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Elegance

Taffeta gown with floral embroidery by White by Vera Wang, $1,200 at David’s Bridal; conflict-free opaque champagne diamond-drop earrings in 18-karat recycled rose gold by Monique Péan, $7,330 at Barneys New York; Trinity de Cartier 18-karat yellow-, rose-, and white-gold bracelet with freshwater pearls by Cartier, $2,150. Cool Water roses, calla lilies, scabiosas, and seeded-eucalyptus bouquet by Elan Flowers, $175.

Photo: Taghi Naderzad

Chutzpah

Floral-guipure strapless gown, $8,490, and floral-guipure bolero, $1,990, both by Oscar de la Renta and available at Mark Ingram Bridal Atelier; conflict-free opaque champagne diamond-drop earrings in 18-karat recycled rose gold, $7,330, sustainable Tahitian-pearl ring with white-diamond pavé and 18-karat recycled oxidized white gold, $17,170, and conflict-free continuous-diamond slice bracelet in 18-karat recycled rose gold, $51,820, all by Monique Péan and available at Barneys New York.

Photo: Taghi Naderzad

Grace

Valentina silk-satin organza strapless gown by Junko Yoshioka, $4,180 at Mark Ingram Bridal Atelier; Michaela Swarovski crystal headband, $175, and Justine crystal-and-satin sash, $300, both by Nina and available at Lord & Taylor; 18-karat white-gold and diamond necklace by Cartier, $18,900.

Photo: Taghi Naderzad

Vivacity

Pearl Italian-silk Jacquard gown with V-back and bow detail by Modern Trousseau New York, $4,400; Eterna satin wedge with bow detail by Nina, $89 at Lord & Taylor; South Sea–pearl-and-diamond-studded earrings by Verdura, $6,250; conflict-free gray oval-diamond necklace (worn as a bracelet) in 18-karat recycled white gold by Monique Péan, $26,840 at Barneys New York.

Photo: Taghi Naderzad

Attitude

Corseted mermaid gown in washed silk organza with hand-dyed silk-tulle overlay and vintage beaded-lace appliqués by Samuelle Couture, $6,500; gold, platinum, and diamond primrose clip-on earrings by Verdura, $39,500; conflict-free continuous-diamond slice bracelet in 18-karat recycled rose gold by Monique Péan, $51,820 at Barneys New York.

Guts

Stretch-piqué jacket, $1,995, and trousers, $850, both by Moschino; Rosa peep-toe pump by Oscar de la Renta, $995; Herkimer rock-crystal, gold, and diamond clip-on pendant earrings by Verdura, $13,750. Pitcher-plant and sunflower-bud-and-leaf boutonniere by Elan Flowers, $20.

Photo: Taghi Naderzad

Charisma

Kiss French tulle dress by Jenny Packham, $3,575 at Mark Ingram Bridal Atelier; Lotus metallic-leather sandals with crystals by Jimmy Choo, $895; Diamants Légers white-gold-and-diamond earrings by Cartier, $25,300; Blades platinum-and-diamond solitaire ring by Verdura, price upon request; Lola veil by Bride’s Head Revisited, $150.

Photo: Taghi Naderzad

Poise

Evelyn Chantilly-lace mermaid gown with ribbon waist detail by Carolina Herrera, $4,490; Trinity de Cartier 18-karat yellow-, rose-, and white-gold earrings with freshwater pearls and diamonds, $30,600, and Trinity de Cartier 18-karat yellow-, rose-, and white-gold double-strand bracelet with freshwater pearls and diamonds, $11,950, both by Cartier.

Photo: Taghi Naderzad.

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: © 2010 The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York/Courtesy of the Museum of Modern Art, New York
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