LaurieAnnie's photos with the keyword: bride

The Cathedrals of Fifth Avenue, 1931–32 Florine Stettheimer (American, 1871­1944) Oil on canvas; 60 1/8 x 50 1/8 in. (152.7 x 127.3 cm) The Metropolitan Museum of Art, New York Gift of Ettie Stettheimer, 1953 (53.24.3) In each of her Cathedrals, Stettheimer uses architecture to organize her composition. In this case it resembles a real Cathedral, perhaps Saint Patrick's Church on Fifth Avenue, although the newlyweds emerge from underneath a bright red canopy and matching carpet that seem to belong more to the Plaza Hotel than to a church. All around this central scene, activities depicting other aspects of conspicuous consumption abound, seemingly unaware of the wedding taking place. This wild activity energizes the canvas just as it energizes Fifth Avenue on a Saturday afternoon in December. Text from: www.metmuseum.org/explore/artists_view/cathedrals_wedding...

The Cathedrals of Fifth Avenue, 1931–32 Florine Stettheimer (American, 1871­1944) Oil on canvas; 60 1/8 x 50 1/8 in. (152.7 x 127.3 cm) The Metropolitan Museum of Art, New York Gift of Ettie Stettheimer, 1953 (53.24.3) In each of her Cathedrals, Stettheimer uses architecture to organize her composition. In this case it resembles a real Cathedral, perhaps Saint Patrick's Church on Fifth Avenue, although the newlyweds emerge from underneath a bright red canopy and matching carpet that seem to belong more to the Plaza Hotel than to a church. All around this central scene, activities depicting other aspects of conspicuous consumption abound, seemingly unaware of the wedding taking place. This wild activity energizes the canvas just as it energizes Fifth Avenue on a Saturday afternoon in December. Text from: www.metmuseum.org/explore/artists_view/cathedrals_wedding...

This couple was taking their wedding pictures inside the Vatican Museums. They were nice enough to let me take their picture as well.

BBG's Japanese Hill-and-Pond Garden was the first Japanese garden to be created in an American public garden. It was constructed in 1914 and 1915 at a cost of $13,000, a gift of early BBG benefactor and trustee Alfred T. White, and it first opened to the public in June 1915. It is considered to be the masterpiece of its creator, Japanese landscape designer Takeo Shiota (1881-1943). Shiota was born in a small Japanese village about 40 miles (64 km) from Tokyo, and in his youth spent years traversing Japan on foot to explore its natural landscape. He emigrated to the United States in 1907. The garden is a blend of the ancient hill-and-pond style and the more modern stroll-garden style, in which various landscape features are gradually revealed along winding paths. Its 3 acres (1.2 ha) contain hills, a waterfall, a pond, and an island, all artificially constructed. Carefully placed rocks also play leading roles. Among the architectural elements of the garden are wooden bridges, stone lanterns, a viewing pavilion, a torii or gateway, and a Shinto shrine. A restoration of the garden in 2000 was recognized with the New York Landmark Conservancy's 2001 Preservation Award. Text from: en.wikipedia.org/wiki/Brooklyn_Botanic_Garden

BBG's Japanese Hill-and-Pond Garden was the first Japanese garden to be created in an American public garden. It was constructed in 1914 and 1915 at a cost of $13,000, a gift of early BBG benefactor and trustee Alfred T. White, and it first opened to the public in June 1915. It is considered to be the masterpiece of its creator, Japanese landscape designer Takeo Shiota (1881-1943). Shiota was born in a small Japanese village about 40 miles (64 km) from Tokyo, and in his youth spent years traversing Japan on foot to explore its natural landscape. He emigrated to the United States in 1907. The garden is a blend of the ancient hill-and-pond style and the more modern stroll-garden style, in which various landscape features are gradually revealed along winding paths. Its 3 acres (1.2 ha) contain hills, a waterfall, a pond, and an island, all artificially constructed. Carefully placed rocks also play leading roles. Among the architectural elements of the garden are wooden bridges, stone lanterns, a viewing pavilion, a torii or gateway, and a Shinto shrine. A restoration of the garden in 2000 was recognized with the New York Landmark Conservancy's 2001 Preservation Award. Text from: en.wikipedia.org/wiki/Brooklyn_Botanic_Garden

E.V Day. Her exhibition Bride Fight is on view in the lobby of The Lever House Art Collection from May 6 – August 26, 2006. Bride Fight, a spectacular high-tension string up of two dueling bridal gowns is E.V. Day’s most complex and most ambitious work to date. The tableau represents a manifestation of anxiety and humor, memorializing an active state of transformation of tradition. Bride Fight developed from a series of E.V. Day's installations called “Exploding Couture,” begun in 1999, in which she suspends women’s dresses in space. Each dress portrays a view of a conventional feminine stereotype in a dramatic stop-action explosion. The “explosions” are constructed to feel as if the internal forces of the figure are so powerful that the garment literally blows off, as if it is outgrowing its stereotype. Ecstasy, strength, humor and release are emotions Day associates with the expression of these sculptures. E.V. Day had a solo exhibition at the Whitney Museum at Altria in 2001, where she installed G-Force, a work in which she suspended hundreds of thongs from the ceiling in fighter jet formations. Day had a ten-year survey exhibition last year at the Herbert F. Johnson Museum of Art at Cornell University for which a color catalogue was produced. E.V. Day’s exhibition Intergalactic Installations is on view at the Santa Barbara Contemporary Arts Forum From April 22 – June 18, 2006. Text from: www.deitch.com/artists/sub.php?artistId=32

E.V Day. Her exhibition Bride Fight is on view in the lobby of The Lever House Art Collection from May 6 – August 26, 2006. Bride Fight, a spectacular high-tension string up of two dueling bridal gowns is E.V. Day’s most complex and most ambitious work to date. The tableau represents a manifestation of anxiety and humor, memorializing an active state of transformation of tradition. Bride Fight developed from a series of E.V. Day's installations called “Exploding Couture,” begun in 1999, in which she suspends women’s dresses in space. Each dress portrays a view of a conventional feminine stereotype in a dramatic stop-action explosion. The “explosions” are constructed to feel as if the internal forces of the figure are so powerful that the garment literally blows off, as if it is outgrowing its stereotype. Ecstasy, strength, humor and release are emotions Day associates with the expression of these sculptures. E.V. Day had a solo exhibition at the Whitney Museum at Altria in 2001, where she installed G-Force, a work in which she suspended hundreds of thongs from the ceiling in fighter jet formations. Day had a ten-year survey exhibition last year at the Herbert F. Johnson Museum of Art at Cornell University for which a color catalogue was produced. E.V. Day’s exhibition Intergalactic Installations is on view at the Santa Barbara Contemporary Arts Forum From April 22 – June 18, 2006. Text from: www.deitch.com/artists/sub.php?artistId=32

E.V Day. Her exhibition Bride Fight is on view in the lobby of The Lever House Art Collection from May 6 – August 26, 2006. Bride Fight, a spectacular high-tension string up of two dueling bridal gowns is E.V. Day’s most complex and most ambitious work to date. The tableau represents a manifestation of anxiety and humor, memorializing an active state of transformation of tradition. Bride Fight developed from a series of E.V. Day's installations called “Exploding Couture,” begun in 1999, in which she suspends women’s dresses in space. Each dress portrays a view of a conventional feminine stereotype in a dramatic stop-action explosion. The “explosions” are constructed to feel as if the internal forces of the figure are so powerful that the garment literally blows off, as if it is outgrowing its stereotype. Ecstasy, strength, humor and release are emotions Day associates with the expression of these sculptures. E.V. Day had a solo exhibition at the Whitney Museum at Altria in 2001, where she installed G-Force, a work in which she suspended hundreds of thongs from the ceiling in fighter jet formations. Day had a ten-year survey exhibition last year at the Herbert F. Johnson Museum of Art at Cornell University for which a color catalogue was produced. E.V. Day’s exhibition Intergalactic Installations is on view at the Santa Barbara Contemporary Arts Forum From April 22 – June 18, 2006. Text from: www.deitch.com/artists/sub.php?artistId=32

E.V Day. Her exhibition Bride Fight is on view in the lobby of The Lever House Art Collection from May 6 – August 26, 2006. Bride Fight, a spectacular high-tension string up of two dueling bridal gowns is E.V. Day’s most complex and most ambitious work to date. The tableau represents a manifestation of anxiety and humor, memorializing an active state of transformation of tradition. Bride Fight developed from a series of E.V. Day's installations called “Exploding Couture,” begun in 1999, in which she suspends women’s dresses in space. Each dress portrays a view of a conventional feminine stereotype in a dramatic stop-action explosion. The “explosions” are constructed to feel as if the internal forces of the figure are so powerful that the garment literally blows off, as if it is outgrowing its stereotype. Ecstasy, strength, humor and release are emotions Day associates with the expression of these sculptures. E.V. Day had a solo exhibition at the Whitney Museum at Altria in 2001, where she installed G-Force, a work in which she suspended hundreds of thongs from the ceiling in fighter jet formations. Day had a ten-year survey exhibition last year at the Herbert F. Johnson Museum of Art at Cornell University for which a color catalogue was produced. E.V. Day’s exhibition Intergalactic Installations is on view at the Santa Barbara Contemporary Arts Forum From April 22 – June 18, 2006. Text from: www.deitch.com/artists/sub.php?artistId=32 Made "Explore" on September 17, 2006

E.V Day. Her exhibition Bride Fight is on view in the lobby of The Lever House Art Collection from May 6 – August 26, 2006. Bride Fight, a spectacular high-tension string up of two dueling bridal gowns is E.V. Day’s most complex and most ambitious work to date. The tableau represents a manifestation of anxiety and humor, memorializing an active state of transformation of tradition. Bride Fight developed from a series of E.V. Day's installations called “Exploding Couture,” begun in 1999, in which she suspends women’s dresses in space. Each dress portrays a view of a conventional feminine stereotype in a dramatic stop-action explosion. The “explosions” are constructed to feel as if the internal forces of the figure are so powerful that the garment literally blows off, as if it is outgrowing its stereotype. Ecstasy, strength, humor and release are emotions Day associates with the expression of these sculptures. E.V. Day had a solo exhibition at the Whitney Museum at Altria in 2001, where she installed G-Force, a work in which she suspended hundreds of thongs from the ceiling in fighter jet formations. Day had a ten-year survey exhibition last year at the Herbert F. Johnson Museum of Art at Cornell University for which a color catalogue was produced. E.V. Day’s exhibition Intergalactic Installations is on view at the Santa Barbara Contemporary Arts Forum From April 22 – June 18, 2006. Text from: www.deitch.com/artists/sub.php?artistId=32

E.V Day. Her exhibition Bride Fight is on view in the lobby of The Lever House Art Collection from May 6 – August 26, 2006. Bride Fight, a spectacular high-tension string up of two dueling bridal gowns is E.V. Day’s most complex and most ambitious work to date. The tableau represents a manifestation of anxiety and humor, memorializing an active state of transformation of tradition. Bride Fight developed from a series of E.V. Day's installations called “Exploding Couture,” begun in 1999, in which she suspends women’s dresses in space. Each dress portrays a view of a conventional feminine stereotype in a dramatic stop-action explosion. The “explosions” are constructed to feel as if the internal forces of the figure are so powerful that the garment literally blows off, as if it is outgrowing its stereotype. Ecstasy, strength, humor and release are emotions Day associates with the expression of these sculptures. E.V. Day had a solo exhibition at the Whitney Museum at Altria in 2001, where she installed G-Force, a work in which she suspended hundreds of thongs from the ceiling in fighter jet formations. Day had a ten-year survey exhibition last year at the Herbert F. Johnson Museum of Art at Cornell University for which a color catalogue was produced. E.V. Day’s exhibition Intergalactic Installations is on view at the Santa Barbara Contemporary Arts Forum From April 22 – June 18, 2006. Text from: www.deitch.com/artists/sub.php?artistId=32

E.V Day. Her exhibition Bride Fight is on view in the lobby of The Lever House Art Collection from May 6 – August 26, 2006. Bride Fight, a spectacular high-tension string up of two dueling bridal gowns is E.V. Day’s most complex and most ambitious work to date. The tableau represents a manifestation of anxiety and humor, memorializing an active state of transformation of tradition. Bride Fight developed from a series of E.V. Day's installations called “Exploding Couture,” begun in 1999, in which she suspends women’s dresses in space. Each dress portrays a view of a conventional feminine stereotype in a dramatic stop-action explosion. The “explosions” are constructed to feel as if the internal forces of the figure are so powerful that the garment literally blows off, as if it is outgrowing its stereotype. Ecstasy, strength, humor and release are emotions Day associates with the expression of these sculptures. E.V. Day had a solo exhibition at the Whitney Museum at Altria in 2001, where she installed G-Force, a work in which she suspended hundreds of thongs from the ceiling in fighter jet formations. Day had a ten-year survey exhibition last year at the Herbert F. Johnson Museum of Art at Cornell University for which a color catalogue was produced. E.V. Day’s exhibition Intergalactic Installations is on view at the Santa Barbara Contemporary Arts Forum From April 22 – June 18, 2006. Text from: www.deitch.com/artists/sub.php?artistId=32

E.V Day. Her exhibition Bride Fight is on view in the lobby of The Lever House Art Collection from May 6 – August 26, 2006. Bride Fight, a spectacular high-tension string up of two dueling bridal gowns is E.V. Day’s most complex and most ambitious work to date. The tableau represents a manifestation of anxiety and humor, memorializing an active state of transformation of tradition. Bride Fight developed from a series of E.V. Day's installations called “Exploding Couture,” begun in 1999, in which she suspends women’s dresses in space. Each dress portrays a view of a conventional feminine stereotype in a dramatic stop-action explosion. The “explosions” are constructed to feel as if the internal forces of the figure are so powerful that the garment literally blows off, as if it is outgrowing its stereotype. Ecstasy, strength, humor and release are emotions Day associates with the expression of these sculptures. E.V. Day had a solo exhibition at the Whitney Museum at Altria in 2001, where she installed G-Force, a work in which she suspended hundreds of thongs from the ceiling in fighter jet formations. Day had a ten-year survey exhibition last year at the Herbert F. Johnson Museum of Art at Cornell University for which a color catalogue was produced. E.V. Day’s exhibition Intergalactic Installations is on view at the Santa Barbara Contemporary Arts Forum From April 22 – June 18, 2006. Text from: www.deitch.com/artists/sub.php?artistId=32

Old Westbury Gardens, listed on the National Register of Historic Places, is the former home of John S. Phipps, his wife, Margarita Grace Phipps and their four children. Completed in 1906 by the English designer, George A. Crawley, the magnificent Charles II-style mansion is nestled amid 200 acres of formal gardens, landscaped grounds, woodlands, ponds and lakes. Westbury House is furnished with fine English antiques and decorative arts from the more than fifty years of the family's residence. Text from: www.oldwestburygardens.org/

Old Westbury Gardens, listed on the National Register of Historic Places, is the former home of John S. Phipps, his wife, Margarita Grace Phipps and their four children. Completed in 1906 by the English designer, George A. Crawley, the magnificent Charles II-style mansion is nestled amid 200 acres of formal gardens, landscaped grounds, woodlands, ponds and lakes. Westbury House is furnished with fine English antiques and decorative arts from the more than fifty years of the family's residence. Text from: www.oldwestburygardens.org/