Art & Exhibitions

Director Yorgos Lanthimos’s new film Poor Things tells the fantastical tale of a young woman, played by Emma Stone, who’s brought back to life by Willem Dafoe’s mad scientist. It’s the stuff of gothic horror, woven with the Greek filmmaker’s winking absurdism, as the movie follows our lead Bella Baxter from her rebirth in the 1880s through the 1960s. Key to that storytelling isn’t just Lanthimos’s surreal scene-setting, but the film’s lavishly eccentric costuming, overseen by designer Holly Waddington.
“I was really encouraged by Yorgos to just go big,” the costume designer told the Motion Pictures Association of her work on the film. “What we ended up with had a lot to do with texture—big textures in the clothing, things that felt organic, things that felt inflated.”
Now, Waddington’s costumes have made their way off-screen and into a showcase at the ASU FIDM Museum in Los Angeles. Organized by Searchlight Pictures, “Poor Things Costume Exhibit” arrays 13 costumes from the film, including eight worn by Stone, and others by her co-stars including Dafoe, Mark Ruffalo, and Ramy Youssef. 
Mark Ruffalo in Poor Things (2023). Photo: Yorgos Lanthimos. Courtesy of Searchlight Pictures. © 2023 Searchlight Pictures All Rights Reserved.
To the museum’s curator Kevin Jones, these pieces, while recognizably “historic,” present a blend of styles to create “looks that are not pedantic.” In an email, he brings up “leg-‘o’-mutton sleeves mixed with go-go boots, lobster-tail bustles worn as outerwear, and reconfigurations of Madeleine Vionnet and Charles James eveningwear.” 
This interplay of styles emerged from Lanthimos’s and Waddington’s vast body of references for the film. According to her, they included Victorian designs as much as 1960s nods to the space age. The works of Otto Dix, Egon Schiele, Georgia O’Keeffe, and John Singer Sargent also served as inspirations. Waddington’s use of period-appropriate fabrics were additionally woven with contemporary techniques—an, ahem, Frankenstein-esque mix-and-match that nailed the movie’s otherworldliness. 
Emma Stone in Poor Things (2023). Photo: Yorgos Lanthimos, Courtesy of Searchlight Pictures. © 2023 Searchlight Pictures All Rights Reserved.
Among the pieces in the exhibition are a paper silk ensemble cut into a mermaid silhouette (what Waddington calls a “weird bustle cage“) that nods to Bella’s awakening youth, and an eye-poppingly yellow Victorian evening gown, complete with pointed sleeves, that marks her sexual liberation.  
Jones himself highlights Bella’s first outfit, a lush blue creation, which mirrors the waters out of which she is rescued by Dafoe’s character, as well as a bronze satin day gown that “blends into the wood paneling of her husband’s chateau—sartorially imprisoning her just as he is trying to physically.” 
“Each costume is a character unto itself that reflects the actor’s circumstance, and subtly reveals to movie-goers the hero’s or villain’s course of action,” he said. “How much costume detail is lost on screen, or how the colors or patterns enhance or subdue the believability of the storyline is evident in the exhibition.” 
See more images from the show below. 
Installation view of “Poor Things Costume Exhibit” at ASU FIDM Museum. Photo courtesy of ASU FIDM Museum.
Installation view of “Poor Things Costume Exhibit” at ASU FIDM Museum. Photo courtesy of ASU FIDM Museum.
Installation view of “Poor Things Costume Exhibit” at ASU FIDM Museum. Photo courtesy of ASU FIDM Museum.
Installation view of “Poor Things Costume Exhibit” at ASU FIDM Museum. Photo courtesy of ASU FIDM Museum.
“Poor Things Costume Exhibit” is on view at the ASU FISM Museum, 919 South Grand Avenue, Los Angeles, California, through December 15. 

More Trending Stories:
Art Critic Jerry Saltz Gets Into an Online Skirmish With A.I. Superstar Refik Anadol
Your Go-To Guide to All the Fairs You Can’t Miss During Miami Art Week 2023
The Old Masters of Comedy: See the Hidden Jokes in 5 Dutch Artworks
David Hockney Lights Up London’s Battersea Power Station With Animated Christmas Trees
On Edge Before Miami Basel, the Art World Is Bracing for ‘the Question’
Thieves Stole More Than $1 Million Worth of Parts From an Anselm Kiefer Sculpture
Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

Jamian Juliano-Villani, the New York-based painter known for reappropriating images from memes, fashion photography, and art history for her irreverent paintings, will be showing at Gagosian in March 2024.
The solo exhibition, titled “It,” will feature new paintings, anchored by Spaghettios (2023). The large-scale work, about six feet long and seven feet tall, depicts a bowl of Campbell’s torus-shaped pasta in the foreground and a Spaghettios soup can in the background, with her signature hyperrealism.
The show will be accompanied by the first major publication dedicated to her work, encompassing 45 paintings from 2013 to 2023, including a number of works from the March exhibition.
“I am finally making the work I want to make,” Juliano-Villani said in an email. “Freedom of expression is something I do with defiance and it’s worth defending. Larry [Gagosian] understands that. This show is a love letter from one visionary to another.”
Juliano-Villani is currently exhibiting one of her works at the Gagosian booth at Art Basel Miami Beach this week—alongside new art by the likes of Carol Bove and Lauren Halsey—marking the second year of her journey with the gallery.
One of her works had previously been included in “100 Years”—a group exhibition and collaboration between dealers Jeffrey Deitch and Larry Gagosian during Miami Art Week in 2022, which launched her work with the gallery. Gagosian has since showed her work at Art Basel Hong Kong, Art Basel, and Paris+.
Juliano-Villani had been represented by JTT gallery in New York and Massimo De Carlo, who has galleries in Milan and Hong Kong, as well as in London, since at least 2019. (JTT gallery, in a surprise move in August, closed after over a decade in business.)
In 2021, Juliano-Villani opened her own Lower East Side gallery, O’Flaherty’s, with two longtime friends, Billy Grant and Ruby Zarsky. O’Flaherty’s recently moved locations and reopened in March, inaugurated by the Viennese collective Gelatin.
“Jamian has such a unique and creative perspective that crosses generations from Pop Art to TikTok,” Gagosian senior director Kara Vander Weg said in an email. “We’ve been talking for some time and are delighted to host her exhibition next year.”
“It” will be on view at Gagosian New York, 541 West 24th Street, New York, from March 16, 2024.

More Trending Stories:  
Art Critic Jerry Saltz Gets Into an Online Skirmish With A.I. Superstar Refik Anadol 
Your Go-To Guide to All the Fairs You Can’t Miss During Miami Art Week 2023 
The Old Masters of Comedy: See the Hidden Jokes in 5 Dutch Artworks 
David Hockney Lights Up London’s Battersea Power Station With Animated Christmas Trees 
On Edge Before Miami Basel, the Art World Is Bracing for ‘the Question’ 
Thieves Stole More Than $1 Million Worth of Parts From an Anselm Kiefer Sculpture 
Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

Miami Art Week is welcoming all manner of young and emerging artists, but the Standard Spa on the beach will be showcasing a creative entirely unlike all others. 
From December 5–10, the boutique hotel will host a presentation from Australian interior design company Studio Snoop, featuring works by its A.I. powered designer, Tilly Talbot. Titled “House of Tilly,” the show unfolds within a house-like structure, installed with five “future-living” design prototypes that have been crafted in partnership with human artists. Her collaborators include PLP Architects, Vert Design Studio, and Magical Mushroom Company.
As a digital avatar, Tilly will also show up in an interactive experience to share insights into her designs, as well as information about the hotel, effectively serving as its concierge.
Tilly was designed by the studio’s founder Amanda Talbot to respond to emotional intelligence, following her inquiries into how—and why—humans access A.I. “I started to come across this idea of how loneliness can lead people to tap into artificial intelligence,” she told Dezeen, “and how that can actually help people not feel lonely.” 
The model has been programmed to generate “human-centered” and environmentally minded designs. According to Talbot, Tilly will prioritize eco-friendly materials in her designs, gathering data in real-time to inform her “educated decisions.” 
The Tilly A.I.  Design Collection, featuring Polar Bear with Cadrys and Gus with PLP Architects and Magical Mushroom Company. Photo: Peer Lindgreen for Studio Snoop.
Miami marks Tilly’s U.S. debut, following her appearance at Milan Design Week in March, where she presented at Charles Philip gallery. There, her machine-imagined works were arrayed alongside tablets with which visitors could interact with Tilly via chat. 
Tilly is far from the only A.I. presence in the design space, which is increasingly tapping the potential of generative models. Zaha Hadid Architects, for one, has been leaning on machine intelligence in its design of workspaces, just as firms such as Kahler Slater and Coop Himmelb(l)au are tapping A.I. models to complete tasks including rendering and dreaming up innovative forms. 
Talbot, for her part, is quick to emphasize that Tilly is a tool as much as a collaborator. As with most A.I., Tilly comes with built-in, which “you’ve got to get through,” but Talbot professed the model’s involvement in the studio’s processes has “invigorated” its practice. 
“The more knowledge we have,” she said about A.I., “the more we can engage with it and learn about it and be a part of it.” 
See more of Tilly’s designs going on view at Miami Art Week below. 
The Tilly A.I. Design Collection, in partnership with Vert. Photo: Peer Lindgreen for Studio Snoop.
The Tilly A.I. Design Collection, in collaboration with PLP Architects and Magical Mushroom Company. Photo: Peer Lindgreen for Studio Snoop.
The Tilly A.I. Design Collection. Photo: Peer Lindgreen for Studio Snoop.
“House of Tilly” is on view at the Standard Spa, 40 Island Avenue, Miami Beach, Florida, December 5–10. 

More Trending Stories:  
Art Critic Jerry Saltz Gets Into an Online Skirmish With A.I. Superstar Refik Anadol 
The Old Masters of Comedy: See the Hidden Jokes in 5 Dutch Artworks 
A Royal Portrait by Diego Velázquez Heads to Auction for the First Time in Half a Century 
How Do You Make $191,000 From a $4 Painting? You Don’t 
In Her L.A. Debut, South Korean Artist Guimi You Taps Into the Sublimity of Everyday Life 
Two Rare Paintings by Sienese Master Pietro Lorenzetti Come to Light After a Century in Obscurity 
Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

It is little wonder that an art movement like Impressionism, popular for capturing the elusive immediacy of everyday life, would be drawn to drawing. Works on paper, historically relegated to the status of a preparatory sketch, soon became masterpieces in their own right. Emancipated from the formal rigor and slick stylisations of Rococo and Neoclassicist painting, the Impressionists were able to reveal something that felt much truer to real life. The course of modern art would never turn back.
A new show at the Royal Academy in London brings together 77 drawings in pastel, charcoal and watercolor by Impressionists like Mary Cassatt, Claude Monet, Berthe Morisot, and Augustus Renoir, as well as prominent post-Impressionists like Paul Cézanne, Paul Gauguin, and Georges Seurat. Many of these works are rarely exhibited in public because they are privately owned and their fragile materials can be vulnerable to the damaging effects of daylight.
One highlight of the show, Van Gogh’s The Fortifications of Paris with Houses (1887), was nearly lost forever after it was stolen from Manchester’s Whitworth Gallery in 2003. The watercolor sketch and two other works by Gauguin and Picasso were miraculously recovered a day later, stashed by a public bathroom on the edge of Whitworth Park some 200 yards away. Having been removed from its frame and exposed to the elements on a particularly cold and damp day, the Van Gogh showed some signs of damage including a 5 inch tear on one side that has since been repaired. It was found with a smudged note stating: “The intention was not to steal. Only to highlight the woeful security.”
The avant-garde compositions on view see their authors experiment with unusual vantage points, emotional expression, and greater spontaneity to create intimate figure studies, lively vignettes, and sensitive landscapes that capture something of nature’s ephemerality. These unrehearsed and unrestricted discoveries made on paper would go on to inform some of the best-loved canvases of the late 19th century and beyond.
“Impressionists on Paper: Degas to Toulouse-Lautrec” runs through March 10, 2024. Check out more works from the show below.
Vincent van Gogh, The Fortifications of Paris with Houses (1887). Photo: Michael Pollard, © The Whitworth, The University of Manchester.
Odilon Redon, Ophelia Among the Flowers (c. 1905-08). Photo: © The National Gallery, London.
Installation view of “Impressionists on Paper: Degas to Toulouse-Lautrec” at the Royal Academy of Arts, London, showing Edgar Degas, Dancer Seen from Behind (c. 1873). Photo: Royal Academy of Arts, London / David Parry. Artwork: The Whitworth, The University of Manchester.
Mary Cassatt, Portrait de Marie-Thérèse Gaillard (1894). Photo: © 2007 Christie’s Images Limited.
Installation view of “Impressionists on Paper: Degas to Toulouse-Lautrec” at the Royal Academy of Arts, London, showing Edgar Degas, After the Bath, Woman Drying Herself (c.1890-95). Photo: Royal Academy of Arts, London / David Parry. Artwork: The Whitworth, The University of Manchester.
Georges Seurat, Seated Youth, Study for “Bathers at Asnières” (1883). Photo courtesy of National Galleries of Scotland.
Henri de Toulouse-Lautrec, At the Circus: The Encore (1899).
Installation view of “Impressionists on Paper: Degas to Toulouse-Lautrec” at the Royal Academy of Arts, London, showing Camille Pissarro, The Market Stall (1884). Photo: Royal Academy of Arts, London / David Parry. Artwork: The Whitworth, The University of Manchester.
Installation view of “Impressionists on Paper: Degas to Toulouse-Lautrec” at the Royal Academy of Arts, London. Photo: Royal Academy of Arts, London / David Parry.

More Trending Stories:  
Art Critic Jerry Saltz Gets Into an Online Skirmish With A.I. Superstar Refik Anadol 
The Old Masters of Comedy: See the Hidden Jokes in 5 Dutch Artworks 
A Royal Portrait by Diego Velázquez Heads to Auction for the First Time in Half a Century 
How Do You Make $191,000 From a $4 Painting? You Don’t 
In Her L.A. Debut, South Korean Artist Guimi You Taps Into the Sublimity of Everyday Life 
Two Rare Paintings by Sienese Master Pietro Lorenzetti Come to Light After a Century in Obscurity 
Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More