The worlds of fine art and performance collide during an upcoming exhibition at Helicline Fine Art in New York City. On view from March 6 to May 10, Showstoppers: The Art of Stage and Screen features paintings, costume and set design drawings, illustrations, sculpture and more—all inspired by performance, shining a spotlight on the visual artists who helped shape iconic moments on Broadway, in Hollywood and beyond.
The exhibition draws from a wide range of performance traditions, including Broadway and musical theatre, as well as classic cinema, opera, ballet, modern dance, nightclub culture and circus, “underscoring the enduring dialogue between fine art and entertainment,” the gallery notes.
Edith Head (1897-1981), Elizabeth Taylor in “Elephant Walk”. Watercolor and pencil on paper, 24 x 18 in., inscribed in pencil: ‘Elizabeth Taylor in Elephant Walk’ and signed lower right.
Among the celebrated productions represented are Cat on a Hot Tin Roof, My Fair Lady, Funny Girl, Sweet Charity, West Side Story, The King and I, Bye Bye Birdie, The Wiz, Anything Goes, Opèra De Paris, South Pacific, The Pajama Game, Follies, and the legendary nightlife of Studio 54, among others.
“While much of the artwork we present comes from the 1930s and ’40s WPA era, the collection also reaches beyond that period to include earlier and later examples of American and European modernism. These works hold a very special place in my heart,” says Keith Sherman, owner of Helicline Fine Art. “Art is, in many ways, my second life. My primary career has been in public relations; I run a Times Square–based firm and have represented more than 400 Broadway productions, on Broadway, Off-Broadway and on tour. I’ve also worked on hundreds of television shows, films, dance engagements, books, award shows and countless other cultural projects.”
Bob Mackie (b. 1939), Diana Ross. Mixed media on paper, 16½ x 11 in., signed lower left and titled upper right.
Sherman discusses several noteworthy pieces in the show, including Edith Head’s watercolor and pencil of iconic actress Elizabeth Taylor. “The image of Elizabeth Taylor captures the beloved star at her most beautiful, graceful and truly goddess-like. This large-scale costume design drawing is a prime example of Edith Head at the height of her powers. Elizabeth Taylor will always hold a special place in my heart; she and my mother shared the exact same birthday,” he says.
Other pieces include Al Hirschfeld’s depiction of Meryl Streep from the musical Happy End; a pen-and-ink scene of My Fair Lady by Cecil Beaton; a sculpture of Michael Jackson’s costume from The Wiz by Tony Walton; and a mixed media depiction of Diana Ross by Bob Mackie.
“The Bob Mackie drawing of Diana Ross deeply moves me,” says Sherman. “One of the reasons I entered the entertainment world is because, at 8 years old, I fell in love with The Supremes. That early obsession became a lifelong story.”
Cecil Beaton (1904-1980), My Fair Lady, pen and ink on paper, 12½ x 11½ in., signed lower right and inscribed lower left: ‘My Fair Lady coster costumes.’
Al Hirschfeld (1903-2003), Meryl Streep in “Happy End”. Ink on board, 2¼ x 13¾ in., signed lower right. Published June 10, 1977 in The New York Times.
He continues, “The painting of The Pajama Game on the St. James Theatre marquee makes me smile. It is signed only with initials, and we have not been able to identify the artist, but that hardly matters. The work absolutely radiates Broadway spirit. Notice the show’s astonishing creative team. The work comes from Janis Paige’s estate and is accompanied by extraordinary material: the book and score in a hardbound volume, signed by every member of the company.”
Many works in the exhibition come from private collections rarely seen by the public. The gallery notes that “opportunities to acquire authentic, historically grounded material from the golden eras of theatre and film–particularly at this level of quality–are increasingly scarce.” —
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