BetterMost, Wyoming & Brokeback Mountain Forum

The World Beyond BetterMost => The Culture Tent => Topic started by: Aloysius J. Gleek on July 30, 2011, 12:00:05 pm

Title: At the Metropolitan Museum of Art: Alexander McQueen’s Final Showstopper
Post by: Aloysius J. Gleek on July 30, 2011, 12:00:05 pm

http://www.nytimes.com/2011/07/31/fashion/mets-mcqueen-retrospective-is-expected-to-break-records.html?pagewanted=all



(http://graphics8.nytimes.com/images/misc/nyt-iht-masthead-logo.gif)
McQueen’s Final Showstopper
By ERIC WILSON
Published: July 29, 2011


(http://graphics8.nytimes.com/images/2011/07/31/fashion/31MCQUEEN_SPAN/31MCQUEEN_SPAN-articleLarge.jpg)
By the time “Alexander McQueen: Savage Beauty,” at the Metropolitan Museum of Art, closes
Aug. 7, it will, in all likelihood, rank among the museum's 20 most popular exhibitions



(http://graphics8.nytimes.com/images/2011/07/31/fashion/31JPMCQUEEN2/31JPMCQUEEN2-popup.jpg)
Guests have waited in line for hours to see the retrospective of the designer's work.



(http://graphics8.nytimes.com/images/2011/07/31/fashion/31JPMCQUEEN3/31JPMCQUEEN3-popup.jpg)



(http://graphics8.nytimes.com/images/2011/07/31/fashion/31JPMCQUEEN1/31JPMCQUEEN1-popup.jpg)
A hologram of Kate Moss at "Alexander McQueen: Savage Beauty."


THERE was a reason Alexander McQueen, who committed suicide last year at the age of 40, was considered one of the greatest fashion designers of his generation, admired by his peers for his astounding technical ability and idolized by students for his near-fearless risk taking. “People don’t want to see clothes,” he once said. “They want to see something that fuels the imagination.”

But while he was revered in fashion, and his runway shows were among the most closely watched, almost no one could have imagined that, as the subject of a museum exhibition, Mr. McQueen would prove to be almost as popular as Pablo Picasso and Vincent van Gogh.

At some point this weekend or thereabouts, and with still a week to go in its three-month run, the wildly popular McQueen retrospective at the Metropolitan Museum of Art, based on its current trajectory, will set an attendance record for a fashion exhibition there when it surpasses the 576,000 visitors for “Superheroes: Fashion and Fantasy” in 2008. By the time it closes on Aug. 7, in all likelihood it will rank among the museum’s 20 most popular exhibitions since it began tracking attendance 50 years ago.

Since the exhibition opened in May, its galleries have been mobbed with hundreds of guests at a time, from morning until night, with sometimes hours-long lines waiting behind ropes, framed by famous works of Gustave Moreau, Auguste Rodin and Henri Regnault.

Its duration has been extended at least twice and, for the last two nights, Aug. 6 and 7, the museum has announced it will stay open until midnight, the first time the Met has kept an exhibition open so late. As of Friday morning, 553,000 people had seen the show, including quite a few who would have professed that they cared not a thing about fashion.

“You take a medium like fashion that you don’t think is going to have that much depth, and then you find that it does,” said Edward Murguia, 67, a sociology professor at Texas A&M University, as he exited the show on a recent afternoon. His wife had dragged him along, he said. “You can just see people walk by saying, this is great art, and they are fascinated by this,” he said. “I could never imagine how much he got done in such a short life. It’s just amazing to look at the level of detail.”

The degree to which “Alexander McQueen: Savage Beauty” has ignited wide-scale public interest would have been a remarkable achievement for any exhibition dedicated to the work of a single artist. But the fact that it was one whose chosen medium was fashion design makes it a phenomenal achievement, surpassing the expectations of museum officials and perhaps defying them in an institution where, until recent years, costume shows had historically been confined to its basement.

How this success happened is not so easily explained, not even by the growing importance of Mr. McQueen during his short career. You might have heard his name because of the circumstances of his death or, in April, because of the wedding gown created for Catherine, Duchess of Cambridge, by Sarah Burton of the studio that survives him.

Or you might have heard of him well before that, as the British provocateur who frequently thumbed his nose at the royal family, who once created pants that were cut so low that they were nicknamed the bumster, who had problems with drug and drink, and who fearlessly, and often brilliantly, presented collections of wonderfully imaginative clothes for which models were cast as inmates in an insane asylum, pieces of a chess set or victims of extreme plastic surgery.

And yet, helping to explain the long lines and claustrophobia-inducing crowds at the Met, you might not have had a very clear picture of who Mr. McQueen was, as a designer and as a person, and quite arguably as an artist, had you not seen this show.

“It really is an emotional connection, and I think that has to be the key to it all,” said Trino Verkade, the longtime creative coordinator of Mr. McQueen’s studio, who has spent countless hours in the galleries this summer, watching people as they react to his designs. “Everybody feels emotions,” she said. “They can easily recognize them in Lee’s work,” referring to the designer by the name his close friends called him, “and they have identified with those emotions as they walk through.”

Word of mouth about the show, its fantastic theatricality and special effects that include a three-dimensional hologram of Kate Moss (as well as about the clothes, which include frightening concoctions made of feathers, razor clam shells, medical slides printed to look as if they were bloodied, resin vulture skulls and simulated human hair) has exposed Mr. McQueen’s work to the kind of audience the designer had always dreamed about.

Ms. Verkade said he often complained that, season after season, he was showing his clothes to the same 700 or so editors and buyers. In 2009, when he was one of the first designers to stream a runway show live online so everyone could watch at the same time, the hosting Web site went down under the strain of consumer demand.

So it would be incorrect to suggest that Mr. McQueen was underappreciated in his lifetime: people clamored to see his shows, though his extreme behavior could sometimes aggravate the editors who followed him closely. Anna Wintour wrote in an editor’s letter in Vogue  that he had once flown over from London to be photographed by Irving Penn and then refused to leave his hotel room.

Because he was shy, Mr. McQueen seemed to be able to express himself most openly through his designs, but sometimes they were difficult to see clearly when the dresses passed by so quickly on a runway. Now in a museum, clothes that suggest romanticism, battles between darkness and light, between love and sadness, or even life and death, take on new meaning.

“He did imbue so much of his work with this sense of self,” said Andrew Bolton, the curator of the exhibition. “I never realized it until I looked at all of his clothes, but he was such a brave person that he was able to use fashion to discuss and reveal his interior self.”

In a sense, the popularity of the exhibition reflects not only the broadening cultural interest in fashion, but also a very specific interest in Mr. McQueen’s work by young people, including a generation that is defined by its embrace of technology in a way that fascinated Mr. McQueen and influenced his designs.

At fashion colleges across the country, his work is consistently cited among students as the most creatively inspiring. Simon Collins, the dean of the school of fashion at Parsons the New School for Design, said, “I think their admiration was as much for Lee’s passion for pure artistic creativity as much as it was for what he actually designed.”

As she walked out of the show, Kristin Goett, a 15-year-old aspiring lawyer from South Salem, N.Y., said, as far as she was concerned, McQueen was a household name.

“He truly changed the way fashion is looked at today,” she said. “He challenged you to think in a different way. His creativity was shown in ways that we might not be comfortable seeing, nor in ways we are used to seeing, but I think people really like to see different ways of creativity being shown.”

For the Met, which, like most cultural institutions, has struggled to maintain financing during the recession, the exhibition has been a major windfall. In addition to the $10 million raised through its annual Costume Institute gala, organized by Ms. Wintour, the museum has benefited from related sales of merchandise and increased membership subscriptions. The extreme summer heat that pushed people indoors and an exceptional number of tourists in New York were other factors that have played into its high attendance, said Harold Holzer, a Met spokesman.

As of last week, the museum had sold 55,000 copies of the exhibition catalog ($45) in its building alone, while the number of new members who have joined the museum (allowing them to skip the line at the exhibition) from the opening through July 24 nearly doubled to 17,500 from a comparable period last year.

On his second visit to the show, Allan Bennington-Castro, who recently moved to New York from Hawaii, where he owned an art gallery, said the designer’s impact, even since his death, had extended far beyond fashion and gay cultures and well into the mainstream, from the royal wedding to some of the claw-shaped shoes worn by Lady Gaga, who included a reference to the designer in “Fashion of His Love” on her new album.

“In this generation, he is far more relevant,” Mr. Bennington-Castro said. “So rather than the traditional Gucci or Prada, it’s Alexander McQueen.”






Slide Show:

Alexander McQueen’s Sensational Showmanship
 
“Alexander McQueen: Savage Beauty’’ at the Costume Institute of the Metropolitan Museum of Art is a  “celebration of the designer’s wild, unfettered and dark imagination: gothic Victoriana, dresses tufted with blood-red feathers, decorated with dying flowers or rattling with clamshells,’’ Suzy Menkes writes. Mr. McQueen died last year.

http://www.nytimes.com/slideshow/2011/05/02/fashion/fmet03.html

Title: Re: At the Metropolitan Museum of Art: Alexander McQueen’s Final Showstopper
Post by: Meryl on July 30, 2011, 08:51:34 pm

Wow.  I want to go, but it's going to be an ordeal.  :P

Title: At the MetropolitanMuseumof Art: Alexander McQueen’s Final Showstopper: LAST DAY
Post by: Aloysius J. Gleek on August 07, 2011, 09:10:37 pm

http://www.nytimes.com/2011/08/08/nyregion/alexander-mcqueen-exhibition-at-metropolitan-museum-of-art-draws-thousands.html



(http://graphics8.nytimes.com/images/misc/nyt-iht-masthead-logo.gif)


Waiting Hours to See the McQueen Exhibit,
in a Line Not Unlike a Runway
By DIANE CARDWELL
Published: August 7, 2011

(http://graphics8.nytimes.com/images/2011/08/08/nyregion/08mqueen1_span/08mqueen1_span-articleLarge.jpg)
People waited for hours for at the Metropolitan Museum of Art on Sunday.  



(http://graphics8.nytimes.com/images/2011/08/08/nyregion/Y-MCQUEEN1/Y-MCQUEEN1-popup.jpg)
The exhibition attracted more than 650,000 visitors since it opened on May 4.



(http://graphics8.nytimes.com/images/2011/08/08/nyregion/Y-MCQUEEN3/Y-MCQUEEN3-popup.jpg)
Overwhelmingly, people leaving the exhibition said the wait was well worth it.



(http://graphics8.nytimes.com/images/2011/08/08/nyregion/Y-MCQUEEN2/Y-MCQUEEN2-popup.jpg)
The McQueen show's popularity surprised museum officials.



Even after midnight on a rainy Saturday, they waited at the Metropolitan Museum of Art: a line of about 1,500 people snaking through the Medieval Hall, past the Japanese ceramics and Mesopotamian artifacts displayed along the Great Hall balcony, past centuries of sculptures, paintings and other objects before they finally arrived, giddy from an hours-long wait.

“Yay!” one woman cried, as a guard lifted the final slim, brown rope on “Alexander McQueen: Savage Beauty,” a retrospective exhibition of the work of the British designer, who killed himself last year at 40. “We made it!” another woman called out as the crowd burst into applause.

“Do not touch the McQueen dresses for no reasons,” another guard admonished wearily, grammar fallen victim to so many hours of repetition. “Thank you for coming.”

Every so often, a seemingly esoteric event in New York captures the public imagination, reaching the buzzy, must-see status more often reserved for canonized artists like Vincent van Gogh or Leonardo da Vinci. In the case of the McQueen show — whose popularity surprised museum officials and led them to extend entry hours to midnight on Saturday and Sunday, the final two days of the exhibition — it was the confluence of several factors that raised interest, Harold Holzer, a museum spokesman, said. There was the wedding gown for Kate Middleton, from McQueen’s studio; the sad story of his abbreviated life; and the viral nature of online word-of-mouth.

The exhibition attracted more than 650,000 visitors since it opened on May 4, and 15,000 on Saturday alone. It is among the 10 most visited shows in the museum’s history, and the most popular special exhibition ever at the Costume Institute, which is housed at the museum.

On Saturday night, when the wait ranged from 90 minutes to three hours, several people said they had come on the recommendation of friends who told them the exhibition was not to be missed. Erika Fioravanti, a graphic designer, had already seen it once and was so impressed that she decided to come back with her friend Erick Rivero, a lawyer who said he loved clothes. The two were near the end of the line around 11:30 p.m. and seemed unfazed that they would probably still be at the museum at 2 a.m. “It’s Saturday night; we’d be up anyway,” Mr. Rivero said, as Ms. Fioravanti added, laughing, “I’m surprised we got out this early.”

Some people, having heard that the wait could reach five hours, came prepared. Sara Noble, an arts administrator who was there with a friend, Matthew Tully, an administrative assistant and bartender, said she had read about seven of the Neil Gaiman short stories she had brought with her. “All of my friends had said you just absolutely have to go see this, and I guess I’m crazy enough to wait in line this long,” she said. “It seems almost like the event is waiting in line, and then getting to see the exhibit.”

DeeAnne Gorman, an office manager and performer who arrived with one friend and made three others while waiting, echoed Ms. Noble’s sentiment. “We were saying that it should be a reality show, ‘The Line,’ like who makes it, who wasn’t voted out of the line,” she said, laughing.

Overwhelmingly, people leaving the exhibition said the wait was well worth it, as evidenced by the exclamations over the breadth of McQueen’s imagination and the skill of his tailoring.

“Holy bananas!” one woman cried, walking toward a dress of black duck feathers with a silhouette like an enormous bow enveloping the shoulders atop a heart hugging the hips to the knees. A companion simply said, “Wow,” over and over, shaking her head in apparent disbelief. Another woman stood in a corner to look at the back of a gray and white silk organza dress printed with line drawings of birds and holy figures. “His fabric is, like, so extraordinary,” she said to a companion. “He knows how to cut it and gather it. Just the way it ends up in the right place — that’s, like, tailoring.”

As the evening wore on, it was the outfits of the visitors that began to attract attention as the look of the crowd shifted from casual to extreme. Around midnight, a party promoter known as Ladyfag was examining the art in the Medieval Hall, unconcerned by the prospect of a long wait in 6.3-inch platform ankle booties of black leather, with curved white heels fashioned like spines that were reminiscent of McQueen but designed by Dsquared. She said she never wore flats, not even “to the bodega.” Asked if that meant her feet did not ache, she smiled broadly and said, “I didn’t say that.”

Then there was Bella Richard, 14, the recipient of stares and compliments for her sleeveless red tartan and tulle cinched waist dress: a copy of a design from McQueen’s “Widows of Culloden” collection. She fell in love with it when she saw the show two weeks ago, staring at it for half an hour, she said.

“So we spent all week making the dress,” her mother, Beth, a seamstress, said, “and we had it almost all finished and she said, ‘Mom, I want the other one,’ the spray-painted one. So we made that.”

“I’ve still got spray paint on me,” Bella said, lifting the first dress to show a leg speckled in green. She said she would wear the other dress on Sunday, when she came to the show yet again.

Title: Re: At the MetropolitanMuseumof Art: Alexander McQueen’s Final Showstopper: LAST DAY
Post by: Aloysius J. Gleek on August 08, 2011, 08:59:30 pm

 :)

http://nymag.com/daily/fashion/2011/08/mcqueen_met_line_lookbook.html#



Slideshow:
Stylish Museumgoers
at the
McQueen Exhibit’s
Final Hours
By: Stella Bugbee and Charlotte Cowles
8/8/11 at 12:15 PM

(http://pixel.nymag.com/imgs/daily/thecut/2011/08/08/08_mcqueenretrospec.o.jpg/a_190x190.jpg)

The Alexander McQueen exhibit officially ended during the wee hours of this morning, with many folks lingering well past the museum's special midnight closing time. The Met reported today that the show attracted a total of 661,509 visitors during its three-month run, making it the eighth most-visited exhibit in the museum's history (it broke the record for the most-visited fashion exhibit last weekend). As a fitting tribute, many last-minute attendees wore McQueen items or their own creations, even braving Saturday's rain showers in heels and leather. We were there from 10 p.m. to midnight on Saturday and Sunday to capture the revelry in all its colorful glory.



http://nymag.com/daily/fashion/2011/08/mcqueen_met_line_lookbook.html#photo=1x00002


Slideshow:
Stylish Museumgoers at the McQueen Exhibit’s Final Hours



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/1-mcqueen1.jpg)
Pamela
Stylist
How long are you prepared to wait in this line?
“As long as I have to.”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/2-mcqueen2.jpg)
Emily & Tyler
Dancer and 6th Grade Writing Teacher
What’s the best thing about being out tonight?
“We just moved here from Memphis a week ago. It’s so
exciting to see so many people out at night! Going to a museum!”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/3-mcqueen3.jpg)
Anthony
Artist
Why did you wait till tonight to come?
“I put it off and put it off. But I borrowed somebody’s pass for tonight."



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/4-mcqueen4.jpg)
Levi and Bryan
Dancer, Model
Do you mind being in this line?
“No! It’s part of appreciating his vision. He always made people work for it.”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/5-mcqueen5.jpg)
Anton and Ryann
Photographer, Singer
Why did you wait till tonight to come?
“We’ve tried to come three other times, but the waits were too long.”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/6-mcqueen6.jpg)
Samantha
High-School Freshman
Why did you wait till tonight to come?
“I just got back from summer camp today.”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/7-mcqueen7.jpg)
"Doc"
Television Producer
What do you think of this scene?
“It’s funny, because people have access to high fashion everyday,
but somehow as soon as there’s a line, everyone wants to get in to see it.”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/8-mcqueen8.jpg)
Elise
Student
Did you love the show?
“Even though I waited three-and-a-half hours, it was totally worth it.”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/9-mcqueen9.jpg)
Khay
DJ/Artist
How long are you prepared to wait tonight?
“I’m a bartender so I can stand for hours and hours.
I took myself on a date tonight. First a movie, now this.”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/10-mcqueen10.jpg)
Cal, Karen & Chris
Hairdresser, ‘Creative Person’, IT specialist
How long are you prepared to wait in this line?
“As long as the flask of wine in my bag lasts.”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/11-mcqueen11.jpg)
Olivia & Jarvis
Art Director, Designer
How long are you prepared to wait in this line?
“Three hours, max, but we’re not waiting. We’re giving up!”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/12-mcqueen12.jpg)
Leslie Herman
Audiologist
How long did you have to wait to get in?
“Four hours. But only one hour in the rain.”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/13-mcqueen13.jpg)
Marcello
Fashion Stylist
Was this your first time at the exhibit?
“No, this is my sixth time coming.”
Did you make your outfit?
“Yes!”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/14-mcqueen14.jpg)
Lani Look
Club Hostess
What made you want to come tonight?
“I had a whole ‘Cinderella at the Ball’ idea about coming because
I had to be at the club by midnight. So I waited in line, but now
I have to go without seeing the show.”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/15-mcqueen15.jpg)
Mushira & Ruth
Security Guards
How is it waiting in this line?
“We don’t mind! We love fashion.”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/16-mcqueen16.jpg)
David
3D-Graphics Artist
How was the wait?
“Twitter made it seem more ominous than it was.”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/17-mcqueen17.jpg)
Jenny & Hailey
College Freshman, NYU and FIT
What interests you about Alexander McQueen?
“Were aspiring designers! We HAD to come to the show.”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/18-mcqueen18.jpg)
Alexander
Actor
Why did you wait till tonight to come?
“I just came back into town from LA. I live across the street and it
looked like the line was easing up. But it’s still a three-hour wait inside!’”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/19-mcqueen19.jpg)
Molly
Jewelry Designer
Tell us about your necklace.
“It is Alexander McQueen. He made it!”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/20-mcqueen20.jpg)
Ryan
Fashion Designer
Was this your first time at the exhibit?
“This is my second time. I didn’t plan to come, but here I am.”
Were you wearing that cape all day?
“Yes.”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/21-mcqueen21.jpg)
Corey
Student
Why did you wait till tonight to come?
“I came because my friend asked a bunch of us to all
come wearing black, ‘to mourn the death of genius.’”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/22-mcqueen22.jpg)
Lisa & Graham
Shoe designer, Fashion-design Intern
What made you want to come see this show so badly you would wait in this line?
“I had to see it because I know so many people who interned there,
and I heard their stories.” — Graham



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/23-mcqueen23.jpg)
Cindy
“I just shop”
“This whole outfit is McQueen, and so is his ...”



(http://pixel.nymag.com/content/dam/slideshows/2011/08/mcqueen/24-mcqueen24.jpg)
Liam
Model

Title: Re: At the Metropolitan Museum of Art: Alexander McQueen’s Final Showstopper
Post by: Front-Ranger on August 08, 2011, 10:03:24 pm

Totally bowled over by Alexander...and he lives across the street!!

Title: Re: At the Metropolitan Museum of Art: Alexander McQueen’s Final Showstopper
Post by: Aloysius J. Gleek on August 08, 2011, 10:12:52 pm

Quote from: Tony-Ranger on August 08, 2011, 10:03:24 pm

Totally bowled over by Alexander...and he lives across the street!!

I quite agree--and the address is even more  impressive!

 ::) ;D :laugh:

Title: Re: At the Metropolitan Museum of Art: Alexander McQueen’s Final Showstopper
Post by: Aloysius J. Gleek on December 12, 2011, 02:01:34 pm

http://nymag.com/news/articles/reasonstoloveny/2011/alexander-mcqueen/


(http://images.nymag.com/images/2/daily/2011/12/09-rtlny-topnav.gif) (http://nymag.com/news/articles/reasonstoloveny/2011/)
23.  
Because We Love Fashion,
Even When It’s Not for Sale.
By Amy Larocca
Published Dec 11, 2011

(http://images.nymag.com/news/articles/reasonstoloveny/2011/rtlny111219_numb28_560.jpg)
A dress displayed at the Met’s show, from McQueen’s last collection.   
Photo: © Sølve Sundsbø/Art + Commerce/Courtesy of The Metropolitan Museum of Art


O n certain days (and nights), the wait to get inside “Savage Beauty,” the Metropolitan Museum’s exhibit of Alexander McQueen’s work, was three hours, and still people waited happily. That we’re interested in fashion is not news, but that our appreciation of it is deep enough that we’ll stand in long lines and jostle through crowded galleries to snag glimpses of lobster-claw shoes and broad-­shouldered silhouettes is something else altogether. The exhibit’s popularity came as a surprise, though in retrospect it made perfect sense. Most of the 661,509 people who attended the show could never, or would never, wear McQueen’s clothes; they are too expensive, too extreme. But “Savage Beauty” wasn’t about that. It was about paying homage to one of the greatest creative talents of recent memory, whose artistry was typically on display only to a small and privileged few. An online slide parade couldn’t compare with the chance to see the embroidery, the tailoring, the fabric’s exquisite drape up close. Yet this was a fashion show requiring no invitation or expectation that you’d purchase (much less fit into) a corseted leather dress. Which isn’t to say the whole thing didn’t result in a little commerce—the gift shop had to do multiple reorders of tartan purses and armadillo shoe ornaments. This is New York, which means the fashion tribute must eventually take to the streets.

(http://pixel.nymag.com/imgs/daily/thecut/2011/08/08/08_mcqueenretrospec.o.jpg/a_190x190.jpg)


(http://graphics8.nytimes.com/images/2011/08/08/nyregion/Y-MCQUEEN1/Y-MCQUEEN1-popup.jpg)