

    As the hotel’s guests exit their temporary lair at the Mark after spending hours on hair, makeup and styling, they exit to a crowd of fans and press awaiting a first glimpse of their attire, before it’s time to line up by the museum’s steps. 

    “Everybody has one minute of our attention and then there’s the next person,” Besovic said. 

    Usually, the first to show up are the event chairs. This year Zendaya, Bad Bunny, Chris Hemsworth and Jennifer Lopez co-chair with Anna Wintour.

    One by one, celebrities are carefully shuffled through the carpeted steps of the Met, where thousands of global outlets standby to photograph and record every angle. The seamless choreography is seen by what Vogue says is millions via its viral streams.

    What happens at the Met Gala after the red carpet?

    What happens next is what fuels the most intrigue. In a vast contrast to what goes on outside, most of what occurs inside of the Met is not recorded. 

    “Those tickets are crazy expensive. The brands buy out tables,” Besovic said.

    It’s widely known the night includes a dinner and a performance. Cher, Rihanna, Madonna and Lady Gaga have performed in years past, among the world’s most coveted art and notable artists.

    Vogue is usually the only publication with the inside scoop. In 2023, they previewed the gala’s dinner portion, guided by what they say was one of Karl Lagerfeld’s most famous gatherings: Paloma Picasso’s wedding reception.

    Those dishes look dainty, colorful and healthy in Vogue’s images, featuring chilled spring pea soup and Ōra King salmon served on vintage plates with an assortment of fruit and vegetables for last year’s attendees.

    Are pictures allowed inside the Met Gala?

    “The only snippets that we get are from social media,” Besovic says about the event’s exclusivity.

    Viral bathroom videos and selfies taken by celebrities are the only view inside. Katie Perry rushing back into her campy burger outfit for the 2019 gala after running into Jennifer Lopez near the stalls. The Kardashians posing with Paris Jackson and a gaggle of supermodels. Lil Nas X, Erykah Badu and Jack Harlow posing for a picture. Or, celebs post elevator videos, such as the viral moment with Reese Witherspoon chatting with Cara Delevingne, Zooey Deschanel and Kate Upton. These end up being the only glimpses inside the gala to scroll through before common folk hit the hay.

    What else do they do at the Met Gala?

    As the gala ends, guests rush to the after-parties, many of whom bounce around New York City all night long. The Standard Hotel’s “Boom Boom Room” usually hosts A-listers — in 2023, singer and actress Janelle Monáe was at the helm, according to Women’s Wear Daily. 

    Brands and designers also unleash more fashion moments during the after-parties.

    In 2016, when model Karlie Kloss hit the town after the gala, American designer Brandon Maxwell adapted her outfit for the “afters” by cutting her structured gown into a mini. This year, designers Jean Paul Gaultier and Shayne Oliver will debut a capsule collection, featuring about 50 pieces in the collaboration.

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  • One Fine Show: Irving Penn’s San Francisco Summer of Love

    One Fine Show: Irving Penn’s San Francisco Summer of Love

    Irving Penn. ‘Hippie Family (Kelley),’ San Francisco, 1967. Platinum-palladium print. 16 5/8 × 14 3/16 in. (42.2 × 36 cm). The Irving Penn Foundation

    The other day, Page Six dropped a gossip item about the pressure Anna Wintour faces over TikTok’s sponsorship of the Met Gala, in light of the app’s recent ban, and I thought about how hard it would be to explain all that to someone from the time when Vogue launched, at the turn of the last century. Technology aside, you’d have to explain that fashion has become perhaps the dominant form of culture, and that Vogue has become much more than a frivolity for Edith Warton-style ladies.

    The photographer Irving Penn played no small part in the growth of the magazine, to which he contributed for six decades. He brought an artistic sensibility to a medium that wasn’t thought to be particularly high-minded. All of his career is celebrated at a new show that bears his name at the de Young Museum but was, in fact, organized by the Met. The exhibition brings together around 175 diverse works that showcase his range, showing his ability to capture blue-collar workers alongside Marlene Dietrich, audrey hepburn, Gianni Versace, Yves Saint Laurent, Truman Capote and Joan Didion.

    SEE ALSO: The Inspired and Revolutionary Pairing of Georgia O’Keeffe and Henry Moore

    There’s a dedicated section that taps into the local flavor with Penn’s photographs from the 1967 San Francisco Summer of Love. There are nude people hugging, the Hell’s Angels and of course, the Grateful Dead, and then a curious series on hippie parents and couples that stands out because it shrugs off obvious narratives about radicalism and promiscuity. You can tell much about a person by seeing their partner and the body language between them. These families all exude a great deal of love, and not necessarily the free kind. I’m sure the photos were a revelation at the time for the way they humanized these hippies. They might even manage to make you feel warm toward the baby boomers of today.

    As for the celebrities, it is somewhat impressive that the same man photographed Marcel Duchamp and Nicole Kidman, but aren’t all of these big names known for their charisma? Penn really shows his muscles when he’s getting weird, as in his series of smoked cigarettes. Anyone can make Gisele look good, but luxuriating in the other kind of butt shows real talent. The catalogue draws wise parallels to Phillip Guston and Kurt Schwitters.

    Also great are his abstract nudes from 1949 and 1950, a specific period during which he was obsessed with the tummies of headless women and how they change and move in various positions. Around the same time he would capture small trades like Steel Mill Firefighter (1951)  and here too the body’s position is important. If you’re defined by your job and asked to fall into its muscle memory positions, you can’t help but notice the way some always seem to make you look happy, as in Butcher (1950). Pity the Coal Man (1950). If anyone ever captured the Vogue Photographer (1940s-2000s), he probably looked like he was having a blast.

    Irving Penn” is on view at the de Young Museum through July 21.

    One Fine Show: Irving Penn’s San Francisco Summer of Love

    Dan Duray

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  • How celebrities could interpret 2024 Met Gala theme

    How celebrities could interpret 2024 Met Gala theme

    How celebrities could interpret 2024 Met Gala theme – CBS News


    Watch CBS News



    Celebrities and fashion fans are gearing up for the 2024 Met Gala on Monday. This year’s theme is “Sleeping Beauties: Reawakening Fashion,” and the dress code is “The Garden of Time.” Entertainment Tonight co-host Kevin Frazier joins CBS News to break down what and who to look out for at the star-studded event.

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  • The Pinkowitz Gift Adds 300 Revolutionary Mexican Prints to the Met’s Collection

    The Pinkowitz Gift Adds 300 Revolutionary Mexican Prints to the Met’s Collection

    Francisco Dosamantes, The cart of death, (1944). Courtesy Metropolitan Museum of Art

    While volunteering at Boston’s Museum of Fine Arts in 2009, JoAnn Pinkowitz was struck by the institution’s “Vida y Drama: Modern Mexican Prints,” an exhibition celebrating socially engaged printmakers like Diego Rivera, Leopoldo Méndez and Francisco Dosamantes.

    These names would go on to dominate Pinkowitz’s art collection, which focused on revolutionary prints from both Mexican artists and Americans inspired by the nation’s culture. “It was JoAnn’s vision to build a world-class collection, and she went about it quite methodically,” her husband Richard told Observer.  “Her mantra, to each dealer, curator and auction house, was: ‘Is it museum quality?’ She accepted no less.”

    To carry out the wishes of JoAnn Pinkowitz, who died in 2022, the more than 300-piece collection will now find a new home at the Metropolitan Museum of Art (Met). “Combined with our outstanding existing collection, the Pinkowitz gift makes the Met one of the most important repositories of Mexican prints in the United States, one that is quickly becoming a resource much used by artists, students and scholars alike,” said Max Hollein, the museum’s director, in a statement.

    Etching of woman with green face wearing hatEtching of woman with green face wearing hat
    Elizabeth Catlett, Sharecropper, (1952). Courtesy Metropolitan Museum of Art

    Addressing social issues with woodcuts and linocuts

    The gift will fill gaps in the Mexican holdings of the Met’s drawing and prints department, which has more than 2,000 works spanning the 18th and 20th Centuries. Pinkowitz’s collection largely draws from members of the Taller de Gráfica Popular or Workshop of Popular Graphic Art, a Mexican prints collective founded in 1937 that focused on art for social causes.

    Included in the donation is the 1948 Rio Escondido series by Mendéz, one of the collective’s founders. His linocuts were used as a backdrop for the opening and closing sequences of Emilio Fernández’s film of the same name. The Workshop wasn’t limited to Mexican artists but included Americans like Elizabeth Catlett, who moved to Mexico in the 1940s. Her 1952 Sharecropper, a testament to the lives of Black women in the South, is also part of Pinkowitz’s gift.

    Etching of acrobat dancer standing on their handsEtching of acrobat dancer standing on their hands
    Alfredo Zalce, Acrobat, (1965). Courtesy Metropolitan Museum of Art

    Pinkowitz, who previously donated works to the Museum of Fine Arts and Harvard Art Museums, validated the quality of each piece with museum curators. “After the first five or ten years, JoAnn personally knew most of the curators in the print field and befriended them all,” said Richard. “Most of her calls to curators ended with, ‘Let’s have lunch soon.’ And she did.”

    JoAnn Pinkowitz also became interested in Chinese Revolutionary prints after discovering the political and visionary similarities they had with Mexican artists, he said. Pinkowitz focused on works by artists involved in China’s Modern Woodcut Movement, which used inexpensive art materials to disseminate political messages during the 1930s and 1940s. A group of 31 woodcuts by the likes of printmakers Gu Yuan, Wo Zha, Yan Han and Chen Yanqiao will also be gifted to the Met.

    “The Modern Woodcut Movement is an important but understudied chapter in the history of 20th-century Chinese art,” said Joseph Scheier-Dolberg, curator of Chinese paintings in the Met’s Asian art department, in a statement. “Thanks to the Pinkowitzs, these excellent and well-preserved examples help make the Met a necessary destination for any student of this significant movement.”

    Selections from the Pinkowitz collection will go on display in early 2025 in the Met’s Robert Wood Johnson, Jr. Gallery.

    The Pinkowitz Gift Adds 300 Revolutionary Mexican Prints to the Met’s Collection

    Alexandra Tremayne-Pengelly

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  • The Met Pays Tribute to New York’s Great Black Artists

    The Met Pays Tribute to New York’s Great Black Artists

    An installation view of ‘The Harlem Renaissance and Transatlantic Modernism’ at the Met. Courtesy The Met, Photo by Anna-Marie Kellen

    Among New York neighborhoods, Harlem has long stood out for its immense impact on culture. Early in the Twentieth Century, it emerged as an epicenter of music, art, theater, literature and dining—the result of the mass exodus of millions of Black Americans from diverse backgrounds who left the rural south to settle in the urban north. More than 175,000 people came to Harlem, including artists, writers, musicians and great thinkers who would pave the way for the Harlem Renaissance’s most recognizable names: W.E.B. Du Bois, Josephine Baker, Augusta Savage, Cab Calloway and many more.

    The Metropolitan Museum of Art’s recently opened show, “The Harlem Renaissance and Transatlantic Modernism,” pays tribute to it all with an exhibition featuring over 160 artworks by Black artists from the 1920s through the 1940s, in what is the first survey of the subject in the city since 1987.

    The exhibition is divided into sections that highlight everything from activism to nightlife, featuring what the Met calls “the first African American-led movement of international modern art,” and showcasing the work of artists like Charles Alston, Aaron Douglas, Meta Warrick Fuller, William H. Johnson, Archibald Motley, Winold Reiss, Augusta Savage, James Van Der Zee and Laura Wheeler Waring. Also shown are portrayals of African diasporan subjects as rendered by Matisse, Munch, Picasso and a handful of others.

    SEE ALSO: Robert Alice Is Behind the First Collection of Generative Art NFTs at Christie’s

    The start of “The Harlem Renaissance and Transatlantic Modernism” recognizes writer and philosophy professor Alain Leroy Locke, whose 1925 book of cultural criticism, The New Negro, set forth principles of “a new vision of opportunity” for African Americans and helped shape the Harlem Renaissance and, with it, American culture as a whole. There’s a portrait of the writer by Winold Reiss, alongside a copy of his book, which includes the essay ‘The Legacy of the Ancestral Arts,” that invited black artists to embrace African aesthetics. There are also portraits of thinkers like Zora Neale Hurston, presented in a portrait by Aaron Douglas.

    A painting of people eating outdoors under umbrellasA painting of people eating outdoors under umbrellas
    Archibald J. Motley, Jr., ‘The Picnic,’ 1936, Oil on canvas. Juan Trujillo / HowardUniversityGalleryofArt,Washington,D.C.

    The section titled “Everyday Life in the New Black Cities” is full of stunning paintings, including Hale Woodruff’s 1930 The Card Players, depicting a cubist-inspired scene of pool players in a dark bar and Pool Parlor, a 1942 painting by Jacob Lawerence—the first example of the artist’s work to be included in the Met’s permanent collection.

    Overall, the exhibition is wide-ranging and thoughtful in both its curation and presentation. Photo highlights include the James Van Der Zee photo Couple, Harlem, from 1932, with its stylish couple in fur coats posing with their Cadillac on a street lined with brownstone buildings.

    A black and white vintage photo of two people in fur coats posing next to a 1930s style carA black and white vintage photo of two people in fur coats posing next to a 1930s style car
    James Van Der Zee, ‘Couple, Harlem,’ 1932, printed later, Gelatin silver print. James Van Der Zee Archive, The Metropolitan Museum of Art; Gift of Donna Van Der Zee, 2021

    Women are highlighted throughout the show, which is refreshing. In a section devoted to “Portraiture and the Modern Black Subject,” a 1943 portrait by William H. Johnson called Woman in Blue depicts a woman staring confidently into the painter’s gaze—it looks as if she’s wearing a uniform, signaling the strength of the working woman. There are pieces by women artists, including Laura Wheeler Waring’s Yellow Roses on view, and plenty of representation: a photo of acclaimed singer Josephine Baker taken in 1925 by Adolph de Meyer shows her in all her glamorous glory.

    A major highlight of the exhibit is the room of paintings by Aaron Douglas, who created monochromatic, graphic images of silhouettes of African Americans throughout history real and imagined. Some of the most exciting sections are the galleries devoted to the Black nightlife that came to define Harlem and the “Artist as Activist” section, which explores the civic activism at the core of the Harlem Renaissance. William H. Johnson’s Moon Over Harlem, which depicts police brutality after a race-related riot in August of 1943, is particularly moving.

    A stylized collage of people on a street under an orange moonA stylized collage of people on a street under an orange moon
    William Henry Johnson, ‘Moon over Harlem,’ 1944, Oil on plywood. Smithsonian American Art Museum

    The exhibition ends with a tribute to Harlem: the 15-foot-long 1970 mural The Block by artist Romare Bearden. It depicts a block of mid-century buildings in the NYC neighborhood, including the block where Bearden, a member of the Harlem Artists Guide, had his art studio on 125th Street. He worked in the same building as artist Jacob Lawrence and poet Claude McKay, and his depiction takes the viewer back to old New York, capturing its bustling essence in a lively street that continues to be a hub of African American cultural life.

    A Harlem Renaissance exhibition at the Met was arguably long overdue, but don’t let that stop you from checking it out now. One show can’t cover the wide breadth of a decades-long art movement but “The Harlem Renaissance and Transatlantic Modernism” does much to capture its impact and legacy. It’s a strong introduction to what should be a lifelong journey into the lives of these influential artists and luminaries.

    A museum exhibition dominated by painted portraitsA museum exhibition dominated by painted portraits
    Portraits are a major focus of ‘The Harlem Renaissance and Transatlantic Modernism.’ Courtesy The Met, Photo by Anna-Marie Kellen

    The Harlem Renaissance and Transatlantic Modernism” is on view through July 28.

    The Met Pays Tribute to New York’s Great Black Artists

    Nadja Sayej

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  • The Met Gala 2024 Theme, Explained

    The Met Gala 2024 Theme, Explained

    Every year, on the first Monday in May, comes the most exclusive party of the year: The Met Gala.
    VogueEditor-In-Chief Anna Wintour hand-picks the creme-de-la-creme of the highest profile celebs — a coveted who’s who list of exciting new names and A-listers alike. Together, these celebs congregate at New York City’s Metropolitan Museum of Art donning (literally) their Monday best.


    On the surface,
    the Met Gala is a fundraising event hosted by Vogue to raise funds for the Met Museum’s Costume Institute. You have to be invited to attend (normally by a brand or by Anna herself), and what goes on inside the elusive Met Gala is one of fashion’s best-kept secrets. What happens at the Gala, truly stays at the Gala.

    @metmuseum DYK: When garments enter The Met collection, they can no longer be worn on the human body. So how can we understand the movement and energy of these masterpieces of fashion? This May, explore 250 pieces from The Met’s Costume Institute collection in “Sleeping Beauties: Reawakening Fashion,” opening to the public on May 10 and celebrated at the 2024 Met Gala on May 6. Join us to see them spring to life. 🌿 🌸 🌊 #ReawakeningFashion #TheMetGala ♬ original sound – The Met

    Today, the buzz around the 2024 Met Gala officially begins with the announcement of the theme: Sleeping Beauties: Reawakening Fashion. And, like with
    any Met Gala theme, this needs a bit of explanation.

    What Does Sleeping Beauties: Reawakening Fashion Mean?

    In collaboration with the Costume Institute, every Met Gala also comes with an exhibit at the Met that’s curated to emulate the year’s theme. This year, 250 rare items from the Costume Institute’s permanent collection will be featured — including designs from Schiaparelli, Dior, and Givenchy.

    “Sleeping beauties” refers to the pieces that are so rare that they can only be worn once. Some of these “sleeping beauty” gowns, like an 1877 Charles Frederick Worth gown, will be shown via CGI and AI virtual showcasing.

    It’s an all-encompassing theme spanning over 400 years of fashion. The exhibit itself will have three “zones” dedicated to land, sea, and sky, according to Andrew Bolton, Wendy Yu Curator in charge of the Costume Institute.

    What Can We Expect People To Wear At The 2024 Met Gala?

    While your mind may have gone straight to Disney’s
    Sleeping Beauty, the Met Gala is going to be leaning heavy into how fashion and nature coincide. These pieces on display have been sitting in the Met’s collection for eons, some can’t even be hung upright or they’ll disintegrate.

    Since many of these clothing artifacts were made with natural materials (like a bodice made from peas in a pod), you will expect to see this mimicked in attendees’ attire. Sure, there will be 1800s-inspired gowns and lace appliques…but remember: nature is emphasized.

    People are thinking of florals and birds, as the exhibit will feature both a black tulle dress embroidered with blackbirds and an Alexander McQueen jacket inspired by Alfred Hitchcocks’
    The Birds. But everything nature has to offer — nothing’s off the table! We might see snakes and leaves and everything in between.

    And while we don’t know the hosts, or the guests, quite yet…we’re looking forward to this theme and hope we can reawaken the excitement of the Met Gala after some lackluster showings in the past few years.

    Jai Phillips

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  • It’s Met Gala time again — here’s what we know so far

    It’s Met Gala time again — here’s what we know so far

    NEW YORK (AP) — Last year, it took 275,000 bright pink roses to adorn the Metropolitan Museum of Art for the Met Gala, the biggest night in fashion and one of the biggest concentrations of star power anywhere.

    It remains to be seen how the museum’s Great Hall will be decorated on Monday, but one thing is not in question: those entering it will look spectacular. The theme centers on the late designer Karl Lagerfeld, who made an indelible mark on luxury fashion in his long career at Chanel, Fendi and elsewhere. It is a theme not without controversy — Lagerfeld was known for contentious remarks about everything from #MeToo to curvy bodies.

    Want to know what to expect now that the big day is here? Not to worry. We’ve dusted off our annual guide for you here, with some key updates.

    WHAT IS THE MET GALA ANYWAY?

    It started in 1948 as a society midnight supper, and wasn’t even at the Met.

    Fast forward 70-plus years, and the Met Gala is something totally different, one of the most photographed events in the world for its head-spinning red carpet — though the carpet isn’t always red.

    We’re talking Rihanna as a bejeweled pope. Zendaya as Cinderella with a light-up gown. Katy Perry as a chandelier morphing into a hamburger. Also: Beyoncé in her “naked dress.”Billy Porter as an Egyptian sun god, carried on a litter by six shirtless men.Lady Gaga’s 16-minute striptease. And, last year, host Blake Lively’s Versace dress — a tribute to iconic New York architecture — that changed colors in front of our eyes.

    Then there’s Kim Kardashian, bringing commitment to a whole other level. One year, she wore a dress so tight, she admitted she had to take breathing lessons beforehand. Two years ago, she wore a dark bodysuit that covered even her face. And last year she truly stole the carpet, showing up in Marilyn Monroe’s actual, rhinestone-studded “Happy Birthday, Mr. President” dress (borrowed from Ripley’s Believe It or Not! museum), changing the minute she got inside to protect it. There was controversy later over suspicions, denied by Ripley’s, that she’d caused some damage. But still — that was an entrance. (And, folks, she’s coming back — she posted a photo from Paris with Lagerfeld’s famous cat, Choupette, noting she was in the French capital scoping out possibilities for this year’s attire.)

    It’s important to note that the party has a purpose — last year, the evening earned $17.4 million for the Met’s Costume Institute, a self-funding department. Yes, that’s a heckuva lot for a gala. It also launches the annual spring exhibit that brings hundreds of thousands of visitors to the museum.

    But it’s the carpet itself that draws the world’s eyes, with the guest list — strategically withheld until the last minute — featuring a collection of notables from movies, music, fashion, sports, politics and social media that arguably makes for the highest celebrity wattage-per-square-foot of any party in the world.

    WHO’S HOSTING THIS YEAR?

    This year’s five hosts are drawn from television (Emmy-winning writer, actor and producer Michaela Coel ); the movies (Oscar-winning actor Penélope Cruz, who has worked with Chanel for more than 20 years); sports ( recently retired tennis superstar Roger Federer ); and music (Grammy-winning songstress Dua Lipa ). Finally there is Vogue’s Anna Wintour (do we need to tell you she’s in fashion?) running the whole thing as usual.

    IS THERE ALWAYS A THEME?

    Yes. As mentioned above, the theme is Karl Lagerfeld, and the exhibit, “Karl Lagerfeld: A Line of Beauty,” looks at “the designer’s stylistic vocabulary as expressed in aesthetic themes that appear time and again in his fashions from the 1950s to his final collection in 2019.” Once again, it has been created by the Met’s star curator, Andrew Bolton.

    DOES EVERYONE FOLLOW THE THEME?

    Not really. Some eschew it and just go for big and crazy. But expect some guests to carefully research the theme and come in perfect sync. It was hard to beat the carpet, for example, when the theme was “Heavenly Bodies: Fashion and the Catholic Imagination” and Rihanna came as the pope, Zendaya channeled Joan of Arc, and Perry navigated the crowd with a set of enormous angel wings. For Lagerfeld, the clothes may be a bit more, er, down to earth.

    HOW MUCH DO I HAVE TO PAY FOR A MET GALA TICKET?

    Wrong question. You cannot just buy a ticket. The right question is: If I were famous or powerful and got invited, how much would it cost?

    OK, IF I WERE FAMOUS OR POWERFUL AND GOT INVITED, HOW MUCH WOULD IT COST?

    Well, you might not pay yourself. Generally companies buy tables. A fashion label would then host its desired celebrities. This year, the cost has gone up, as it does every few years due to rising expenses: It’s now $50,000 for an individual ticket, and tables start at $300,000.

    SO WHO GETS INVITED?

    This year, there will be roughly 400 guests — similar to recent years but still lower than pre-pandemic highs of 500-600. Wintour and her team still get to approve every guest.

    Trying to predict? Take out your pen and jot down some of your favorite names, the buzzier the better. Newly minted Oscar winners, for example, are a good bet. Broadway is a special favorite of Wintour’s. She also loves tennis — this is not fashionable Federer’s first Met Gala. Now, cross everyone off your list except the very top. At this gala, everybody’s A-list.

    THAT MUST BE AN EXAGGERATION.

    Not really. Ask Tina Fey. She went in 2010 and later described walking around trying to find somebody “normal” to sit and talk with. That ended up being Barbara Walters.

    HOW CAN I WATCH?

    You can watch the whole carpet unfold on a Vogue livestream. If you’re in New York, you can also join fans across the street, behind barricades, on Fifth Avenue or even further east on Madison. Timothée Chalamet has been known to greet fans. And the AP will have a livestream of departures from the Mark Hotel, where many gala guests get ready.

    DO WE KNOW WHO’S COMING? AND WHO ISN’T?

    It’s secret. But reports slip out. You can count on various celebrity Chanel ambassadors showing up. Lively left some fashion fans disappointed when she revealed she’s not attending this year.

    WHAT HAPPENS INSIDE?

    Entering the museum, guests walk past what is usually an impossibly enormous flower arrangement in the lobby, with perhaps an orchestra playing nearby, and over to cocktails. Or, they head to view the exhibit. Cocktails are 6 p.m. to 8 p.m., but the most famous — or those who plan to make the biggest entrance — sometimes come (fashionably) later.

    Around 8 p.m., guests are summoned to dinner — perhaps by a team of buglers (“Are they going to do that between every course?” actor Gary Oldman asked aloud one year).

    IS IT FUN FOR EVERYONE?

    Occasionally, someone says no. Fey, in a comic rant to David Letterman in 2015, described the gala as a “jerk parade” and said it included everyone you’d ever want to punch, if you had millions of arms. Amy Schumer left early in 2016 and said later she felt awkward and like it was “a punishment.”

    SO THEY NEVER CAME BACK, RIGHT?

    Wrong. Schumer was back in 2017. And then last year again.

    Hey, this is the Met Gala.

    ___

    For more coverage of the 2023 Met Gala, visit https://apnews.com/hub/met-gala

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  • A Black teen’s murder sparked a crisis over racism in British policing. Thirty years on, little has changed | CNN

    A Black teen’s murder sparked a crisis over racism in British policing. Thirty years on, little has changed | CNN


    London
    CNN
     — 

    Neville Lawrence sometimes imagines walking through London and looking at buildings his son Stephen might have worked on, had he lived long enough to fulfill his dream of becoming an architect. The closest he ever got to that was building a miniature.

    “He did his work experience with an architect and he built a model of a building down in Deptford. So, every time I pass Deptford and see the building, it reminds me of him,” Lawrence told CNN, referring to a neighborhood in southeast London. It’s been 30 years, but he still gets emotional speaking about Stephen.

    Stephen Lawrence was murdered when he was just 18 years old in a racially motivated attack on April 22, 1993. His killing and the subsequent failure of the London Metropolitan Police Service to properly investigate the crime sparked a national outcry. It culminated in a landmark official inquiry that concluded the force was institutionally racist.

    But despite decades of promises, reviews and reforms, a new government report published last month, just four weeks before the 30th anniversary of Stephen’s murder, reached the same conclusion. The Met is still institutionally racist.

    Raju Bhatt, a civil liberties lawyer who has dedicated his career to representing people making claims of wrongful conduct against the police, said nothing in the new report – the Baroness Casey Review – came as a surprise.

    “What our clients see is a machinery which just doesn’t want to hear what they have to say and as a result, what happens is a failure to address the cultural problems, that culture of impunity, which arises when police officers know that they won’t be brought to account – when [they] know that whatever they do, their managers will be there to back them up, or, at the very least, their managers will look away,” he said.

    The Met Police chief Mark Rowley has acknowledged “systemic” problems in the force but has so far declined to use the word “institutional.”

    Protesters demonstrate outside the Lawrence inquiry  in south London in June 1998.

    For Bhatt, the Casey report was just the latest development in a familiar cycle of events that began when he graduated from university in 1981.

    That summer, racial tensions in Britain boiled over and sparked violent clashes between mostly Black protesters and the police, in south London’s Brixton neighborhood and elsewhere. Bhatt worked as a community volunteer, helping people who were arrested during the protests.

    An official government inquiry into the riots and the police response concluded there was an “urgent need for changes in training and law enforcement and the recruitment of more ethnic minorities into the police force.” It also found that there was “evidence of harassment of minorities by some policemen.”

    Stephen Lawrence was murdered 12 years after the Brixton riots. Within days of his killing at a bus stop in southeast London, five White teens were identified as being involved. They were arrested, but none was successfully prosecuted at the time.

    It took years of campaigning by the Lawrence family — and public support from the likes of Nelson Mandela and the national press — to get the investigation moving. A 1997 inquest into Lawrence’s death found that he was unlawfully killed in a “completely unprovoked racist attack by five white youths.”

    A wave of protests forced the then-government to commission an inquiry into the murder and the Met’s handling of it, which concluded in 1999 that “professional incompetence, institutional racism and failure of leadership by senior officers” was to be blamed for the botched investigation.

    The review, known as the Macpherson report, made 70 recommendations on how to improve the police force and increase the public’s trust in the force. They included recruiting more Black and other minority ethnic officers to make sure the force reflects the communities it serves, taking steps to tackle disparities in the use of police powers against people from minority groups and developing specific guidelines on how to investigate and tackle racist crimes.

    The Macpherson report was damning, but like the Brixton riots review, it failed to result in lasting and substantive reform of the Met Police.

    As a Black man who grew up in 70s and 80s Britain, Leslie Thomas says he knows what it’s like to be on the receiving end of police racism. He recounts how he has been racially profiled and stopped and searched by officers several times in the past, including once when he was driving with his wife and baby in the back of his car and once when he was just 14 years old.

    “I was 14, in school uniform, coming home from school and a police van pulls up alongside me. Four officers jump out [and say] ‘you look suspicious’,” he said.

    Like Bhatt, Thomas is a lawyer who has spent decades representing people in claims against the police and other public authorities. And, just like Bhatt, he has little faith that the latest report will lead to much change.

    “Here’s the thing. You can’t hit a target unless you acknowledge the target itself. The Metropolitan Police have said, ‘oh, we want to be a more inclusive organization,’ but steadfastly, they refuse to acknowledge through their leadership that they’ve got a problem with institutional racism,” Thomas said.

    “If it were just a few bad apples, then you wouldn’t expect, as we have seen, repetition after repetition, generation after generation,” he added.

    The Met has not yet responded to CNN’s request for comment. But speaking to the London Assembly Police and Crime Committee last month, Rowley refused to label the Met Police “institutionally” racist, saying the word “institutional” is ambiguous and politicized.

    In a statement released when the Casey report was published, Rowley said it “must be a catalyst for police reform” and “needs to lead to meaningful change.” He added: “I want us to be anti-racist, anti-misogynist and anti-homophobic. In fact, I want us to be anti-discrimination of all kinds.”

    Thomas specializes in representing families of people who have died in police custody – an issue that disproportionately affects people of color.

    Black people in the UK are seven times more likely to die from police restraint than White people, according to statistics compiled by Inquest, a charity that focuses on deaths in police and prison custody, immigration detention, mental health settings and other state settings.

    stephen lawrence file polglase

    The legacy of Stephen Lawrence’s murder, 30 years later

    At a protest in London, Marcia Rigg embraces Carole Duggan, whose nephew Mark Duggan was shot dead by the police in 2011.

    Thomas represented the family of Sean Rigg, who died in 2008 after being pinned down in a police arrest while experiencing a mental health crisis. While an initial investigation by then-police watchdog the Independent Police Complaints Commission cleared the police of any wrongdoing, the Rigg family kept fighting.

    In 2012, an inquest jury found that Rigg died of cardiac arrest after being restrained in a prone position for approximately eight minutes and said the level and length of restraint used by the police was “unsuitable” and “unnecessary” and that this “more than minimally” contributed to his death.

    In light of the findings, the police watchdog re-examined the case. But a police misconduct panel cleared five officers of gross misconduct in connection to Rigg’s death in 2019. One of those officers had earlier been acquitted of perjury relating to his account of events on the night Rigg died.

    Marcia Rigg, Sean’s sister, is still fighting. She and her family have spent years watching CCTV footage of Sean’s last moments, trying to piece together what really happened. The process has been deeply upsetting and it hasn’t, so far, led to the justice she wants for her brother.

    “It was four years before we had an inquest. And basically myself and my family, particularly me and my brother Wade, we had to become investigators ourselves … to see your loved one being treated in that way by officers that should be helping us. It’s traumatizing, it makes you angry,” she told CNN.

    Rigg said she still dreads the police. “I hate the sound of (the sirens), I hate the sight of the uniform, what it represents.”

    The death of George Floyd in Minneapolis in May 2020 brought back all of the trauma for Rigg. Like Sean, Floyd was held face down by police in a prone position. Former Minneapolis police officer Derek Chauvin kneeled on Floyd’s neck for more than nine minutes and was ultimately found guilty of murdering him.

    But it also made her even more determined to fight. “When George Floyd died, and everybody witnessed that murder, (British politicians) were on the side of the people, (saying) that this can’t happen. I said, well, they need to look in their own backyard,” she said.

    A protester holds a picture of Sean Rigg during a 2021 demonstration in London.

    Deborah Coles, Inquest’s executive director, said the struggles of the Lawrences and the Riggs to get justice for their loved ones mirror the experiences of nearly everyone she’s worked with.

    She said the “cultures of denial and defensiveness and delay” within official government agencies, as well as victim blaming and the tendency to demonize the victim’s family and community, add to families’ suffering in such cases, as does “this ongoing institutional denial about the fact that institutional racism is a live and enduring issue.”

    Successive governments and police chiefs have dismissed the severity of the issue, she told CNN. “We’ve always said that one of the problems is that when it comes to looking at deaths (in custody), they see them as isolated incidents, rather than being evidence of a systemic, enduring issue. This is a systemic issue across police forces.”

    The UK’s largest police force commissioned the latest independent inquiry in 2021, after a serving Metropolitan Police officer was convicted of the kidnapping, raping and murdering Sarah Everard, a 33-year-old London woman. The eventual Casey report was damning, finding the Met not just institutionally racist, but also institutionally misogynistic, sexist and homophobic.

    According to a separate parliamentary report published last year, Black people are more than nine-and-a-half times more likely to be stopped and searched than White people, even though the vast majority of “stop and search” actions don’t result in any further action.

    The Met is still overwhelmingly White, with only 17% of officers identifying themselves as non-White in 2022, despite the city they police being far more diverse.

    While that is more than the 3% figure recorded in the early 2000s, it is still well below its own targets and not at all reflective of the communities the police serve.

    “We see time and again critical reviews, inquiries, inquest findings, coroner’s recommendations, a whole wealth of potentially lifesaving recommendations, but also very critical recommendations about structural changes needed. And yet there is no enforcement of those recommendations,” Coles said.

    Inquest and other organizations are calling for a new oversight mechanism that would follow up and report on whether correct actions have been taken in response to the numerous inquiries, she added.

    Neville Lawrence, speaking to CNN, says the family has had to fight for justice itself.

    As the Lawrence family and their supporters mark the 30th anniversary of Stephen’s killing, they are still fighting for his killers to face justice.

    It wasn’t until 2012, 19 years after the murder, that two of the five attackers – Gary Dobson and David Norris – were finally convicted and sent to prison. It took a change in law that allowed for a retrial in cases where new evidence is found.

    To date, the other three people allegedly involved in the killing have not been brought to justice.

    Neville Lawrence remains determined to keep fighting – although he said that the publication of the Casey report has made it clear to him, once again, that the family is on its own in this.

    “If you want justice, you have to try and fight for it yourself, you don’t have anybody who is going to be doing it the way they should be doing it,” he said.

    After years of being consumed by grief and anger, Lawrence decided to move back to Jamaica, where his son is buried. “I accept the situation where I had to leave this place so I can have some peace,” he told CNN.

    “I couldn’t even bury my son here because of the vandalism that would have taken place. The amount of times that they vandalized the (memorial) plaque where he fell, that they had to put a camera on it to stop people going there and desecrating it … so just imagine Stephen, if he was here, what they would have done,” he said.

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  • Introducing Your 2023 Met Gala Co-Chairs

    Introducing Your 2023 Met Gala Co-Chairs

    Forget awards season, don’t even think about NFL playoffs, fashion’s version of the Super Bowl just announced their co-chairs. May 1, 2023 marks the 75th Met Gala, where the top-of-the-top celebrities are invited to wear the most egregious outfits in the world – all for millions to critique.


    Today, Vogue announced that the annual fundraising gala for the Metropolitan Museum of Art’s Costume Institute will be hosted by Penelope Cruz, Roger Federer, Michaela Coel, and Dua Lipa. And then . . . there’s Vogue’s leading lady, Anna Wintour. 2023’s Met Gala theme will be Karl Lagerfeld: A Line Of Beauty.

    Lagerfeld – who passed away in 2019 – was Chanel’s designer who contributed to their legendary black-and-white style. The Parisian influence will take over the Met Gala’s red carpet – one of fashion’s most highly anticipated nights.

    It comes as no surprise that Penelope Cruz will be co-chair for this year’s Met. Not only did she just receive her fourth Oscar nomination for Parallel Mothers, but she was one of Karl Lagerfeld’s Chanel muses.

    Gina Lollobrigida and Karl Lagerfeld

    APS-Medias/ABACA/Shutterstock

    The three other chairs chosen are currently at the pinnacle of pop culture: Dua Lipa’s rise to superstardom with Future Nostalgia, Roger Federer retired as one of the greatest tennis players in history, and Michaela Coel’s demand after his stellar role in Black Panther: Wakanda Forever.

    The exhibit will showcase over 150 of Lagerfeld’s original looks – spanning 1950-2019. Lagerfeld notoriously sketched everything…and hated fashion on display. But from May 5-July 16, you’ll see some of his finest work with Fendi, Chanel, and Chloe.

    Jai Phillips

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