MoMA's fall exhibition season began last night with a preview of the new installation of Monet's Waterlilies.
Chief curator Ann Temkin played hostess in the gallery on the second floor. Here the redhead chats with the director of the Cullman Center for Scholars and Writers at the New York Public Library, Jean Strouse, and some others:
Two guests who caught our eye were young women friends engaged in conversation about the exhibit: literary aspirant Deirdre Foley-Mendelssohn, who was in vintage, and clothing designer Charlotte Greenough, who was wearing Christian Francis Roth and works for Morgane Le Fay.
Ms. Greenough noted that the previous 'Waterlilies' installation's fish-eye effect has been replaced with stricter and straight lines.
Another change from the days of old: There's no more big round couch (on which viewers used to wait for a seat in the restaurant). Instead there's a square cushion in the center of the room:
Having seen the exhibit, art critic Charlie Finch took repose in the sculpture garden. He noted the bright lighting shows off the patina of the works. I also liked how he described the three-panel as a passage through time. Here he reads his review:
As for decor: there were small mirrored tables in the lobby with small mixed bouquets with a true-to-life 'Water Lilies' color palette of pinks and purples. But on the main console used for check-in, the arrangement was all van Gogh:
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