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t.lambert
Tiffany Lambert
Curator of Modern and Contemporary Design at the Philadelphia Museum of Art @visitpham
@gaetano.pesce resin-dipped garments as lamps designed in collaboration w/Sandro Cammilli for the Il Cestello restaurant in Florence (2003-2004).
@gaetano.pesce resin-dipped garments as lamps designed in collaboration w/Sandro Cammilli for the Il Cestello restaurant in Florence (2003-2004).
@gaetano.pesce resin-dipped garments as lamps designed in collaboration w/Sandro Cammilli for the Il Cestello restaurant in Florence (2003-2004).
@gaetano.pesce resin-dipped garments as lamps designed in collaboration w/Sandro Cammilli for the Il Cestello restaurant in Florence (2003-2004).
@gaetano.pesce resin-dipped garments as lamps designed in collaboration w/Sandro Cammilli for the Il Cestello restaurant in Florence (2003-2004).
@gaetano.pesce resin-dipped garments as lamps designed in collaboration w/Sandro Cammilli for the Il Cestello restaurant in Florence (2003-2004).
@gaetano.pesce resin-dipped garments as lamps designed in collaboration w/Sandro Cammilli for the Il Cestello restaurant in Florence (2003-2004).
Love a visit to art storage! 🤸♀️ For many reasons, but also as an important reminder of the attention, intelligence, creativity, and energy of so many people that goes into caring for a collection.
01 Hand-stitched accession number 😱 on a slipcover for a Diego Giacometti armchair c. 1973
02 Spider floor lamp (left) by Joe Colombo, 1966
03 Conservation details 🎀
04 A 924-lb Twombly
05 Z-Car I, Zara Hadid, 2005-06
@visitpham @collabpma
Love a visit to art storage! 🤸♀️ For many reasons, but also as an important reminder of the attention, intelligence, creativity, and energy of so many people that goes into caring for a collection.
01 Hand-stitched accession number 😱 on a slipcover for a Diego Giacometti armchair c. 1973
02 Spider floor lamp (left) by Joe Colombo, 1966
03 Conservation details 🎀
04 A 924-lb Twombly
05 Z-Car I, Zara Hadid, 2005-06
@visitpham @collabpma
Love a visit to art storage! 🤸♀️ For many reasons, but also as an important reminder of the attention, intelligence, creativity, and energy of so many people that goes into caring for a collection.
01 Hand-stitched accession number 😱 on a slipcover for a Diego Giacometti armchair c. 1973
02 Spider floor lamp (left) by Joe Colombo, 1966
03 Conservation details 🎀
04 A 924-lb Twombly
05 Z-Car I, Zara Hadid, 2005-06
@visitpham @collabpma
Love a visit to art storage! 🤸♀️ For many reasons, but also as an important reminder of the attention, intelligence, creativity, and energy of so many people that goes into caring for a collection.
01 Hand-stitched accession number 😱 on a slipcover for a Diego Giacometti armchair c. 1973
02 Spider floor lamp (left) by Joe Colombo, 1966
03 Conservation details 🎀
04 A 924-lb Twombly
05 Z-Car I, Zara Hadid, 2005-06
@visitpham @collabpma
Love a visit to art storage! 🤸♀️ For many reasons, but also as an important reminder of the attention, intelligence, creativity, and energy of so many people that goes into caring for a collection.
01 Hand-stitched accession number 😱 on a slipcover for a Diego Giacometti armchair c. 1973
02 Spider floor lamp (left) by Joe Colombo, 1966
03 Conservation details 🎀
04 A 924-lb Twombly
05 Z-Car I, Zara Hadid, 2005-06
@visitpham @collabpma
In 1981 Sol LeWitt proposed an installation of flowers of “four different colors (white, yellow, red & blue) in four equal rectangular areas, in rows of four directions (vertical, horizontal, diagonal right & left) framed by evergreen hedges of about 2’ height. In the winter the rows of plants would retain their linear direction, in the summer the flowers would bloom and provide the color.”
Sol LeWitt: Lines in Four Directions in Flowers, Philadelphia Museum of Art, 2012–2015
Curated by Carlos Basualdo (@bouche_evier) and Alice Beamesderfer
In 1981 Sol LeWitt proposed an installation of flowers of “four different colors (white, yellow, red & blue) in four equal rectangular areas, in rows of four directions (vertical, horizontal, diagonal right & left) framed by evergreen hedges of about 2’ height. In the winter the rows of plants would retain their linear direction, in the summer the flowers would bloom and provide the color.”
Sol LeWitt: Lines in Four Directions in Flowers, Philadelphia Museum of Art, 2012–2015
Curated by Carlos Basualdo (@bouche_evier) and Alice Beamesderfer
In 1981 Sol LeWitt proposed an installation of flowers of “four different colors (white, yellow, red & blue) in four equal rectangular areas, in rows of four directions (vertical, horizontal, diagonal right & left) framed by evergreen hedges of about 2’ height. In the winter the rows of plants would retain their linear direction, in the summer the flowers would bloom and provide the color.”
Sol LeWitt: Lines in Four Directions in Flowers, Philadelphia Museum of Art, 2012–2015
Curated by Carlos Basualdo (@bouche_evier) and Alice Beamesderfer
In 1981 Sol LeWitt proposed an installation of flowers of “four different colors (white, yellow, red & blue) in four equal rectangular areas, in rows of four directions (vertical, horizontal, diagonal right & left) framed by evergreen hedges of about 2’ height. In the winter the rows of plants would retain their linear direction, in the summer the flowers would bloom and provide the color.”
Sol LeWitt: Lines in Four Directions in Flowers, Philadelphia Museum of Art, 2012–2015
Curated by Carlos Basualdo (@bouche_evier) and Alice Beamesderfer
In 1981 Sol LeWitt proposed an installation of flowers of “four different colors (white, yellow, red & blue) in four equal rectangular areas, in rows of four directions (vertical, horizontal, diagonal right & left) framed by evergreen hedges of about 2’ height. In the winter the rows of plants would retain their linear direction, in the summer the flowers would bloom and provide the color.”
Sol LeWitt: Lines in Four Directions in Flowers, Philadelphia Museum of Art, 2012–2015
Curated by Carlos Basualdo (@bouche_evier) and Alice Beamesderfer
Roaming the lovely Cranbrook campus. Also happy to have caught the current exhibition at @cranbrookartmuseum “Eventually Everything Connects: Mid-Century Modern Design in the US,” thoughtfully curated by @andrewblauvelt and @bridget.bartal with the assistance of @katherine.white at @thehenryford
Roaming the lovely Cranbrook campus. Also happy to have caught the current exhibition at @cranbrookartmuseum “Eventually Everything Connects: Mid-Century Modern Design in the US,” thoughtfully curated by @andrewblauvelt and @bridget.bartal with the assistance of @katherine.white at @thehenryford
Roaming the lovely Cranbrook campus. Also happy to have caught the current exhibition at @cranbrookartmuseum “Eventually Everything Connects: Mid-Century Modern Design in the US,” thoughtfully curated by @andrewblauvelt and @bridget.bartal with the assistance of @katherine.white at @thehenryford
Roaming the lovely Cranbrook campus. Also happy to have caught the current exhibition at @cranbrookartmuseum “Eventually Everything Connects: Mid-Century Modern Design in the US,” thoughtfully curated by @andrewblauvelt and @bridget.bartal with the assistance of @katherine.white at @thehenryford
Roaming the lovely Cranbrook campus. Also happy to have caught the current exhibition at @cranbrookartmuseum “Eventually Everything Connects: Mid-Century Modern Design in the US,” thoughtfully curated by @andrewblauvelt and @bridget.bartal with the assistance of @katherine.white at @thehenryford
Roaming the lovely Cranbrook campus. Also happy to have caught the current exhibition at @cranbrookartmuseum “Eventually Everything Connects: Mid-Century Modern Design in the US,” thoughtfully curated by @andrewblauvelt and @bridget.bartal with the assistance of @katherine.white at @thehenryford
Collab is proud to welcome Tiffany Lambert to the PMA!
As the inaugural Lisa Roberts and David Seltzer Curator of Modern and Contemporary Design, Tiffany steps into a newly endowed role that marks a powerful next chapter in the museum’s evolving commitment to design.
Endowed by longtime PMA Trustees and Collab champions Lisa S. Roberts and David W. Seltzer, this curatorship strengthens the partnership between the museum and Collab, ensuring design continues to thrive as a core part of the @philamuseum’s mission.
A curator, writer, and educator, Tiffany brings a passion for underrepresented voices and experimental exhibition design. We’re thrilled to support her vision as she joins the Department of Modern and Contemporary Art.
Welcome to Philadelphia, @t.lambert!
📸: Courtesy of the Philadelphia Museum of Art
#CollabPMA #DesignCurator #PMAannouncement #WomenInDesign #ContemporaryDesign #DesignLeadership #MuseumLife #DesignMatters #ArtAndDesign #WelcomeToPhilly
Thank you for the intimate tour and many congratulations to @alexcunninghamcameron @michelleinthemix and @xtina_de_leon for the attentive, layered exhibition Making Home @cooperhewitt
01 Lenape Center with Joe Baker
02 Amie Siegel
03 CFGNY
04 After Oceanic Built Environments Lab and Leong Leong
05 Mona Chalabi and SITU Research
06 Hugh Hayden, Davóne Tines, and Zack Winokur
Thank you for the intimate tour and many congratulations to @alexcunninghamcameron @michelleinthemix and @xtina_de_leon for the attentive, layered exhibition Making Home @cooperhewitt
01 Lenape Center with Joe Baker
02 Amie Siegel
03 CFGNY
04 After Oceanic Built Environments Lab and Leong Leong
05 Mona Chalabi and SITU Research
06 Hugh Hayden, Davóne Tines, and Zack Winokur
Thank you for the intimate tour and many congratulations to @alexcunninghamcameron @michelleinthemix and @xtina_de_leon for the attentive, layered exhibition Making Home @cooperhewitt
01 Lenape Center with Joe Baker
02 Amie Siegel
03 CFGNY
04 After Oceanic Built Environments Lab and Leong Leong
05 Mona Chalabi and SITU Research
06 Hugh Hayden, Davóne Tines, and Zack Winokur
Thank you for the intimate tour and many congratulations to @alexcunninghamcameron @michelleinthemix and @xtina_de_leon for the attentive, layered exhibition Making Home @cooperhewitt
01 Lenape Center with Joe Baker
02 Amie Siegel
03 CFGNY
04 After Oceanic Built Environments Lab and Leong Leong
05 Mona Chalabi and SITU Research
06 Hugh Hayden, Davóne Tines, and Zack Winokur
Thank you for the intimate tour and many congratulations to @alexcunninghamcameron @michelleinthemix and @xtina_de_leon for the attentive, layered exhibition Making Home @cooperhewitt
01 Lenape Center with Joe Baker
02 Amie Siegel
03 CFGNY
04 After Oceanic Built Environments Lab and Leong Leong
05 Mona Chalabi and SITU Research
06 Hugh Hayden, Davóne Tines, and Zack Winokur
Thank you for the intimate tour and many congratulations to @alexcunninghamcameron @michelleinthemix and @xtina_de_leon for the attentive, layered exhibition Making Home @cooperhewitt
01 Lenape Center with Joe Baker
02 Amie Siegel
03 CFGNY
04 After Oceanic Built Environments Lab and Leong Leong
05 Mona Chalabi and SITU Research
06 Hugh Hayden, Davóne Tines, and Zack Winokur
Topical Cream is thrilled to announce 🫧Tiffany Lambert 🫧 as our new Grants Director.
Tiffany is a curator, dynamic communicator, and arts nonprofit leader who has organized critically acclaimed exhibitions, commissioned site-specific projects, live performances, special projects, and public programs., fundraising, talks, and curatorial projects across the fields of art, design, and architecture for galleries, museums, and organizations.
She has served as Curator and Interim Director at Japan Society Gallery, Assistant Director at Columbia University’s Arthur Ross Architecture Gallery, Curatorial Assistant at Cooper Hewitt, Smithsonian Design Museum, and Managing Editor of PIN–UP Magazine, and teaches undergraduates and graduates at the Rhode Island School of Design and Pratt Institute. Her writing and work is published internationally, including in Aperture, Art in America, The Architectural Review, Artsy, Cultured, Disegno, Domus, Finnish Architectural Review, Metropolis, Surface, TANK, The New Yorker, and The New York Times, and by publishers including Bloomsbury, Metropolis Books, and Princeton Architectural Press.
Her research and work has been supported by grants from the Graham Foundation@grahamfoundation for Advanced Studies in the Fine Arts, Design History Society, National Endowment for the Arts @neaarts , The Vilcek Foundation, New York City Department of Cultural Affairs, New York State Council on the Arts, Japan Foundation, and the E. Rhodes and Leona B. Carpenter Foundation, among others.
#TiffanyLambert
#TopicalCream
@t.lambert
@hammer_museum
@cfgny2
@japansociety
#kazukomiyamoto
#JeffMcLane
#NahoKabuto
#AdriannaGlaviano
Images:
(1) Tiffany Lambert by Lyndsy Welgos in New York, NY.
(2 & 3) Installation view, “Refashioning: CFGNY and Wataru Tominaga,” Hammer Museum, Los Angeles (photo credit: Jeff McLane)
(4) Installation view, “Out of Bounds: Japanese Women Artists in Fluxus (2023),” Japan Society, NY (photo credit: Adrianna Glaviano)
(5) Installation view, “Kazuko Miyamoto: To perform a line (2022),” Japan Society NY (photo credit: Naho Kubota)
(6) Tiffany Lambert by Lyndsy Welgos in New York, NY.
Topical Cream is thrilled to announce 🫧Tiffany Lambert 🫧 as our new Grants Director.
Tiffany is a curator, dynamic communicator, and arts nonprofit leader who has organized critically acclaimed exhibitions, commissioned site-specific projects, live performances, special projects, and public programs., fundraising, talks, and curatorial projects across the fields of art, design, and architecture for galleries, museums, and organizations.
She has served as Curator and Interim Director at Japan Society Gallery, Assistant Director at Columbia University’s Arthur Ross Architecture Gallery, Curatorial Assistant at Cooper Hewitt, Smithsonian Design Museum, and Managing Editor of PIN–UP Magazine, and teaches undergraduates and graduates at the Rhode Island School of Design and Pratt Institute. Her writing and work is published internationally, including in Aperture, Art in America, The Architectural Review, Artsy, Cultured, Disegno, Domus, Finnish Architectural Review, Metropolis, Surface, TANK, The New Yorker, and The New York Times, and by publishers including Bloomsbury, Metropolis Books, and Princeton Architectural Press.
Her research and work has been supported by grants from the Graham Foundation@grahamfoundation for Advanced Studies in the Fine Arts, Design History Society, National Endowment for the Arts @neaarts , The Vilcek Foundation, New York City Department of Cultural Affairs, New York State Council on the Arts, Japan Foundation, and the E. Rhodes and Leona B. Carpenter Foundation, among others.
#TiffanyLambert
#TopicalCream
@t.lambert
@hammer_museum
@cfgny2
@japansociety
#kazukomiyamoto
#JeffMcLane
#NahoKabuto
#AdriannaGlaviano
Images:
(1) Tiffany Lambert by Lyndsy Welgos in New York, NY.
(2 & 3) Installation view, “Refashioning: CFGNY and Wataru Tominaga,” Hammer Museum, Los Angeles (photo credit: Jeff McLane)
(4) Installation view, “Out of Bounds: Japanese Women Artists in Fluxus (2023),” Japan Society, NY (photo credit: Adrianna Glaviano)
(5) Installation view, “Kazuko Miyamoto: To perform a line (2022),” Japan Society NY (photo credit: Naho Kubota)
(6) Tiffany Lambert by Lyndsy Welgos in New York, NY.
Topical Cream is thrilled to announce 🫧Tiffany Lambert 🫧 as our new Grants Director.
Tiffany is a curator, dynamic communicator, and arts nonprofit leader who has organized critically acclaimed exhibitions, commissioned site-specific projects, live performances, special projects, and public programs., fundraising, talks, and curatorial projects across the fields of art, design, and architecture for galleries, museums, and organizations.
She has served as Curator and Interim Director at Japan Society Gallery, Assistant Director at Columbia University’s Arthur Ross Architecture Gallery, Curatorial Assistant at Cooper Hewitt, Smithsonian Design Museum, and Managing Editor of PIN–UP Magazine, and teaches undergraduates and graduates at the Rhode Island School of Design and Pratt Institute. Her writing and work is published internationally, including in Aperture, Art in America, The Architectural Review, Artsy, Cultured, Disegno, Domus, Finnish Architectural Review, Metropolis, Surface, TANK, The New Yorker, and The New York Times, and by publishers including Bloomsbury, Metropolis Books, and Princeton Architectural Press.
Her research and work has been supported by grants from the Graham Foundation@grahamfoundation for Advanced Studies in the Fine Arts, Design History Society, National Endowment for the Arts @neaarts , The Vilcek Foundation, New York City Department of Cultural Affairs, New York State Council on the Arts, Japan Foundation, and the E. Rhodes and Leona B. Carpenter Foundation, among others.
#TiffanyLambert
#TopicalCream
@t.lambert
@hammer_museum
@cfgny2
@japansociety
#kazukomiyamoto
#JeffMcLane
#NahoKabuto
#AdriannaGlaviano
Images:
(1) Tiffany Lambert by Lyndsy Welgos in New York, NY.
(2 & 3) Installation view, “Refashioning: CFGNY and Wataru Tominaga,” Hammer Museum, Los Angeles (photo credit: Jeff McLane)
(4) Installation view, “Out of Bounds: Japanese Women Artists in Fluxus (2023),” Japan Society, NY (photo credit: Adrianna Glaviano)
(5) Installation view, “Kazuko Miyamoto: To perform a line (2022),” Japan Society NY (photo credit: Naho Kubota)
(6) Tiffany Lambert by Lyndsy Welgos in New York, NY.
Topical Cream is thrilled to announce 🫧Tiffany Lambert 🫧 as our new Grants Director.
Tiffany is a curator, dynamic communicator, and arts nonprofit leader who has organized critically acclaimed exhibitions, commissioned site-specific projects, live performances, special projects, and public programs., fundraising, talks, and curatorial projects across the fields of art, design, and architecture for galleries, museums, and organizations.
She has served as Curator and Interim Director at Japan Society Gallery, Assistant Director at Columbia University’s Arthur Ross Architecture Gallery, Curatorial Assistant at Cooper Hewitt, Smithsonian Design Museum, and Managing Editor of PIN–UP Magazine, and teaches undergraduates and graduates at the Rhode Island School of Design and Pratt Institute. Her writing and work is published internationally, including in Aperture, Art in America, The Architectural Review, Artsy, Cultured, Disegno, Domus, Finnish Architectural Review, Metropolis, Surface, TANK, The New Yorker, and The New York Times, and by publishers including Bloomsbury, Metropolis Books, and Princeton Architectural Press.
Her research and work has been supported by grants from the Graham Foundation@grahamfoundation for Advanced Studies in the Fine Arts, Design History Society, National Endowment for the Arts @neaarts , The Vilcek Foundation, New York City Department of Cultural Affairs, New York State Council on the Arts, Japan Foundation, and the E. Rhodes and Leona B. Carpenter Foundation, among others.
#TiffanyLambert
#TopicalCream
@t.lambert
@hammer_museum
@cfgny2
@japansociety
#kazukomiyamoto
#JeffMcLane
#NahoKabuto
#AdriannaGlaviano
Images:
(1) Tiffany Lambert by Lyndsy Welgos in New York, NY.
(2 & 3) Installation view, “Refashioning: CFGNY and Wataru Tominaga,” Hammer Museum, Los Angeles (photo credit: Jeff McLane)
(4) Installation view, “Out of Bounds: Japanese Women Artists in Fluxus (2023),” Japan Society, NY (photo credit: Adrianna Glaviano)
(5) Installation view, “Kazuko Miyamoto: To perform a line (2022),” Japan Society NY (photo credit: Naho Kubota)
(6) Tiffany Lambert by Lyndsy Welgos in New York, NY.
Topical Cream is thrilled to announce 🫧Tiffany Lambert 🫧 as our new Grants Director.
Tiffany is a curator, dynamic communicator, and arts nonprofit leader who has organized critically acclaimed exhibitions, commissioned site-specific projects, live performances, special projects, and public programs., fundraising, talks, and curatorial projects across the fields of art, design, and architecture for galleries, museums, and organizations.
She has served as Curator and Interim Director at Japan Society Gallery, Assistant Director at Columbia University’s Arthur Ross Architecture Gallery, Curatorial Assistant at Cooper Hewitt, Smithsonian Design Museum, and Managing Editor of PIN–UP Magazine, and teaches undergraduates and graduates at the Rhode Island School of Design and Pratt Institute. Her writing and work is published internationally, including in Aperture, Art in America, The Architectural Review, Artsy, Cultured, Disegno, Domus, Finnish Architectural Review, Metropolis, Surface, TANK, The New Yorker, and The New York Times, and by publishers including Bloomsbury, Metropolis Books, and Princeton Architectural Press.
Her research and work has been supported by grants from the Graham Foundation@grahamfoundation for Advanced Studies in the Fine Arts, Design History Society, National Endowment for the Arts @neaarts , The Vilcek Foundation, New York City Department of Cultural Affairs, New York State Council on the Arts, Japan Foundation, and the E. Rhodes and Leona B. Carpenter Foundation, among others.
#TiffanyLambert
#TopicalCream
@t.lambert
@hammer_museum
@cfgny2
@japansociety
#kazukomiyamoto
#JeffMcLane
#NahoKabuto
#AdriannaGlaviano
Images:
(1) Tiffany Lambert by Lyndsy Welgos in New York, NY.
(2 & 3) Installation view, “Refashioning: CFGNY and Wataru Tominaga,” Hammer Museum, Los Angeles (photo credit: Jeff McLane)
(4) Installation view, “Out of Bounds: Japanese Women Artists in Fluxus (2023),” Japan Society, NY (photo credit: Adrianna Glaviano)
(5) Installation view, “Kazuko Miyamoto: To perform a line (2022),” Japan Society NY (photo credit: Naho Kubota)
(6) Tiffany Lambert by Lyndsy Welgos in New York, NY.
Topical Cream is thrilled to announce 🫧Tiffany Lambert 🫧 as our new Grants Director.
Tiffany is a curator, dynamic communicator, and arts nonprofit leader who has organized critically acclaimed exhibitions, commissioned site-specific projects, live performances, special projects, and public programs., fundraising, talks, and curatorial projects across the fields of art, design, and architecture for galleries, museums, and organizations.
She has served as Curator and Interim Director at Japan Society Gallery, Assistant Director at Columbia University’s Arthur Ross Architecture Gallery, Curatorial Assistant at Cooper Hewitt, Smithsonian Design Museum, and Managing Editor of PIN–UP Magazine, and teaches undergraduates and graduates at the Rhode Island School of Design and Pratt Institute. Her writing and work is published internationally, including in Aperture, Art in America, The Architectural Review, Artsy, Cultured, Disegno, Domus, Finnish Architectural Review, Metropolis, Surface, TANK, The New Yorker, and The New York Times, and by publishers including Bloomsbury, Metropolis Books, and Princeton Architectural Press.
Her research and work has been supported by grants from the Graham Foundation@grahamfoundation for Advanced Studies in the Fine Arts, Design History Society, National Endowment for the Arts @neaarts , The Vilcek Foundation, New York City Department of Cultural Affairs, New York State Council on the Arts, Japan Foundation, and the E. Rhodes and Leona B. Carpenter Foundation, among others.
#TiffanyLambert
#TopicalCream
@t.lambert
@hammer_museum
@cfgny2
@japansociety
#kazukomiyamoto
#JeffMcLane
#NahoKabuto
#AdriannaGlaviano
Images:
(1) Tiffany Lambert by Lyndsy Welgos in New York, NY.
(2 & 3) Installation view, “Refashioning: CFGNY and Wataru Tominaga,” Hammer Museum, Los Angeles (photo credit: Jeff McLane)
(4) Installation view, “Out of Bounds: Japanese Women Artists in Fluxus (2023),” Japan Society, NY (photo credit: Adrianna Glaviano)
(5) Installation view, “Kazuko Miyamoto: To perform a line (2022),” Japan Society NY (photo credit: Naho Kubota)
(6) Tiffany Lambert by Lyndsy Welgos in New York, NY.
TRUST ARTISTS
Refashioning is a project that I’m incredibly proud of. To be able to use my position as a resource and platform to let exceptional artists and designers do their thing, make and develop their work, is an honor.
I couldn’t think of a more fitting end to my tenure as Curator and Interim Director of Japan Society Gallery, where I worked to challenge stereotypes about Asian and Japanese art. Asking what voices get the opportunity to be heard and whose work gets to be shown within institutional walls. CFGNY and Wataru Tominaga — transdisciplinary artists and fashion designers — brought new meaning to this work through their interrogation of the gendered body, identity and racial formation, and questioning of “vaguely Asian” aesthetics.
Thank you Tin, Daniel, Ten, Kirsten, and Wataru for your powerful and important work. And for being game for this collaboration right from the jump. @cfgny2 @wataru_tominaga
Much appreciation to everyone at the Hammer who all played an essential role in evolving the original exhibition and expanding its West Coast debut with many new projects. Especially to the curatorial team: Erin Christovale, Nika Chilewich, Ikechúkwú Onyewuenyi. @erinzulie @nikaschil @ike_chuks @hammer_museum
My gratitude to Connie Butler for initiating this whole thing (and Ann Philbin for saying a resounding YES!) 🙏 @cornelia.butler @annie.hammer
Thanks to the OG team:
Ayaka Iida, Da Cao, Stefani Oh, Naoko Saegusa @ayakasiida @daqiancao
Amazing supporters Sonya Yu, Thomas Lavin, Nonaka-Hill @sonyayu @the.real.thomas.lavin @nonakahillgallery
Super graphics by Other Means @other_means
Dreamy displays for Wataru by Chen Chen and Kai Williams @chenandkai
🫶🏻
TRUST ARTISTS
Refashioning is a project that I’m incredibly proud of. To be able to use my position as a resource and platform to let exceptional artists and designers do their thing, make and develop their work, is an honor.
I couldn’t think of a more fitting end to my tenure as Curator and Interim Director of Japan Society Gallery, where I worked to challenge stereotypes about Asian and Japanese art. Asking what voices get the opportunity to be heard and whose work gets to be shown within institutional walls. CFGNY and Wataru Tominaga — transdisciplinary artists and fashion designers — brought new meaning to this work through their interrogation of the gendered body, identity and racial formation, and questioning of “vaguely Asian” aesthetics.
Thank you Tin, Daniel, Ten, Kirsten, and Wataru for your powerful and important work. And for being game for this collaboration right from the jump. @cfgny2 @wataru_tominaga
Much appreciation to everyone at the Hammer who all played an essential role in evolving the original exhibition and expanding its West Coast debut with many new projects. Especially to the curatorial team: Erin Christovale, Nika Chilewich, Ikechúkwú Onyewuenyi. @erinzulie @nikaschil @ike_chuks @hammer_museum
My gratitude to Connie Butler for initiating this whole thing (and Ann Philbin for saying a resounding YES!) 🙏 @cornelia.butler @annie.hammer
Thanks to the OG team:
Ayaka Iida, Da Cao, Stefani Oh, Naoko Saegusa @ayakasiida @daqiancao
Amazing supporters Sonya Yu, Thomas Lavin, Nonaka-Hill @sonyayu @the.real.thomas.lavin @nonakahillgallery
Super graphics by Other Means @other_means
Dreamy displays for Wataru by Chen Chen and Kai Williams @chenandkai
🫶🏻
TRUST ARTISTS
Refashioning is a project that I’m incredibly proud of. To be able to use my position as a resource and platform to let exceptional artists and designers do their thing, make and develop their work, is an honor.
I couldn’t think of a more fitting end to my tenure as Curator and Interim Director of Japan Society Gallery, where I worked to challenge stereotypes about Asian and Japanese art. Asking what voices get the opportunity to be heard and whose work gets to be shown within institutional walls. CFGNY and Wataru Tominaga — transdisciplinary artists and fashion designers — brought new meaning to this work through their interrogation of the gendered body, identity and racial formation, and questioning of “vaguely Asian” aesthetics.
Thank you Tin, Daniel, Ten, Kirsten, and Wataru for your powerful and important work. And for being game for this collaboration right from the jump. @cfgny2 @wataru_tominaga
Much appreciation to everyone at the Hammer who all played an essential role in evolving the original exhibition and expanding its West Coast debut with many new projects. Especially to the curatorial team: Erin Christovale, Nika Chilewich, Ikechúkwú Onyewuenyi. @erinzulie @nikaschil @ike_chuks @hammer_museum
My gratitude to Connie Butler for initiating this whole thing (and Ann Philbin for saying a resounding YES!) 🙏 @cornelia.butler @annie.hammer
Thanks to the OG team:
Ayaka Iida, Da Cao, Stefani Oh, Naoko Saegusa @ayakasiida @daqiancao
Amazing supporters Sonya Yu, Thomas Lavin, Nonaka-Hill @sonyayu @the.real.thomas.lavin @nonakahillgallery
Super graphics by Other Means @other_means
Dreamy displays for Wataru by Chen Chen and Kai Williams @chenandkai
🫶🏻
TRUST ARTISTS
Refashioning is a project that I’m incredibly proud of. To be able to use my position as a resource and platform to let exceptional artists and designers do their thing, make and develop their work, is an honor.
I couldn’t think of a more fitting end to my tenure as Curator and Interim Director of Japan Society Gallery, where I worked to challenge stereotypes about Asian and Japanese art. Asking what voices get the opportunity to be heard and whose work gets to be shown within institutional walls. CFGNY and Wataru Tominaga — transdisciplinary artists and fashion designers — brought new meaning to this work through their interrogation of the gendered body, identity and racial formation, and questioning of “vaguely Asian” aesthetics.
Thank you Tin, Daniel, Ten, Kirsten, and Wataru for your powerful and important work. And for being game for this collaboration right from the jump. @cfgny2 @wataru_tominaga
Much appreciation to everyone at the Hammer who all played an essential role in evolving the original exhibition and expanding its West Coast debut with many new projects. Especially to the curatorial team: Erin Christovale, Nika Chilewich, Ikechúkwú Onyewuenyi. @erinzulie @nikaschil @ike_chuks @hammer_museum
My gratitude to Connie Butler for initiating this whole thing (and Ann Philbin for saying a resounding YES!) 🙏 @cornelia.butler @annie.hammer
Thanks to the OG team:
Ayaka Iida, Da Cao, Stefani Oh, Naoko Saegusa @ayakasiida @daqiancao
Amazing supporters Sonya Yu, Thomas Lavin, Nonaka-Hill @sonyayu @the.real.thomas.lavin @nonakahillgallery
Super graphics by Other Means @other_means
Dreamy displays for Wataru by Chen Chen and Kai Williams @chenandkai
🫶🏻
TRUST ARTISTS
Refashioning is a project that I’m incredibly proud of. To be able to use my position as a resource and platform to let exceptional artists and designers do their thing, make and develop their work, is an honor.
I couldn’t think of a more fitting end to my tenure as Curator and Interim Director of Japan Society Gallery, where I worked to challenge stereotypes about Asian and Japanese art. Asking what voices get the opportunity to be heard and whose work gets to be shown within institutional walls. CFGNY and Wataru Tominaga — transdisciplinary artists and fashion designers — brought new meaning to this work through their interrogation of the gendered body, identity and racial formation, and questioning of “vaguely Asian” aesthetics.
Thank you Tin, Daniel, Ten, Kirsten, and Wataru for your powerful and important work. And for being game for this collaboration right from the jump. @cfgny2 @wataru_tominaga
Much appreciation to everyone at the Hammer who all played an essential role in evolving the original exhibition and expanding its West Coast debut with many new projects. Especially to the curatorial team: Erin Christovale, Nika Chilewich, Ikechúkwú Onyewuenyi. @erinzulie @nikaschil @ike_chuks @hammer_museum
My gratitude to Connie Butler for initiating this whole thing (and Ann Philbin for saying a resounding YES!) 🙏 @cornelia.butler @annie.hammer
Thanks to the OG team:
Ayaka Iida, Da Cao, Stefani Oh, Naoko Saegusa @ayakasiida @daqiancao
Amazing supporters Sonya Yu, Thomas Lavin, Nonaka-Hill @sonyayu @the.real.thomas.lavin @nonakahillgallery
Super graphics by Other Means @other_means
Dreamy displays for Wataru by Chen Chen and Kai Williams @chenandkai
🫶🏻
TRUST ARTISTS
Refashioning is a project that I’m incredibly proud of. To be able to use my position as a resource and platform to let exceptional artists and designers do their thing, make and develop their work, is an honor.
I couldn’t think of a more fitting end to my tenure as Curator and Interim Director of Japan Society Gallery, where I worked to challenge stereotypes about Asian and Japanese art. Asking what voices get the opportunity to be heard and whose work gets to be shown within institutional walls. CFGNY and Wataru Tominaga — transdisciplinary artists and fashion designers — brought new meaning to this work through their interrogation of the gendered body, identity and racial formation, and questioning of “vaguely Asian” aesthetics.
Thank you Tin, Daniel, Ten, Kirsten, and Wataru for your powerful and important work. And for being game for this collaboration right from the jump. @cfgny2 @wataru_tominaga
Much appreciation to everyone at the Hammer who all played an essential role in evolving the original exhibition and expanding its West Coast debut with many new projects. Especially to the curatorial team: Erin Christovale, Nika Chilewich, Ikechúkwú Onyewuenyi. @erinzulie @nikaschil @ike_chuks @hammer_museum
My gratitude to Connie Butler for initiating this whole thing (and Ann Philbin for saying a resounding YES!) 🙏 @cornelia.butler @annie.hammer
Thanks to the OG team:
Ayaka Iida, Da Cao, Stefani Oh, Naoko Saegusa @ayakasiida @daqiancao
Amazing supporters Sonya Yu, Thomas Lavin, Nonaka-Hill @sonyayu @the.real.thomas.lavin @nonakahillgallery
Super graphics by Other Means @other_means
Dreamy displays for Wataru by Chen Chen and Kai Williams @chenandkai
🫶🏻
TRUST ARTISTS
Refashioning is a project that I’m incredibly proud of. To be able to use my position as a resource and platform to let exceptional artists and designers do their thing, make and develop their work, is an honor.
I couldn’t think of a more fitting end to my tenure as Curator and Interim Director of Japan Society Gallery, where I worked to challenge stereotypes about Asian and Japanese art. Asking what voices get the opportunity to be heard and whose work gets to be shown within institutional walls. CFGNY and Wataru Tominaga — transdisciplinary artists and fashion designers — brought new meaning to this work through their interrogation of the gendered body, identity and racial formation, and questioning of “vaguely Asian” aesthetics.
Thank you Tin, Daniel, Ten, Kirsten, and Wataru for your powerful and important work. And for being game for this collaboration right from the jump. @cfgny2 @wataru_tominaga
Much appreciation to everyone at the Hammer who all played an essential role in evolving the original exhibition and expanding its West Coast debut with many new projects. Especially to the curatorial team: Erin Christovale, Nika Chilewich, Ikechúkwú Onyewuenyi. @erinzulie @nikaschil @ike_chuks @hammer_museum
My gratitude to Connie Butler for initiating this whole thing (and Ann Philbin for saying a resounding YES!) 🙏 @cornelia.butler @annie.hammer
Thanks to the OG team:
Ayaka Iida, Da Cao, Stefani Oh, Naoko Saegusa @ayakasiida @daqiancao
Amazing supporters Sonya Yu, Thomas Lavin, Nonaka-Hill @sonyayu @the.real.thomas.lavin @nonakahillgallery
Super graphics by Other Means @other_means
Dreamy displays for Wataru by Chen Chen and Kai Williams @chenandkai
🫶🏻
TRUST ARTISTS
Refashioning is a project that I’m incredibly proud of. To be able to use my position as a resource and platform to let exceptional artists and designers do their thing, make and develop their work, is an honor.
I couldn’t think of a more fitting end to my tenure as Curator and Interim Director of Japan Society Gallery, where I worked to challenge stereotypes about Asian and Japanese art. Asking what voices get the opportunity to be heard and whose work gets to be shown within institutional walls. CFGNY and Wataru Tominaga — transdisciplinary artists and fashion designers — brought new meaning to this work through their interrogation of the gendered body, identity and racial formation, and questioning of “vaguely Asian” aesthetics.
Thank you Tin, Daniel, Ten, Kirsten, and Wataru for your powerful and important work. And for being game for this collaboration right from the jump. @cfgny2 @wataru_tominaga
Much appreciation to everyone at the Hammer who all played an essential role in evolving the original exhibition and expanding its West Coast debut with many new projects. Especially to the curatorial team: Erin Christovale, Nika Chilewich, Ikechúkwú Onyewuenyi. @erinzulie @nikaschil @ike_chuks @hammer_museum
My gratitude to Connie Butler for initiating this whole thing (and Ann Philbin for saying a resounding YES!) 🙏 @cornelia.butler @annie.hammer
Thanks to the OG team:
Ayaka Iida, Da Cao, Stefani Oh, Naoko Saegusa @ayakasiida @daqiancao
Amazing supporters Sonya Yu, Thomas Lavin, Nonaka-Hill @sonyayu @the.real.thomas.lavin @nonakahillgallery
Super graphics by Other Means @other_means
Dreamy displays for Wataru by Chen Chen and Kai Williams @chenandkai
🫶🏻
‼️ Last days of NONE WHATSOEVER, closing Sunday, June 16 at 7 PM ‼️
The team that brought this exhibition to life is beyond talented: THANK YOU.
Exhibition design and fabrication — UTTER MAGIC: Ransmeier, Inc @ransmeier_inc
Smart and playful graphic design: Ransmeier, Inc with David Walsh and Data-Orbit @ransmeier_inc @daviddanielwalsh @data_orbit
Best carpet installation hands down: Carpet Time @carpettimenyc
Deft art handling: WittsART @wittsart
Impeccable vinyl install: DaSign Guy @dasign_guy
Super special thanks to Daqian Cao, Adèle Cooper, Liam Monaghan, Theodore Simon, Mathias Wagner, and David Walsh @daqiancao @anscoopr @_liammonaghan @theodoresimon.dsgn @daviddanielwalsh
I organized this exhibition @japansociety from its first iteration @mfahouston curated by the brilliant Yukio Lippit and Bradley Bailey
Last but not least, thank you Alice and Kurt @gitteryelencollection for making this show possible
BOMB photography ©️ Naho Kubota @n_kubota
💙🙏
‼️ Last days of NONE WHATSOEVER, closing Sunday, June 16 at 7 PM ‼️
The team that brought this exhibition to life is beyond talented: THANK YOU.
Exhibition design and fabrication — UTTER MAGIC: Ransmeier, Inc @ransmeier_inc
Smart and playful graphic design: Ransmeier, Inc with David Walsh and Data-Orbit @ransmeier_inc @daviddanielwalsh @data_orbit
Best carpet installation hands down: Carpet Time @carpettimenyc
Deft art handling: WittsART @wittsart
Impeccable vinyl install: DaSign Guy @dasign_guy
Super special thanks to Daqian Cao, Adèle Cooper, Liam Monaghan, Theodore Simon, Mathias Wagner, and David Walsh @daqiancao @anscoopr @_liammonaghan @theodoresimon.dsgn @daviddanielwalsh
I organized this exhibition @japansociety from its first iteration @mfahouston curated by the brilliant Yukio Lippit and Bradley Bailey
Last but not least, thank you Alice and Kurt @gitteryelencollection for making this show possible
BOMB photography ©️ Naho Kubota @n_kubota
💙🙏
‼️ Last days of NONE WHATSOEVER, closing Sunday, June 16 at 7 PM ‼️
The team that brought this exhibition to life is beyond talented: THANK YOU.
Exhibition design and fabrication — UTTER MAGIC: Ransmeier, Inc @ransmeier_inc
Smart and playful graphic design: Ransmeier, Inc with David Walsh and Data-Orbit @ransmeier_inc @daviddanielwalsh @data_orbit
Best carpet installation hands down: Carpet Time @carpettimenyc
Deft art handling: WittsART @wittsart
Impeccable vinyl install: DaSign Guy @dasign_guy
Super special thanks to Daqian Cao, Adèle Cooper, Liam Monaghan, Theodore Simon, Mathias Wagner, and David Walsh @daqiancao @anscoopr @_liammonaghan @theodoresimon.dsgn @daviddanielwalsh
I organized this exhibition @japansociety from its first iteration @mfahouston curated by the brilliant Yukio Lippit and Bradley Bailey
Last but not least, thank you Alice and Kurt @gitteryelencollection for making this show possible
BOMB photography ©️ Naho Kubota @n_kubota
💙🙏
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