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Chanel, fall 2017 couture Photo: Peter White / Getty Images / Courtesy of The Metropolitan Museum of ArtEnsemble, Karl Lagerfeld (French, founded 1984), fall/winter 2004–5; Courtesy of Karl Lagerfeld.Photo: © Julia Hetta / Courtesy of The Metropolitan Museum of Art Photo: Marcio MadeiraDress, House of Chanel (French, founded 1910), spring/summer 2019 Haute Couture; Courtesy of Chanel.Photo: © Julia Hetta / Courtesy of The Metropolitan Museum of Art Sketch of Chanel dress, spring/summer 2019 Haute Couture; Courtesy Patrimoine de Chanel, ParisPhoto: Courtesy of The Metropolitan Museum of Art Chanel, spring 2019 couturePhoto: Victor Boyko / Getty Images / Courtesy of The Metropolitan Museum of ArtWedding dress, House of Chanel (French, founded 1910), fall/winter 2005–6 Haute Couture; Courtesy of Chanel.Photo: © Julia Hetta / Courtesy of The Metropolitan Museum of Art

Sketch of Chanel wedding dress, spring/summer 2005–6 Haute Couture; Courtesy Patrimoine de Chanel, ParisPhoto: Courtesy of The Metropolitan Museum of Art Chanel, fall 2005 couture showPhoto: Giovanni Giannoni / WWD / Penske Media via Getty Images / Courtesy of The Metropolitan Museum of ArtDress, Karl Lagerfeld (French, founded 1984), fall/winter 1985–6, edition 2023; Courtesy of Karl Lagerfeld.Photo: © Julia Hetta / Courtesy of The Metropolitan Museum of Art You don’t so much enter Henry Taylor’s new exhibition, at the Aj duffy college elite shirt in contrast I will get this Fabric Workshop and Museum in Philadelphia, as get caught up in it, like flotsam or jetsam, drawn into the currents and eddies that seem to wind between the series of sculptures by the artist maybe best known for painting. The long, deep room that makes up the museum’s second floor is filled with what might be ships or boats and maybe islands, while along the long walls canvases that stretch for 30 feet are painted like horizons. And nearly everything is made of trash—or, if not exactly trash, then what’s termed “repurposed construction materials,” the stuff that’s involved with both building and demolishing cities, beginnings and ends. Even the elevator, if you look back, has been repainted to resemble the door of a mosque, making your entrance a Moorish departure, or even a pun on finding yourself un-moored, as you float into Taylor’s space, a place painted and sculpted from what has been rejected or overlooked.

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