Fresh from Milan Fashion Week, Editor at Large ALEXANDER HANKIN is back in New York for MoMA’s big night.
It’s 10pm and the stately Agnes Gund Garden Lobby, named for the legendary art patron and philanthropist, is a total youthquake. The red-hot artist Tyler Mitchell, who has a must-see show “Ghost Images” at Gagosian in Chelsea, is here. So is the insanely popular illustrator and social media style star Angelica Hicks. Jenna Dewan, the actress and dancer who has a daughter with Channing Tatum, poses for party photographers in a slinky black dress.
The Young Patrons Council has sieged The Museum of Modern Art for their March Party. Just off the plane from Milan, I am decked in my brand new Fendi schoolboy look. New York is buzzing. I see Kristin Gilbert (in Chanel), Andrew Peters (in a navy Saint Laurent), the landscape designer Sebastian Trujillo and event co-chair Amitha Raman, Ally Shapiro, Leo Braudy and Wes Aderhold (in a Gucci x Chateau Marmont blazer) with his husband, the stylist Jordan Dorso
Major highlight: seeing Christian Marclay’s “The Clock” which weaves found material into a tapestry of cinematic history. I spend over 35 minutes watching characters from different eras check their watches and clocks. I am mesmerized. Marclay spent three years editing the piece. And in a world where we constantly rush for instant access, “The Clock” is a poignant reminder of how cinema reflects and shapes our understanding of reality.
But the clock is ticking. I race downstairs. The mysterious and media-elusive British synth-pop sensation Amber Mary Bain, who performs under the name The Japanese House, takes the stage. With stringy blonde tresses like a girl version of Kurt Cobain and an androgynous voice, Bain sings “I saw you in a dream/You came to me/You were the sweetest apparition/Such a pretty vision.” High above her, a disco ball beams a constellation of pin lights everywhere. The room is packed. Everyone is dancing.
It’s good to be home in New York!
