Bringing context and critique to the cultural moment. Deep dives, reviews, and debate encouraged.
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© 2020 Relevant Protocols Inc.
Bringing context and critique to the cultural moment. Deep dives, reviews, and debate encouraged.
40652 Members
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© 2020 Relevant Protocols Inc.
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On an overcast day, the light in the European Sculpture Garden of the Metropolitan Museum of Art is bright enough to make every visitor look like they’re carved from marble. Without shadows from clouds or dark corners, pores look smaller, eyes are whiter, hair shinier. It’s a calming, gratifying experience that breeds a certain kind of stoicism: During the preview for the Costume Institute’s latest show, “Manus x Machina,” which aims to explore the connection between handmade and machine-made fashion, press waited patiently for opening remarks, sitting on chairs that were slightly more elegant than the folding kind but not as enduring as pews, before being led into the Robert Lehman Wing, where the architectural firm OMA had built a smooth, gray multilevel cathedral inside the existing structure to house the collection. Slightly more sacred by virtue of being temporary, the space has the hush of a church, although the choir has been replaced by a loop of Brian Eno’s “An Ending (Ascent).”
On an overcast day, the light in the European Sculpture Garden of the Metropolitan Museum of Art is bright enough to make every visitor look like they’re carved from marble. Without shadows from clouds or dark corners, pores look smaller, eyes are whiter, hair shinier. It’s a calming, gratifying experience that breeds a certain kind of stoicism: During the preview for the Costume Institute’s latest show, “Manus x Machina,” which aims to explore the connection between handmade and machine-made fashion, press waited patiently for opening remarks, sitting on chairs that were slightly more elegant than the folding kind but not as enduring as pews, before being led into the Robert Lehman Wing, where the architectural firm OMA had built a smooth, gray multilevel cathedral inside the existing structure to house the collection. Slightly more sacred by virtue of being temporary, the space has the hush of a church, although the choir has been replaced by a loop of Brian Eno’s “An Ending (Ascent).”
"On an overcast day, the light in the European Sculpture Garden of the Metropolitan Museum of Art is bright enough to make every visitor look like they’re carved from marble. "
"On an overcast day, the light in the European Sculpture Garden of the Metropolitan Museum of Art is bright enough to make every visitor look like they’re carved from marble. "
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