Attendees-including Helena Christensen, Chloe Wise, Alejandra Alonso Rojas, Lili Sumner-sat down naturally, and conversation blossomed between strangers. The absence of assigned seating enhanced the hypnotic atmosphere. The party resurrected the shimmery, illicit Berlin of Anita Berber painted by Otto Dix, of a city obsessed by cabaret and lustmord. Powered faces, burgundy lips, and bobbed wigs populated the space. Obeying the “1920s Berlin” dress code, men donned dresses, and women wore tuxedos. “I’ve always loved dressing up,” Lennox confessed as she rested an arm on the mahogany bar. The modulations of vivid color create hermaphroditic and vampiric visions that render identity uncertain. Faces appear mask-like as they extend from costumed, constricted bodies. Aesthetically informed by the radical art scene of Weimar Germany, the series of portraits possess a perverse beauty. The caviar-filled, absinthe-soaked affair marked the end of her show, “The Ballad of Linda Leven” at the Meredith Rosen Gallery. Encircled by her gorgeous and celebrated guests, Lennox drew the eye.įriday night, the artist hosted a decadent dinner at NeueHouse Madison Square. The sequined serpent that slivered up her Valentino gown shimmered.

Even as she moved about the dimly lit basement, Tali Lennox stood out.

Tali without her mask