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"They love to support a glamorous exhibition and highly targeted educational programs, which means every museum is desperate to build an endowment or generate revenue to cover the unglamorous stuff," like wiring, air-conditioning and general operating expenses.
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By George W. S. Trow Diana Vreeland, center, surrounded by models and actresses wearing costumes and masks for the Romantic and Glamorous Hollywood Design exhibition, 1974.
Fifty-six yeafterfteRichard Hamiltonon first coined the term "pop art" – he described it as popular, transient, expendable, low-cost, mass-produced, young, witty, sexy, gimmicky and glamorous – the first London exhibition devoted solely to British exponents has opened.
Through more than 100 exhibits the exhibition explores, reflects and celebrates the diversity of the north's people and places - in all their gritty, glamorous and (sometimes) gaudy glory.
The director of the National Portrait Gallery, Sandy Nairne, who has presided over a period of soaring visitor numbers, sell-out exhibitions and glamorous acquisitions, is to leave the job early next year.
Ms. Jolie loves positioning herself under the play of glamorous light during her exhibitions of derring-do, and her crafty hamminess doesn't suspend disbelief enough to make anyone forget she's in as much danger as someone playing the home version of "Tomb Raider".
Sara VanDerBeek's exhibition is a glamorous contribution to this tradition of inbred futility.
About three weeks before the opening of the current Metropolitan Museum exhibition "Romantic and Glamorous Hollywood Design," I paid a visit to Mrs. Vreeland in her Chinese-red office in the Met's basement.
On the catwalk, British designer of the year Luella Bartley unveiled her autumn collection to a young paparazzi-friendly front row, while Sarah Brown showed her support for British designers in the less glamorous environs of the static exhibition.
For the museum, founded in 1917 and guarded by two 15-inch guns from a World War I dreadnought, there is something — well, raffish — in the staging of an exhibition about the glamorous, gadget-wielding, womanizing, devil-may-care Bond and his creator, for whom the superspy was in many respects an alter-ego.
Her exhibitions of "Romantic and Glamorous Hollywood Design," "The Glory of Russian Costume," and other pizzazz-generating subjects drew big crowds, and the Costume Institute's annual benefit began living up to its hopeful title as the "Party of the Year".
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