Introducing La Nuit Trésor by Lancôme

Twenty five years ago, Lancôme introduced Trésor, a beloved fragrance inspired by the enduring power of love. Translated as “treasure,”Trésor was created to embody life’s most precious moments. Grounded in the rose, the enduring symbol of love, beauty, and femininity, this unmistakable floral experience has become a priceless member of the maison Lancôme family of fragrances.


Inspired by the original Trésor, new La Nuit Trésor captures the essence of a black crystal rose swathed in black vanilla.


Over the intervening years, the Trésor fragrance family evolved with new additions—Trésor Midnight Rose, Trésor in Love, and most recently, Trésor Lumineuse. Now, in honor of the scent’s quarter century anniversary, celebrated perfumers Amandine Marie and Christophe Raynaud have re-imagined the legendary fragrance as a modern aphrodisiac, La Nuit Trésor, formulated to envelop wearers in the sensual, addictive mystique of night. Inspired by the original Trésor, new La Nuit Trésor captures the essence of a black crystal rose swathed in black vanilla.

Starting with a crystalline rose—the essence of Trésor—the perfumers has envisioned a new 21st century love potion. Adding a heady dose of luxurious vanilla leather, the result, much like love itself, is an addictive universal experience designed for women of all ages. A mysterious adornment whose power grows petal by petal, its creators treated the rose like a diamond set in a case of wild vanilla leather. Like a gem, they refined each of the flower’s fragrance facets to create sparkling contrasts and bright edges, elevating the composition to set smooth sensual notes against sharp green facets reminiscent of a rose’s thorns. With a 24-hour hold, designed for the most sublime diffusion, La Nuit Trésor can be worn from day into night.

In this all new interpretation of the enduring beauty of Trésor, La Nuit Trésor takes the classically recognizable composition and gives it a unique new signature. Irresistible and precious, this irresistibly sensual scent represents a delicious yet refined masterpiece of mouth-watering desire and include:

  • Rose Oxide: The queen of flowers and symbol of absolute love, the rose beats at the heart of every Trésor creation. This newest composition is full of glittering vibrancy reminiscent of a starry night sky.
  • Vanilla Tahitensis Orchid: Perfumery’s own black gold. Prized as the most luxurious of all vanillas, this bewitching, noble ingredient brings the reinvented classic scent into the heady realm of night.
  • Praline: Intensified to perfumery’s highest dose, this addictive element creates mouth-watering gourmand appeal.
  • Natural Incense: Often used in the most luxurious niche perfumes, this sensual note creates a halo of mystery to add to the intoxicating nigh-time effect.
  • Lychee Accord: Perfectly blended to deliver an effusively luminous, refreshingly zesty note.
  • Chypre Blend: Created from Papyrus—a little known ingredient that evokes the Trésor original classic leather facet—alongside Patchouli to deliver a refined, modern, new signature element. 
  • Sandalwood Accord: A vibrant wooded accord articulated with musk and rich, modern wood notes like derambren, cedramber, and boisambrene.

Inspired by luxury glass-making and high-end jewelry, the Trésor bottle has evolved with time while still retaining its essential structure. With La Nuit Trésor, Lancôme has heightened the traditional pyramid shape to a fine point, leaving the gleaming bottle and its luminous violet contents to rest alluringly to one side.

La Nuit Trésor  Eau De Parfum, Available exclusively at Dillard’s and on Lancô, 1 oz. ($62), 1.7 oz. ($80), 2.5 oz. ($100)

Le Nuit Trésor Body Lotion, Available exclusively at Dillard’s and on Lancô, 6.7 oz. ($46)

Le Nuit Trésor Shower Gel, Available exclusively at Dillard’s and on Lancô, 6.7 oz ($46)

Georg Baselitz: Drinkers and Orange Eaters at Skarstedt Upper East Side

Skarstedt UES will present a comprehensive exhibition of work by renowned German artist Georg Baselitz at their 79th Street gallery, which will feature 12 paintings from both his Drinkers and Orange Eaters series’, dating from 1981-82. The exhibition brings together paintings from public and private collections to demonstrate the breadth of Baselitz’s creativity during this two-year period. The Drinkers and Orange Eaters remain some of Baselitz’s most expressive and vividly colorful works.

Georg Baselitz Orangenesser, 1982 oil on canvas 57 1/2 x 44 4/5 inches (146 x 114 cm.)

Georg Baselitz, Orangenesser, 1982, oil on canvas
57 1/2 x 44 4/5 inches (146 x 114 cm.)

Georg Baselitz was born in Deutschbaselitz, Germany, in 1938. He attended the Hochschule für bildende und angewandte Kunste in East Berlin in 1956 and the West Berlin school from 1957 – 1963. In 1965, he was awarded a scholarship for a year’s residential study at the Villa Romana in Florence. Very early in his career, Baselitz emerged as a pioneer of German Neo-Expressionism, rebelling against the dominance of abstract painting, proposing in its place a very personal, expressive figurative art rooted in the art brut movement. In his early works, he concentrated on several figure types, including heroes, rebels, and shepherds. From 1969 on, Baselitz painted his subjects upside-down. He adopted this method to stress the artifice of painting. The artist is also well known for his sculpture and printmaking. Drawing upon a varied collection of influences outside of mainstream Modernism, including art of the Mannerist period, African sculptures, imagery rooted in the Art Brut, as well as the Existentialist art and literature of Dada and Surrealism, Baselitz developed a distinct artistic language.


At the time these works were painted, Baselitz found himself surrounded by the new images of a younger artistic generation taking up German Expressionism as a spontaneous experience, practiced using clowns and checked patterns. Baselitz’s use of vibrant reds and yellows—even a harlequin motif—lends a theatrical quality to his work, while the depiction of glassware and fruit adds a playful element of celebration and bacchanalia.

Georg Baselitz Ohne Titel (B. fur Larry-Remix) (26.VII.06), Untitled (B. for Larry-Remix), 2006 feather pen and watercolor on paper 22 3/8 x 15 1/4 inches (56.8 x 38.7 cm.)

Georg Baselitz, Ohne Titel (B. fur Larry-Remix) (26.VII.06), Untitled (B. for Larry-Remix), 2006
feather pen and watercolor on paper
22 3/8 x 15 1/4 inches (56.8 x 38.7 cm.)

In these two figurative series’, Baselitz reacts to the work of his German Expressionist predecessors — Ernst Ludwig Kirchner and Emil Nolde, among others—paying homage to his artistic forefathers while simultaneously establishing distance from them. Championed as a leading exponent of German Neo-Expressionist painting, Baselitz displays a newfound freedom from ideological pressures with his Drinkers and Orange Eaters. Baselitz explains, “The ’80s helped me to rearrange everything; I was able to set up a whole range of ideas and experiences anew, which meant I was able to break everything down so I could make something out of it again.”(1)

Furthermore, Baselitz’s impulsive, tactile method of working creates a dynamic and almost animated surface, composed of fractured imagery. Thickly applied paint forms the rudimentary features of his figures, while his forceful handling of the medium emphasizes individual brushstrokes. Baselitz described his painting style for the Orange Eaters as “boxing with both hands, so to speak.”(2) He uses form, style, and color to shatter traditional assumptions—turning his subjects on their heads in order to impart meaning. Baselitz deliberately rendered his figures upside-down on the canvas, defying conventional visual interpretation. This inverted orientation frees his work from connotation without entering the realm of pure abstraction. Beyond the human form, Baselitz’s Drinkers and Orange

Georg Baselitz 6 Schöne, 4 hässliche Porträts: Schönes Porträt 2  (6 Beautiful, 4 Ugly Portraits: Beautiful Portrait 2), 1987-1988 oil on board

Georg Baselitz
6 Schöne, 4 hässliche Porträts: Schönes Porträt 2
(6 Beautiful, 4 Ugly Portraits: Beautiful Portrait 2), 1987-1988
oil on board

Eaters represent a critical time in history and an evolving ideology of liberation.

Baselitz’s work has been widely exhibited throughout the United States and Europe. Major retrospectives of his work have been held at the Whitechapel Art Gallery, London (1983; which later traveled to Stedelijk Museum, Amsterdam, and Kunsthalle Basel); Centre Pompidou, Paris (1993); Solomon R. Guggenheim Museum, New York (1995; traveled to Los Angeles County Museum of Art, Hirshhorn Museum and Sculpture Garden, Washington, DC, and Neue Nationalgalerie, Berlin); Musée d’Art Moderne de la Ville de Paris (1996 and 2011); and Royal Academy of Arts, London (2007). Baselitz has represented Germany at the Venice Biennale (1980) and participated in Documenta 5 and 7 in Kassel, Germany (1972 and 1982). Georg Baselitz lives and works in Basel (Switzerland), at the Ammersee (Bavaria, Germany) and in Imperia (Italian Riviera).

Skarstedt is working closely with the artist on this seminal presentation, as well as a detailed catalogue published on the occasion of the exhibition. Georg Baselitz: Drinkers and Orange Eaters will be on view at Skarstedt (20 East 79th Street) from May 11 through June 26, 2015.

Fashion Spoken Here: Moritz Feed Dog Fashion Documentary Film Festival 2015

On the 15th through to the 17th of May, Barcelona will welcome the first edition of the Moritz Feed Dog Barcelona Fashion Documentary Film Festival, the first event of its kind to be held in Spain. At its core, Moritz Feed Dog Barcelona Fashion Documentary Film Festival endeavors to show the general public the richness and complexity of fashion as a living, FEED_DOG-2breathing cultural phenomenon in constant transformation, and a reflection of society and its history. The goal of the project and the film festival is to introduce the unique world of fashion through documentaries of high cinematic quality, and of great interest to specialists and newcomers. This first edition will feature around ten fashion documentaries, with various Spanish premieres on its billboard.

This Festival was born within the context in which fashion, in the last four decades, has earned a well-deserved place in internationally-renown museums and in the cultural agendas of key international capitals. Moritz Feed Dog was born with the aim of offering a program, which – just like Beefeater.In-Edit, the other Festival organized by Inedit Producciones – focuses on the cinematographic quality of its featured documentaries, from contents to aesthetics. This initiative is dedicated to the documentary genre and to independent films with fashion as the theme, and to the embrace of the discipline as a cultural expression.

The Moritz Feed Dog program –coordinated by Charo Mora – invites viewers to embark on a journey through the fashion world, highlighting the richness of the phenomenon that cannot be explained solely through its creators – although they bring a mythological and eternally fascinating and appealing angle to the story. In fact, fashion wouldn’t be what it is without them, just as art can’t be explained without painters and sculptures, or literature without novelists or poets. So, it goes without saying that this essential role enjoys well-deserved representation at the Festival.


The festival will open with a showing of Dior and I and will include the following fashion documentaries:

Call it a Balance in the Unbalance

Call it a Balance in the Unbalance Director: Regine Leather (Germany, Spain, Turkey, United States / 2011 / 74 min). Saturday, May 16th, 6:30pm

Rebellious genius or lousy manager of fame? The shooting stardom and meteoric downfall of Miguel Adrover remains fascinating more than a decade later. What was the deal with Miguel Adrover, the Mallorcan farmers’ son that was set to become the next John Galliano in the year 2000? The sector’s insiders that have been fascinated with this story for over a decade, answer the question, recalling that Adrover – a genius in the minds of many – had no hope of survival after presenting a collection inspired by Taliban clothing two days after 9/11. But this documentary, which includes interviews with Suzy Menkes and Harold Koda, of The Metropolitan Museum of Art‘s Costume Institute adds new undertones to this latter-day fable that questions notions of success and failure in an industry that’s both ruthless and volatile.

Christian Louboutin: Top of the Heels. Dir: Farida Khelfa (France / 2014 / 52 min) VOSE, Saturday, May 17th, 8 pm

An enlightening conversation with the man that elevated the female shoe to fetish status. At one point in the documentary, David Lynch, self-professed fan of, and collaborator with the shoemaker asks the $64 million question: “What’s with the red sole? And Louboutin reveals that in 1982 he grabbed a bottle of nail polish and painted the underside of a shoe to look more like his drawings, or better said, so that reality would approach his ideals. And, as he clarifies, because red isn’t a color, it’s the “the symbol of femininity”. The famous designer psychoanalyses himself in front of the camera in this mini-film and tackles issues of identity, family and fetishism that one wouldn’t expect to find in a the world’s most fabulous and frivolous celebration of footwear.


Fresh Dressed/ Dir: Sacha Jenkins (France, United States / 2014 / 84 min). Saturday, May 16th, 9:45 pm

There’s a (love) story that explains the style that rules the street and the catwalk: the eternal romance between fashion and hip-hop. They haven’t a stick of furniture at home, but step out decked out from head to toe in Ralph Lauren Polo. Or fake a sprain because they can only get their hands on a single Adidas sneaker. Rob a house to bag a perfume. What hip-hoppers are prepared to do to stay fresh and fly goes far beyond wearing a medallion. This documentary that captivated Sundance, explores the Afro-American style from slavery to Kanye West, and features an all-star lineup of talking heads. From the right honorable Mr. Kardashian, to Riccardo Tisci, Pharrell Williams, Dapper Dan and André Leon Talley.


Iris, Dir: (the late and much-missed) Albert Maysles (United States / 2014 / 83 min) Friday, May 15th, 9:45pm and Sunday, May 17th, 4:15pm

Much more than the senior fashion icon: If the Bouviers of Grey Gardens had a long lost first cousin – pragmatic, Jewish and jovial – she’d be called Iris Apfel. It’s no surprise that this nonagenarian caught Albert Maysles’ attention, and became the centerpiece of his last documentary before he died. The legendary director of Gimme Shelter and Grey Gardens took it upon himself to portray her as something more than just fashion’s greatest darling. It pays off, even if only to see how she flirts with Kanye West, or to learn how to haggle a la the insatiable Apfel, who ranks a Balenciaga frock equal in value to an African beaded necklace, and to contemplate (with a lump in our throat), the moving love story of her and her husband Carl, who we see turn 100 without losing an iota of humor or curiosity.


Mods, Rockers And the Bank Holiday Mayhem. Dir: Rebecca Whyte (United Kingdom / 2014 / 60 min). Friday, May 15th, 8:15pm

Timeshift: Mods, Rockers and Bank Holiday Mayhem (BBC Four) is an excellent, evocative documentary about the Whitsun Bank Holiday 50 years ago, when the two subcultures hopped onto their mopeds or motorbikes respectively, and descended upon seaside resorts to scoff chips, skim stones and shelter from the inevitable rain in amusement arcades. Oh, and smash the town up during violent confrontations.


Notebook on cities and clothes. Dir: Win Wenders (France, Germany / 1989 / 79 min) Sunday, May 17th, 9:30 pm

The unbearable lightness of fashion – or how a jacket converted Wim Wenders into a Yohji Yamamoto fanboy. 

When the Pompidou museum approached the German director to shoot a film “in the context of fashion” he didn’t try to mask his disdain “Clothes? what kind of weirdo would be into that?” said, or thought – with a permissible degree of arrogance – the man that put Nastassja Kinski in that angora sweater and not another in Paris, Texas. But then, Wenders remembered his sublime Yamamoto jacket, which made him feel like he was wearing armor, and reminded him of his father. The director follows the Japanese designer through Tokyo and Paris and taking filmic notes on fashion, the nature of the process and even on documentary as a genre.

The next black + Round Table. Dir: David Dworsky and Victor Kohler (Sweden / 2014 / 47 min)

Sustainable is the new black. And digital. 

These are the pioneers that work in fashion as it is right now, and will be within 50 years. In just 10 years, between 2000 and 2010, fashion consumption rocketed 47% thanks to the standardization of so-called fast fashion. In highly disparate locations around the globe – from a science fictionesque London lab to the R-D department of a mega-corporation like Adidas – there are pioneers already working to subvert this model that has proven ethically and environmentally unsustainable. Digital haute couture, fabric dyed without using a single drop of water or textiles fermented in green tea and yeast. Why not? It’s highly probable that this will be the face of fashion in 10, 20 or 50 years.


Traceable. Dir: Jennifer K. Sharpe (Canada, India, United States / 2014 / 68 min) Sunday, May 17th, 6:15pm

Everything you never knew about your clothes, and would prefer not to ask. 

Have you ever thought about how many hands that $15.00 T-shirt has passed through? Answering that question is trickier than it seems, given that, as this documentary proves, companies no longer make things; they simply pay somebody else to make them. The Bangladesh tragedy in 2013 put the spotlight on fast fashion factories in the developing world, and this film starts there, following the thread of the Indian cotton producer all the way to the crop-top at the mall, celebrating the work of those that refuse to accept there’s no way back, like the founder of the Sourcemap website, or the designer Laura Seigel.

Twiggy: The Face of the 60’s. Dir: Philip Priestley (United States, France / 2012 / 52 min) Saturday, May 16th, 8:15pm

How a working class teenager without curves but with endless eyelashes became the face of Swinging London. 

It’s 1965, and an ordinary London gal earned nine quid a week. She set three aside for rent, three for food and three to buying a new dress. Fashion had ascended from the ranks of generational past time and the revolution needed a face. It found it in Lesley Hornby, the daughter of a carpenter from Neasden, the place known as “the loneliest town in England”. Twiggy was, in the words of her discoverer “too short, too thin and too funny.” And to top it all off she laughed with a cockney accent! Within a few short months, she began building her empire, in which for the first time ever, a model stopped being the girl that did what the photographer said and started giving the orders.

Tickets are available online at


New York City Mayor Bill de Blasio, Architect Renzo Piano, Director Adam D. Weinberg, and Whitney Trustees Open the New Home for American Art and Artists

Members of The Wooster Group cutting the ribbon at the Dedication Ceremony of The Whitney Museum of American Art in its new location in Downtown Manhattan's Meatpacking Distcrict (Photograph by Filip Wolak and provided by The Whitney Museum of American Art)

Members of The Wooster Group cutting the ribbon at the Dedication Ceremony of The Whitney Museum of American Art in its new location in Downtown Manhattan’s Meatpacking District (Photograph by Filip Wolak and provided by The Whitney Museum of American Art)

The First Lady of the United States  of America Michelle Obama speaking at the dedication ceremony and ribbon-cutting of the (new) Whitney Museum of American Art, Thursday, April 30th ((Photograph by Filip Wolak and provided by The Whitney Museum of American Art)

The First Lady of the United States of America Michelle Obama speaking at the dedication ceremony and ribbon-cutting of the (new) Whitney Museum of American Art, Thursday, April 30th ((Photograph by Filip Wolak and provided by The Whitney Museum of American Art)

At a festive ceremony held today in downtown Manhattan, First Lady of the United States of America Michelle Obama joined with New York City Mayor Bill de Blasio to officially open the new Whitney Museum of American Art, now housed in a 220,000-square-foot building set beside the Hudson River at the foot of the High Line elevated park in the Meatpacking District.

(Left to Right) Adam D. Weinberg Alice Pratt Brown Director of the Whitney Museum of American Art; Michelle Obama First Lady of the United States of America; The Honorable Bill de Blasio Mayor of the City of New York; and Flora Miller Biddle Honorary Chairman of the Board of Trustees of the Whitney Museum of American Art and granddaughter of Gertrude Vanderbilt Whitney at the dedication ceremony and ribbon-cutting of the (new) Whitney Museum of American Art, Thursday, April 30th ((Photograph by Filip Wolak and provided by The Whitney Museum of American Art)

(Left to Right) Adam D. Weinberg, Alice Pratt Brown Director of the Whitney Museum of American Art; Michelle Obama, First Lady of the United States of America; The Honorable Bill de Blasio, Mayor of the City of New York; and Flora Miller Biddle
Honorary Chairman of the Board of Trustees of the Whitney Museum of American Art and granddaughter of Gertrude Vanderbilt Whitney at the dedication ceremony and ribbon-cutting of the (new) Whitney Museum of American Art, Thursday, April 30th ((Photograph by Filip Wolak and provided by The Whitney Museum of American Art)

In her remarks, First Lady Michelle Obama said, “I fell in love with the building. It is an amazing space…One visit, one performance, one touch, and who knows how you could spark a child’s imagination….Just about every space in this museum is magnificent.  And that’s really one of the joys of this new building so brilliantly designed by Renzo Piano -– the variety of spaces it has for artists to engage and experiment and truly have their work be seen. 

So I really can’t think of a better theme for this inaugural exhibit than “America is Hard to See.”  Because that title isn’t just a statement of fact, it’s a challenge that the Whitney has embraced with open arms –- the challenge of truly seeing America in all of its glory and complexity.  With this exhibit, all of you at the Whitney — the staff, everyone here, all the artists — have asked the question, “How can we truly, fully witness the melting pot of cultures and sensibilities and struggles that make America unlike any other country on earth?”

This is a bold, very hard question.  And this exhibit isn’t trying to provide any kind of definitive answer.  Instead, it’s doing something even more important — it’s inviting us to answer this question for ourselves, each of us reflecting and rethinking our assumptions as we walk through these galleries.  And I think that will be an incredibly powerful experience for anyone who comes here to visit.  But it will be particularly powerful for our young people.

She also touched on the fact that “high” culture in America has also left behind a wide segment of the population who needs it the most: Children in urban areas who thinks that museums and other high art venues are beyond their scope of experience and entry, woefully leaving them behind.

You see, there are so many kids in this country who look at places like museums and concert halls and other cultural centers and they think to themselves, well, that’s not a place for me, for someone who looks like me, for someone who comes from my neighborhood.  In fact, I guarantee you that right now, there are kids living less than a mile from here who would never in a million years dream that they would be welcome in this museum. 

And growing up on the South Side of Chicago, I was one of those kids myself.  So I know that feeling of not belonging in a place like this.  And today, as First Lady, I know how that feeling limits the horizons of far too many of our young people.

And that’s one of the reasons why Barack and I, when we first came to Washington, we vowed to open up the White House to as many young people as possible, especially those who ordinarily wouldn’t have a chance to visit.  So just about every time we host any kind of cultural event, a concert or performance, we ask the performers to come a few hours early and host a special workshop just for our young people. 

The message we’re trying to send is simple.  We’re telling our young people:  The White House is your house.  You belong here just as much as anyone else in this country.  We’re telling them:  Make yourselves at home in this house.  Be inspired by the artists and performers you see.  And start dreaming just a little bigger, start reaching just a little higher for yourself.  

And with this inaugural exhibition, the Whitney is really sending the same message to young people and to people of every background across this country.  You’re telling them that their story is part of the American story, and that they deserve to be seen.  And you’re sending that message not just with the art you display, but with the educational programming you run here.  You’re reaching out to kids from all backgrounds, exposing them to the arts, showing them that they have something to contribute.

And in the end, that’s why I’m here today, and I know that’s why we’re all here today.  I’m here because I believe so strongly in that mission, and because I think that every cultural institution in this country should be doing this kind of outreach and engagement with our young people every single day. Maybe you can discover the next Carmen Herrera, or Archibald Motley, or Edward Hopper, or maybe even the next Barack Obama. That is the power of institutions like the Whitney. They open their doors as wide as possible both to the artists they embrace and to the young people they seek to uplift. That’s what happens. And today I am so proud to be here as we open these doors…I truly cannot wait to see the impact this extraordinary museum will have in the years ahead.

Also speaking at the dedication ceremony were Adam D. Weinberg, the Alice Pratt Brown Director of the Whitney; architect Renzo Piano; and leaders of the Whitney’s Board of Trustees: Co-Chairmen Robert J. Hurst and Brooke Garber Neidich, President Neil G. Bluhm, and Honorary Chairman Flora Miller Biddle, granddaughter of artist and Museum founder Gertrude Vanderbilt Whitney.

The new building returns the Museum to the downtown area where it was founded in 1930. With indoor and outdoor spaces that offer panoramic views east across the city, west across the Hudson River, and south toward the Statue of Liberty, the building doubles the Museum’s previous gallery space, enabling the Whitney for the first time to present exhibitions and programs in the context of the world’s foremost collection of modern and contemporary American art.

New York City Major Bill de Blasio speaking at the dedication ceremony and ribbon-cutting of the (new) Whitney Museum of American Art, Thursday, April 30th ((Photograph by Filip Wolak and provided by The Whitney Museum of American Art)

New York City Major Bill de Blasio speaking at the dedication ceremony and ribbon-cutting of the (new) Whitney Museum of American Art, Thursday, April 30th ((Photograph by Filip Wolak and provided by The Whitney Museum of American Art)

New York City Major Bill de Blasio said, “We already knew we were the mecca of the art world but just in case we needed to make it clearer, this museum does it. As New Yorkers, we are extraordinarily proud. We’re proud that people from around the world come to experience our cultural life.

Adam D. Weinberg, the Alice Pratt Brown Director of the Whitney speaking at the dedication ceremony and ribbon-cutting of the (new) Whitney Museum of American Art, Thursday, April 30th ((Photograph by Filip Wolak and provided by The Whitney Museum of American Art)

Adam D. Weinberg, the Alice Pratt Brown Director of the Whitney speaking at the dedication ceremony and ribbon-cutting of the (new) Whitney Museum of American Art, Thursday, April 30th ((Photograph by Filip Wolak and provided by The Whitney Museum of American Art)

The Museum’s director, Adam D. Weinberg, stated, “Our architect, Renzo Piano, has done an extraordinary job merging the private with the civic: creating spaces that reaffirm one’s humanity through scale and material. He has connected the world of art within, with the experience of the world without— making room for contemplation of art, and of life. In short, in collaboration with the talented, generous, and missionary staff of the Whitney Museum — notable among them Donna De Salvo our Deputy Director for Programs and Chief Curator —they have created a museum that exemplifies and furthers Gertrude’s vision of a home for contemporary art and artists —remembering that even historical works on view were contemporary in their time and, presented effectively as the curatorial staff has done here today, can be as potent as the day they were made….The Whitney has always believed in the importance of the present—the capacity for artists to act in and effect the life of our times, to alter perceptions in such ways that might enable one to change the course of history…We are here for those artists as they are here for us. Our new home was designed for and is now re-consecrated in this belief. This is our gift to our city, our nation, and the world as it was Gertrude Vanderbilt Whitney’s in her time.” Continue reading

Victoria’s Secret Names New Supermodel Angels

Yesterday, Victoria’s Secret announced they are adding ten models to their roster of Supermodel Angels.

Joining already established Angels Lily Aldridge, Alessandra Ambrosio, Adriana Lima, Behati Prinsloo, and Candice Swanepoel are models Kate Grigorieva (Russia), Taylor Hill (Colorado), Elsa Hosk (Sweden), Martha Hunt (North Carolina), Jac Jagaciak (Poland), Stella Maxwell (United Kingdom), Lais Ribeiro (Brazil), Sara Sampaio (Portugal), Romee Strijd (Holland) and Jasmine Tookes (California).

Their hobbies, background and interests are as vaied as their nationalities. Kate Grigorieva is an accomplished ballroom dancer. She graduated from art school and received her Bachelor’s Degree in Marketing before starting her modeling career. Taylor Hill was scouted at a horse ranch in Colorado. She likes new music, reading, snowboarding and practicing yoga. Elsa Hosk began modeling after her father submitted photographs to a local agency and she balanced modeling with a professional basketball career, eventually leaving the court to pursue modeling full time. Martha Hunt was discovered in her home state of North Carolina at a modeling competition. She likes to cook and stays active with surfing and dancing. Jac Jagaciak was discovered during a casting at a shopping mall in her hometown of Puszczykowo. She comes from an athletic family, and trained in track and field since childhood. She enjoys playing sports and cooking. Stella Maxwell has lived all over the world. She was discovered by a New Zealand agent, loves racket sports, hiking and travel. Lais Ribeiro stays active with boxing, volleyball and soccer. She also has a passion for salsa dancing. Sara Sampaio has won the Portuguese “Best Female Model” Golden Globe multiple times. She is a brown belt in karate, plays the violin, and loves to surf. Romee Strijd has a passion for interior design and cooking. She stays fit with running and boxing. Jasmine Tookes practiced gymnastics for 14 years and played high school volleyball. She is a self-described “foodie” who loves trying new and exotic meals.

More importantly, next to winning a multi-year beauty  and/or fragrance contract with Estee Lauder, L’Oreal, Lancome, Dior, Chanel, Dolce and Gabbana (to name just a few); becoming the campaign face for the seasonal print ads for the various international design houses (Kate Moss for David Yurman and Tiffany (among others); Jordan Dunn and Naomi Campbell for Burberry, David Gandy for Dolce and Gabbana Light Blue, Giselle Bundsen for everyone, etal), ascending to the exalted status of Victoria’s Secret Supermodel Angel is an important step in a model’s career and one that elevates her to new heights of fame, financial security and access to all those bad-boy rock musicians looking to expand his dating pool.

The expanded Angel lineup gives Victoria’s Secret the largest group of contract models in its history and the most powerful collection of established and emerging models in the world. The timing was appropriate, as the brand has, over the past few years, put increasing emphasis on both its Swim and Sport lines, while substantially increasing its international distribution. Victoria’s Secret continues to dominate the multi-billion dollar lingerie market where it is, by far, the global leader.

Victoria’s Secret also recently announced their inaugural International Bombshells’ Day,” scheduled for May 2. The brand will offer exclusive, limited time specials at stores, and online at Women are encouraged to pamper themselves, embrace their “inner Bombshell”, spend time with friends and, maybe, do a little shopping. (To see how the newest Angels will celebrate Bombshells’ Day, follow Victoria’s Secret on Instagram, Twitter and Facebook using #TheNewestAngels)

Panorama Europe Film Festival Returns for its Seventh Year, with a Slate of Sixteen Outstanding New Movies

FESTIVAL to Run from May 29 – June 14, 2015 at Museum of the Moving Image and Bohemian National Hall

Festival Kick-Off Event and Party at Tribeca Cinemas on Thursday, May 28

Panorama Europe Film Festival 2015, the seventh edition of this vital festival of new European cinema (formerly known as Disappearing Act), presented by Museum of the Moving Image and the European Union National Institutes for Culture (EUNIC), returns to the Museum and the Bohemian National Hall with a slate of sixteen new features from May 29 through June 14. The NY Portuguese Short Film Festival (NYPSFF), who since 2011, has presented  an annual two-day showcase of short Portuguese films (, produced and hosted by Arte Institute at Tribeca Cinemas. This is the first year the festival is partnering with unnamedPanorama Europe.

The festival continues its mission of showcasing the best in European filmmaking by introducing a wide-ranging selection of contemporary cinema in varying genres that cover many current social and cultural themes. Panorama Europe offers New York audiences what may be their only chance to see these acclaimed films on the big screen. Some of the highlights of this year’s edition include Petr Václav’s 2015 Czech Lion best film THE WAY OUT, Panos H. Koutras’s multiple award-winning XENIA (Greece), Virág Zomborácz’s AFTERLIFE (Hungary), Ignas Jonynas’s THE GAMBLER (Lithuania), with star Oona Mekas attending, and BREATHE (RESPIRE) (France), the sophomore feature directed by the actress Mélanie Laurent (INGLORIOUS BASTERDS, BEGINNERS).

Pictured: Greece's Xenia | Photo courtesy of Strand Releasing

Pictured: Greece’s Xenia | Photo courtesy of Strand Releasing

The festival informally kicks off on Thursday, May 28, at 7:30 p.m. with a screening of short European films at Tribeca Cinemas, followed by a party, as part of the NY Portuguese Short Film Festival (NYPSFF). The opening weekend includes special screenings of GODS (Poland, 2014), with director Lukasz Palkowski in person on Friday, May 29, and BOTA (THE WORLD) (Albania, 2014), with co-director Iris Elezi in person, on Sunday, May 31. Both screenings will be followed by conversations with the filmmakers, and receptions. Other festival titles include films from Austria, Belgium, Croatia, Czech Republic, Estonia, France, Germany, Greece, Hungary, Lithuania, Slovenia, and Spain. The Closing Night film is Bas Devos’s award-winning VIOLET (Belgium, 2014), which screened as part of this year’s New Directors/New Films Series. The screening will be preceded by live musc by the Flemish band St. Grandson in the Museum’s courtyard and followed by a reception.

This year’s Panorama Europe lineup is exceptional,” said Chief Curator David Schwartz, who programmed the festival. “Many of the films are fascinated with questions of identity and history, on both personal and national levels. And this year, many films use humor, often dark, to explore their subjects.

The full lineup of Panorama Europe 2015:

 Bota (The World), Albania, Dir. Iris Elezi, Thomas Logoreci / Opening Weekend Film & Reception

Gods, Poland, Dir. Lukasz Palkowski / Opening Weekend Film & Reception

Violet, Belgium, Dir. Bas Devos / Closing Night Film & Reception

Afterlife, Hungary, Dir. Virág Zomborácz

Age of Cannibals, Germany, Dir. Johannes Naber

Breathe, France, Dir. Mélanie Laurent

Cowboys, Croatia, Dir. Tomislav Mrsic

The Gambler, Lithuania, Dir. Ignas Jonynas

I Can Quit Whenever I Want, Italy, Dir. Sydney Sibilia

In the Basement, Austria. Dir. Ulrich Seidel and the short film Exterior Extended

In the Crosswind, Estonia, Dir. Martti Helde

Magical Girl, Spain, Dir. Carlos Vermut

The Tree, Slovenia, Dir. Sonja Prosenc

The Unexpected Life, Spain, Dir. Jorge Torregrossa

The Way Out, Czech Republic, Dir. Petr Václav

Xenia, Greece, Dir. Panos H. Koutras


Unless otherwise noted, screenings take place in the Sumner M. Redstone Theater or the Celeste and Armand Bartos Screening Room at Museum of the Moving Image, 36-01 35 Avenue in Astoria, OR at Bohemian National Hall, 321 East 73 Street, Manhattan.

*Program may be subject to change

With Lukasz Palkowski in person, followed by reception

FRIDAY, MAY 29, 7:00 P.M.

Poland. Dir. Lukasz Palkowski. 2014, 120 mins. With Tomasz Kot, Piotr Glowacki, Szymon Piotr Warszawski. This enormously entertaining biopic chronicles the groundbreaking work of Zbigniew Religa, the pioneering Polish surgeon who defied the Communist bureaucracy of the 1980s to perform the country’s first heart transplant. Told with wit, verve, and a fastidious attention to period detail, Gods is an engrossing portrait of a larger-than-life personality.

SATURDAY, MAY 30, 2:00 P.M.

Also showing: Thursday, June 4, 7:00 p.m. at Bohemian National Hall
Hungary. Dir. Virág Zomborácz. 2014, 93 mins. With Márton Kristóf, László Gálffi, Eszter Csákányi. A pastor and son with a strained relationship get a shot at reconciliation—after the older man’s unexpected death. Part tender coming-of-age tale, part darkly comic ghost story, Afterlife is a surprising, poignant fable from one of the most distinctive new voices in Hungarian cinema.
The TreeThe Tree
SATURDAY, MAY 30, 4:00 P.M.

Slovenia. Dir. Sonja Prosenc. 2014, 90 mins. With Katarina Stegnar, Jernej Kogovsek, Lukas Matija. A mother and her two sons live as prisoners in their own home. But what is it about the outside world they fear? Told from three points of view, a riveting family tragedy gradually reveals itself in this acclaimed Slovenian chamber drama, which masterfully maintains an air of steadily mounting tension.

I Can Quit Whenever I Want
SUNDAY, MAY 31, 2:00 P.M.

Italy. Dir. Sydney Sibilia. 2014, 100 mins. With Edoardo Leo, Valeria Solarino, Valerio Aprea. A group of underemployed academics hope to earn quick cash by entering the drug racket. But when their new designer drug turns out to be all the rage, can they handle the success? One of the funniest Italian comedies in years, this ultra-entertaining box office smash plays like Breaking Bad meets Reservoir Dogs.

SUNDAY, MAY 31, 4:00 P.M.

Greece. Dir. Panos H. Koutras. 2014, 128 mins. With Kostas Nikouli, Nikos Gelia, Aggelos Papadimitriou. A gay teen and his older brother journey across Greece in search of their estranged father in this alternately surreal and stirring road movie. Juxtaposing the realities of present-day Greece with imaginative slips into dream logic, this bold coming-of-age saga swept this year’s Hellenic Film Academy Awards, winning Best Picture and six other awards. Continue reading


Location: Floor Three
Susan and John Hess Family Theater

Yuji Agematsu (b. 1956), Walk On A,B,C,, 2014–15 (detail). Ten-carousel slide installation with approximately 600 handmade 35mm color slides, soundtrack, dimensions variable. Courtesy the artist

Yuji Agematsu (b. 1956), Walk On A,B,C,, 2014–15 (detail). Ten-carousel slide installation with approximately 600 handmade 35mm color slides, soundtrack, dimensions variable. Courtesy the artist

Since the late 1980s, the obsessive and visionary artistic practice of Yuji Agematsu has included daily walks through Manhattan’s streets, during which the artist documents and collects the flotsam and jetsam that, though often unnoticed, comprises much of our urban experience. The Whitney commissioned Agematsu to survey the Museum’s new building and its surrounding neighborhood during the second half of 2014. The products of these investigations are highly choreographed sequences of timed 35mm slides. These sequences map three routes the artist followed, labeled as A, B, and C. Collectively, they form an extensive durational portrait of the Meatpacking District, the Hudson River, Gansevoort Peninsula (Pier 52, currently operated by the NYC Sanitation Department), West 14th Street, the High Line, Chelsea, and Hudson Yards.

In these images, Agematsu explores both extreme surface details and wide open spaces. He deliberately avoided photographing people, finding instead an animate quality in places and things in order to produce what he thinks of as a form of urban portraiture. Shot with a range of lenses including a microscope and telescope, the images are at once generic and specific. Buildings, flowers, construction materials, water, pavement, traffic, discarded objects, and sky coexist and interact. Some images are meticulously collaged or superimposed, and at times include actual dirt or objects found in the street. Agematsu’s schematic drawings, printed in an accompanying brochure, trace his routes and detail how they have been mapped onto the space of the Whitney’s theater, where images are projected onto freestanding wooden screens that recall public kiosks, subway maps, and temporary construction walls. Walk On A,B,C, considers the boundaries between design and nature, the qualities of administered public space, and the exigencies of a neighborhood and city in active redevelopment and fundamental flux.

During the run of the show, Agematsu will perform live sound improvisations, manipulating field recordings made by the artist in his native Japan.

Yuji Agematsu was born in 1956 in Kanagawa, Japan. He lives in Brooklyn, NY. He studied with Tokio Hasegawa, a member of the band Taj Mahal Travellers, and the jazz drummer and choreographer Milford Graves.

Yuji Agematsu: Walk On A,B,C, is organized by Jay Sanders, Curator and Curator of Performance, with Greta Hartenstein, curatorial assistant. (Research and artist assistance by Gregor Quack.) The artist would like to give special thanks to Robert Snowden and Mark Lewis at Yale Union; Artspeak, Vancouver; Ben Manley and Woramon Jamjod; James Cleveland; Real Fine Arts. Support for the Whitney’s Performance Program is provided in part by the Performance Committee of the Whitney Museum of American Art.