Masterworks Gallery New York
Arnaude Kubiak
New York is one of the dominant destinations for the global art market and serves as the art capital of the United States. The city offers a bustling variety of museums and galleries to suit any kind of art lover.
Start with the galleries of the Lower East Side. This is a vibrant neighborhood that is rich with artistic flair and history. Considered with being the birthplace of the graffiti movement in New York, the LES is filled with emerging artists that are bending the rules of fine art.
Bureau is a contemporary art gallery that can be found on 178 Norfolk street. The gallery was established in 2010 by Gabrielle Giattno to provide a space for a diverse group of emerging artists. The art gallery currently represents 19 different artists that range in medium from drawing to installation. Presenting seven exhibitions a year, Bureau strives to showcase artists that want to push the boundaries of artistic expression.
Mark Gallery is a contemporary art gallery and art advisory with locations in both the Lower East Side and a satellite location in East Hampton. The gallery is primarily known for showcasing emerging and mid-career artists. Founded and directed by Arielle Mark, the gallery also serves as an art consultancy, and advisory service, and curates a variety of shows.
Founded by its namesake as the Paul Kasmin Gallery in 1989, the Kasmin gallery has served as one of the premier galleries specializing in Modern and Contemporary Art. Today the gallery represents a number of well-established artists as well as the estate of recognized artists such as Lee Krasner.
Lisson is one of the most influential and longest-running international contemporary art galleries in the world. The gallery as a whole represents more than 60 international artists across its 6 locations, and the Chelsea location can be found on west 24th street. Lisson Gallery pioneered the early careers of important minimal and conceptual artists such as Donald Judd and Robert Ryman. Today, the gallery remains a hub of influence in minimalist and contemporary art.
Gladstone is a leading contemporary art gallery with locations in New York on west 21st street. They represent more than 70 artists as well as major foundations and estates, including the estate of Keith Haring. Founded by Barabara Gladstone in 1980, the gallery contributed to the introduction of international artists to an American audience.
David Zwirner is a contemporary art gallery with locations in New York, London, Paris, and Hong Kong, and currently represents more than seventy artists and estates. The gallery has been home to innovative, singular, and pioneering exhibitions across a variety of media and genres.
Active in both the primary and secondary markets, David Zwirner has helped foster the careers of some of the most influential artists working today, including Yayoi Kusama and Kerry-James Marshall, and has maintained the long-term representation of a wide-ranging, international group of artists.
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Since its founding in 1946, The Costume Institute has been dedicated to establishing one of the most comprehensive costume collections in the world. Today, it represents a timeline of Western high fashion that is especially rich in examples from the 18th century to the present. In recent years, the department's mission has shifted from building an encyclopedic collection to acquiring masterworks that serve as superb expressions of their respective eras and together demonstrate the evolution of fashionable dress over time.
This exhibition presents 50 fashion masterworks acquired over the past 10 years that reflect the breadth and quality of The Costume Institute's collection. Spanning three centuries of sartorial history, these pieces illustrate how the criteria for identifying a fashion masterwork depend on the period of the object's creation.
In evaluating a prospective acquisition, curators consider not only the object's individual artistic merit but also its resonance with the existing collection. In these galleries, select masterworks are shown alongside earlier acquisitions. The juxtapositions illustrate how the new pieces complement existing holdings and illuminate the ways in which fashion is inspired by and responds to its past.
The Costume Institute's collection of 18th-century dress is especially strong in examples from France and Great Britain, reflecting the roles these nations played as centers of textile production and as style leaders in Europe and America. Fashions of the 1700s trace the social history of an era shaped by political and industrial revolution as well as expanding global trade. An 18th-century masterwork gives expression to this broad history, embodies a specific moment in fashion, and reveals the artistry of the period's textile designers, weavers, embroiderers, and tailors.
Fine textiles and surface embellishments were the most important elements of high-style apparel for both men and women. Changes in cut and silhouette occurred gradually, and women's clothing in particular did not require complicated cutting and sewing techniques. Therefore, the quality of an 18th-century garment's textile is a key criterion in establishing its status as a masterwork.
The rich fabrics of the period, woven on hand-operated drawlooms, represent a significant investment of time, materials, and skilled labor. Since these fine textiles were highly valued, garments were often reworked as styles of dress changed. As a result, surviving exhibition-worthy examples of dress from this period are rare. The new acquisitions on view here have strengthened the department's existing 18th-century collection, allowing a fuller representation of this historical moment.
The Costume Institute has focused its collecting of 20th-century garments on designers who changed the direction of fashion history by offering new possibilities for apparel. A masterwork in this category is an iconic piece that best represents an individual designer's body of work and contributions to the field.
Vivienne Westwood (born 1941), whose punk designs of the 1970s represent an early and important example of deconstructionist fashion, turned increasingly to historical sources notably fashions from the 17th to the 19th century for inspiration as her work evolved from the 1980s onward.
Martin Margiela (born 1957) has similarly advanced the field through his deconstructivist approach to design. His work not only reveals normally hidden construction details that speak to the process of a garment's creation but also examines the broader fashion system. Through his Artisanal line, he has questioned some of the foundational principles of traditional haute couture by creating pieces that are customized and skillfully crafted but incorporate found or recycled materials instead of luxury ones.
Clothing's essential relationship to the body, on the other hand, has been reconceived by designers such as Yohji Yamamoto (born 1943) and Issey Miyake (born 1938) through their inventive experimentation with materials and silhouettes.
In January 2016, Harold Koda retired after 15 years as curator in charge of The Costume Institute. Through innovative and compelling exhibitions, he elevated our collective understanding of fashion as an art form. Koda's presentations were shaped by his belief in the power of dialogue between past and present the idea that the artistry of the past can be enlivened by that of the present day and that the significance of contemporary work is clarified when it is anchored in a broader historical narrative. This influential approach was complemented by Koda's passionate dedication to building the collection. Through exemplary connoisseurship, he strengthened the department's holdings with landmark acquisitions, including the Brooklyn Museum Costume Collection, which found a new home at The Met in 2009.
In recognition of Koda's lasting contributions to the study of fashion, Andrew Bolton, curator in charge, and Met Trustee Anna Wintour approached more than 30 designers with requests for selected works from their archives to be donated to The Costume Institute. Each of the pieces was admired by Koda and has a particular resonance with the existing collection. Presented in this gallery is a selection of the donations, shown in conversation with earlier acquisitions.
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