A large-scale sculpture by acclaimed British artist Cornelia Parker, inspired by the paintings of Edward Hopper and by two emblems of American architecture—the classic red barn and the Bates family’s sinister mansion from Alfred Hitchcock’s 1960 film Psycho—comprises the fourth annual installation of site-specific works commissioned for The Met’s Iris and B. Gerald Cantor Roof Garden.
Nearly 30 feet high, the sculpture is fabricated from a deconstructed red barn and seems at first to be a genuine house, but is in fact a scaled-down structure consisting of two facades propped up from behind with scaffolding. Simultaneously authentic and illusory, Transitional Object (PsychoBarn) evokes the psychological associations embedded in architectural spaces. It is set atop The Met, high above Central Park—providing an unusual contrast to the Manhattan skyline.
The Costume Institute’s spring 2016 exhibition explores how fashion designers are reconciling the handmade and the machine-made in the creation of haute couture and avant-garde ready-to-wear.
With more than 170 ensembles dating from the early 20th century to the present, the exhibition addresses the founding of the haute couture in the 19th century, when the sewing machine was invented, and the emergence of a distinction between the hand (manus) and the machine (machina) at the onset of mass production. It explores this ongoing dichotomy, in which hand and machine are presented as discordant tools in the creative process, and questions the relationship and distinction between haute couture and ready-to-wear.
The Robert Lehman Wing galleries, on the Museum’s first floor and ground level, have been transformed into a building-within-a-building using white scrims. The space houses a series of case studies in which haute couture and ready-to-wear ensembles are decoded to reveal their hand/machine DNA. A 2014 haute couture wedding dress by Karl Lagerfeld for Chanel with a 20-foot train occupies a central cocoon, with details of its embroidery projected onto the domed ceiling. The scuba knit ensemble, one of the inspirations for the exhibition, stands as a superlative example of the confluence between the handmade and the machine-made–the pattern on the train was hand-painted with gold metallic pigment, machine-printed with rhinestones, and hand-embroidered with pearls and gemstones.
Courtesy of Metropolitan Museum