30 Wednesday Nov 2011
16 Wednesday Nov 2011
12 Saturday Nov 2011
02 Wednesday Nov 2011
30 Wednesday Nov 2011
by Bruce Matthews
24 Thursday Nov 2011
by Sally Steele
16 Wednesday Nov 2011
by Kim Steele
12 Saturday Nov 2011
by Kim Steele
02 Wednesday Nov 2011
by Sally Steele
Whether I imagined it as a child or I actually saw the magazine HOLIDAY, I knew it was a gem of graphic design and photography. I knew Slims Aarons was a rock star, even when I was a young photographer. Though I was more interested in ‘real’ journalism, I admired the veneer he lay over celebrities and glamour, locales-who did not want to be there? A few art directors changed the face of magazines - the “golden age of magazines”: Alex Brodovitch, Frank Zachary and Roger Black. They produced a short-lived magazine, Portfolio in 1949, regarded as the “definitive graphic magazine” by The New York Times. Zachary died at age 101 yesterday in East Hampton, NY.
Brodovitch changed the thinking on typography, especially for Harper’s Bazaar, that I subscribed to for years just to see his work (overlaying type); Zachary changed the importance of photography in magazines. The weeklies were in full bloom in the 1960's & 70's, Saturday Evening Post, Life, Look, Town and Country and Esquire were employing photographers and giving them extravagant exposure. Zachary assigned the greats: Henri Cartier-Bresson, Robert Capa and Arnold Newman.
Born to a Croatian immigrant parents (1914), named Frank Zaharija, his father a steel worker in Pittsburgh, Zachary never attended college, he climbed his way up through hard work. He art directed at Holiday (1951-1964) including being managing editor, Town and Country, Modern Photography to which I subscribed as a child, Travel and Leisure.
I think his brilliance is best described by a friend, Owen Edwards, “Like any good anthropologist, he studied this particular tribe, figured out what most interested them and their habits, and found writers [including Faulkner] and photographers who could show their world in the most entertaining way.”
Publisher’s Musings: Dateline Saigon ~ January 26, 2015
As publisher, I have vowed not to include politics. But after visiting the War Remnants Museum here, which brought tears to my eyes, I think my renewal of the power of photography urged me to reflect on this exhibition, which covers the second floor, of heart wrenching imagery. In an era that has eroded the value of images with self-indulging selfies, seeing photos by some of my heroes, Larry Burrows, Robert Capa and Phillip Jones Griffith (whom I met) rocked me to the core. Burrows and Capa died here. Visitors seemed unable to focus on them.
Life Magazine is well represented here with large reproductions. As an Air Force cadet, I was frightened by what I saw. The images contributed to my request for a Conscientious Objector status. It was considered the first ‘live’ coverage of a war. I remember clearly one issue with tiny pictures of the 58,000 men who died. Both the imagery of the devastation of incursions wreaked on the Vietnamese and the impact the war had on the shooters, it was the darkest period of U.S. history. In the name of stopping Communism, our inexcusable use of Agent Orange is illustrated in the museum in unfathomable images. It is the power of this photography that is widely considered to be what initiated President Johnson’s withdrawal from the war. Despite the pain, it was life-affirming to see the power of photography!
This is Picasso's umpteenth fifteen minutes of fame:
His renovated mansion in Paris, Musée Picasso Paris, has just re-opened after an exorbitant five year renovation, ribbon cut by François Hollande himself, but under the dark shadow of the Cultural minister, Korean-born Fleur Pellerin, who declared she has not ‘read’ a book in years and could not name a book of the recently awarded Nobel Prize winner for Literature, Patrick Modiano, France’s fifteenth in the category.
Back on home turf, there are two private gallery showings of his work that rival any museum exhibitions, in fact many of the pieces were loaned from museums. They almost seem to challenge one another, since they are both top tier galleries, The Gagosian Gallery in Chelsea and Pace Gallery, both in New York. The Gagosian is a photograph-based exhibition, titled "Picasso & the camera" curated by an old friend of his, John Richardson, designed by a Las Vegas show designer David Korens. There are many images of his various mistresses, s well as films. Despite his reputation as a misogynist, the museum’s president, Anne Baldassari, denies this but claims he only had difficulty maintaining relationships. I saw the MoMa exhibition in the 1990's of his with a room dedicated to his various wives and mistresses and the progressive horrification of their faces as he lost interest in them. Quite revealing. The Pace exhibition focuses in a different direction. On his enduring relationship with his last wife Jacqueline Roque, until his death, with tender imagery and a loving hand.
As an artist, I cannot help but to admire his vitality and fecundity. I read a memoir of life in the South of France, especially the summer jaunts to the country with the likes of Francoise Gilot. To top off the adoration, the exhibition at the Met of Lauder’s Cubist collection (Interesting Openings below) features many of his paintings from that period.
On every trip to NY, I visit one of my favorite urban spaces, The Grand Central Oyster Bar. Between my passion for oysters and my adoration for Guastavino's tile craft, this is my ideal spot. We traveled to 103rd Street this last trip to enjoy a beautifully illustrated and informative exhibition at The Museum of New York, of his sumptuous tilework throughout New York employed by McKim, Mead and White, and NY City (including the recently uncovered bottom to the Queensborough Bridge, now a Farmer's Market).
Guastavino tile is the "Tile Arch System" patented in the United States in 1885 by Valencian (Spanish) architect and builder Rafael Guastavino (1842–1908). Guastavino vaulting is a technique for constructing robust, self-supporting arches and architectural vaults using interlocking terracotta tiles and layers of mortar to form a thin skin, with the tiles following the curve of the roof as opposed to horizontally (corbelling), or perpendicular to the curve (as in Roman vaulting). This is known as timbrel vaulting, because of supposed likeness to the skin of a timbrel or tambourine. It is also called "Catalan vaulting" and "compression-only thin-tile vaulting".
Guastavino tile is found in some of New York’s most prominent Beaux-Arts landmarks and in major buildings across the United States.
"CreatureCast is a collaborative blog produced by members of the Dunn Lab at Brown University, along with assorted friends. This project, which is focussed on zoology in the broad sense, serves as a forum to present original content that we have produced and observations by others that we find interesting and beautiful."
CreatureCast from CreatureCast, Dunn Lab, Brown University
THE EY EXHIBITION: THE WORLD GOES POP
September 17, 2015 – January 24, 2016
This groundbreaking exhibition will reveal how artists around the world engaged with the spirit of Pop art, from Latin America to Asia, and from Europe to the Middle East.
Exploding the traditional story of Pop art, The World Goes Pop is the culmination of far-reaching new research, showing how different cultures contributed, re-thought and responded to the movement.
The exhibition will reveal how Pop was never just a celebration of western consumer culture, but was often a subversive international language for criticism and public protest.
TATE MODERN: TATE MODERN
MAKER & MUSE: Women and Early Twentieth Century Art Jewelry
February 14, 2015 – January 3, 2016
Maker & Muse: Women and Early Twentieth Century Art Jewelry features more than two hundred and fifty pieces of jewelry created in the early decades of the twentieth century. During this vibrant period, jewelry makers in the world’s centers of design created audacious new styles in response to the growing industrialization of the world and the changing role of women in society. Their “alternative” designs—boldly artistic, exquisitely detailed, handwrought, and inspired by nature—became known as art jewelry.
Maker & Muse explores five different areas of art jewelry design and fabrication: the Arts and Crafts Movement in Britain, Art Nouveau in France, Jugendstil in Germany and Austria, Louis Comfort Tiffany in New York, and American Arts and Crafts in Chicago.
Work created by both men and women are exhibited together to highlight commonalities while illustrating each maker’s distinctive style. And in regions or movements that saw few women present in the workshop, the female remained unquestionably present in the mind of the designer. Not only did art jewelers intend to highlight the fashionable clothing and natural beauty of a woman during this period, they also often represented her within the work itself.
While inspired by the broader art movements of the day and their unique cultures and contexts, designers strove together to create adventurous pieces of jewelry with dramatic forms, intricate craftsmanship, saturated colors, and semiprecious stones. Drawn from the collection of Richard H. Driehaus and prominent national public and private collections, this exhibition upholds the same ideal of beauty as did its talented makers.
DRIEHAUS MUSEUM: DRIEHAUS MUSEUM
VOGUE LIKE A PAINTING
June 30, 2015 – December 10, 2015
This exhibition brings together sixty fashion photographs inspired by painting. The photographs, from the Vogue Archive, are the work of great photographers of the past three decades.
Spanish Golden Age painting, Dutch portraiture, pictures from the Victorian period and the Pre-Raphaelites, as well as the various schools of painting represented in the European royal collections, have provided a model for the photographers who, focusing on female beauty, have shaped the image of Vogue magazine over the years and have also been an example for many contemporary artists. Traces of the work of Constable, Zuloaga and Sorolla, among others, are present in the pieces on display in this show, which combines leading names in classic photography with the talent of new generations, including Irving Penn, Annie Leibovitz, Tim Walker, Paolo Roversi, Steven Meisel, Steven Klein, David Sims, Erwin Olaf, Mario Sorrenti, Michael Thompson, Mario Testino and Peter Lindbegh, to name a few.
MUSEO THYSSEN - BORNEMISZA: MUSEO THYSSEN - BORNEMISZA
RIVER CROSSINGS: Contemporary Art Comes Home
May 3, 2015 – November 1, 2015
The Thomas Cole National Historic Site and The Olana Partnership/Olana State Historic Site are co-hosting a landmark exhibition of contemporary art to highlight the pivotal role that the two historic properties — and the artists who lived and worked there — played in shaping America's tradition of contemporary art. The Thomas Cole National Historic Site is home to Thomas Cole (1801-1848), founder of the Hudson River School of art, the first major art movement in the United States. Olana State Historic Site is one of the most important artistic residences in the United States and is the 250-acre home and landscape of Frederic Edwin Church (1826–1900), Cole's student who became the School's leading practitioner.
The exhibition provides an unprecedented opportunity for visitors to consider these historic spaces from a completely new vantage point – that of experiencing contemporary art in these iconic settings. Tickets to the exhibition can be purchased at both Olana and Thomas Cole Sites.
Olana and the Thomas Cole Site seek to expand the dialogue between past and present. In doing so, they enable visitors to consider new ideas about the meaning of the art and history of the mid-19th century and its resonance today.
The 28 artists (Romare Bearden, Elijah Burgher, Chuck Close, Will Cotton, Gregory Crewdson, Lynn Davis, Jerry Gretzinger, Don Gummer, Duncan Hannah, Stephen Hannock, Valerie Hegarty, Angie Keefer with Kara Hamilton and Kianja Strobert, Charles LeDray, Maya Lin, Frank Moore, Elizabeth Murray, Rashaad Newsome, Thomas Nozkowski, Stephen Petegorsky, Martin Puryear, Cindy Sherman, Sienna Shields, Kiki Smith, Joel Sternfeld, Letha Wilson, and Elyn Zimmerman) whose work is in the exhibition all have a connection to the region that Cole and Church helped ignite as a hot–bed of American art: from Greater New York City to Lake George and from Niagara Falls to Massachusetts.
Olana and the Thomas Cole Site, NY: Olana and the Thomas Cole Site, NY
ARTS & FOODS: Rituals since 1851
April 10, 2015 – November 1, 2015
An exhibition curated by Germano Celant, which will be held at the Triennale in Milan from April 10 to November 1, 2015 Under the architectural direction of Studio Italo Rota, visitors will have the opportunity to immerse themselves physically in a spectacular route where works of art, drawings and architectural models, films, objects, documents, books, menus, and album covers bring to life a narrative that set works and images in their own historical, sociological and anthropological context.
In the interior and exterior spaces of the Triennale - about 7,000 square meters, comprising building and garden - Arts & Foods will focus on the plurality of visual language and models, as objects and environmental representations that since 1851, the year of the first Expo in London, have to date revolved around food, nutrition and eating together. It is a global panorama of the interwoven aesthetics and design of eating rituals. It is also an international exhibition that uses a variety of media to offer a view across time, from the historical to the contemporary, of all levels of expression, creativity and communication from all areas of culture.
TRIENNALE in MILAN--EXPO 2015: TRIENNALE in MILAN
June 3, 2015 – October 11, 2015
The painter’s oeuvre was marked by a quiet approach to minimal abstraction, works composed of hand-drawn lines and grids in washed-out, earthy pastels. More than a decade after her death at age 92, Tate Modern presents the first posthumous retrospective of the American artist’s work, covering the entirety of her career. “Martin’s apparently minimal approach belied a deep conviction in the emotive and expressive power of art,” says curator Frances Morris. “This exhibition will cover the full breadth of her practice, reasserting her position as a key figure in the traditionally male-dominated fields of 1950s and ’60s abstraction, and demonstrating her profound influence on subsequent generations of artists.”
TATE MODERN: TATE MODERN
AMERICA IS HARD TO SEE
May 1, 2015 – September 27, 2015
Drawn entirely from the Whitney Museum of American Art’s collection, America Is Hard to See takes the inauguration of the Museum’s new building as an opportunity to reexamine the history of art in the United States from the beginning of the twentieth century to the present. Comprising more than six hundred works, the exhibition elaborates the themes, ideas, beliefs, and passions that have galvanized American artists in their struggle to work within and against established conventions, often directly engaging their political and social contexts. Numerous pieces that have rarely, if ever, been shown appear alongside beloved icons in a conscious effort to unsettle assumptions about the American art canon.
The title, America Is Hard to See, comes from a poem by Robert Frost and a political documentary by Emile de Antonio. Metaphorically, the title seeks to celebrate the ever-changing perspectives of artists and their capacity to develop visual forms that respond to the culture of the United States. It also underscores the difficulty of neatly defining the country’s ethos and inhabitants, a challenge that lies at the heart of the Museum’s commitment to and continually evolving understanding of American art.
Organized chronologically, the exhibition’s narrative is divided into twenty- three thematic “chapters” installed throughout the building. These sections revisit and revise established tropes while forging new categories and even expanding the definition of who counts as an American artist. Indeed, each chapter takes its name not from a movement or style but from the title of a work that evokes the section’s animating impulse. Works of art across all mediums are displayed together, acknowledging the ways in which artists have engaged various modes of production and broken the boundaries between them.
WHITNEY MUSEUM OF AMERICAN ART: WHITNEY MUSEUM OF AMERICAN ART
ONE WAY TICKET: Jacob Lawrence's Migration Series and Other Works
April 3, 2015 – September 7, 2015
In 1941, Jacob Lawrence, then just 23 years old, completed a series of 60 small tempera paintings with text captions about the Great Migration, the multi-decade mass movement of African Americans from the rural South to the urban North that started around 1915. Within months of its making, the series entered the collections of The Museum of Modern Art and the Phillips Memorial Gallery (today The Phillips Collection), with each institution acquiring half of the panels. Lawrence’s work is now an icon in both collections, a landmark in the history of modern art, and a key example of the way that history painting was radically reimagined in the modern era. One-Way Ticket: Jacob Lawrence’s Migration Series and Other Visions of the Great Movement North reunites all 60 panels for the first time at MoMA in 20 years.
Along with Lawrence's series, the exhibition includes other accounts of the Migration from the era, including novels and poems by writers such as Langston Hughes, Claude McKay, and Richard Wright; music by Josh White, Duke Ellington, and Billie Holiday; photographs by Dorothea Lange, Ben Shahn, Gordon Parks, and Robert McNeill; sociological tracts by Carter Woodson, Charles Johnson, Emmett Scott, and Walter White; and paintings by Charles Alston, Romare Bearden, and Charles White. The range of works in the exhibition sheds light on the ways in which Lawrence drew upon and transformed contemporary models for representing black experience in America.
In conjunction with One-Way Ticket, MoMA is collaborating with a variety of partners to create new commissions, projects, and events that explore the history and legacy of the Great Migration and its continuing influence on American culture—and on New York City in particular.
MOMA, NY: MOMA, NY
ORGANIC MATTERS -- Women to Watch 2015
June 5, 2015 – September 13, 2015
Depictions of nature can illuminate themes of sexuality, gender politics, the abject, and the sublime. In the fourth installment of the NMWA’s Women to Watch exhibition series, contemporary artists use imagery and materials taken from the natural world. The works on view recontextualize images of plants and animals and redefine the relationships between women, nature, and art. Calling to mind entrenched associations of women with nature, the exhibition opens a dialogue about these traditional views. Women to Watch is an exhibition series featuring emerging and underrepresented women artists held every two to three years developed in conjunction with the museum’s national and international outreach committees.
THE NATIONAL MUSEUM OF WOMEN IN THE ARTS: THE NATIONAL MUSEUM OF WOMEN IN THE ARTS
BASQUAIT: The Unknown Notebooks
April 3, 2015 – August 23, 2015
Brooklyn-born artist Jean-Michel Basquiat filled numerous notebooks with poetry fragments, word play, sketches, and personal observations ranging from street life and popular culture to themes of race, class, and world history. The first major exhibition of the artist's notebooks, Basquiat: The Unknown Notebooks features 160 pages of these rarely seen documents, along with related works on paper and large-scale paintings.
A self-taught artist with encyclopedic and cross-cultural interests, Basquiat was influenced by comics, advertising, children's sketches, Pop art, hip-hop, politics, and everyday life. Basquiat: The Unknown Notebooks emphasizes the distinct interplay of text and images in Basquiat’s art, providing unprecedented insight into the importance of writing in the artist’s process. The notebook pages on display contain early renderings of iconic imagery—teepees, crowns, skeleton-like figures, and grimacing faces—that also appear throughout his large-scale works, as well as an early drawing related to his series of works titled Famous Negro Athletes.
BROOKLYN MUSEUM: BROOKLYN MUSEUM
CHINA: Through the Looking Glass
May 7, 2015 – August 16, 2015
This exhibition, presented in the Museum's Chinese Galleries and Anna Wintour Costume Center, will explore how China has fueled the fashionable imagination for centuries, resulting in highly creative distortions of cultural realities and mythologies. High fashion will be juxtaposed with Chinese costumes, paintings, porcelains, and other art, as well as films, to reveal enchanting reflections of Chinese imagery.
From the earliest period of European contact with China in the sixteenth century, the West has been enchanted with enigmatic objects and imagery from the East, providing inspiration for fashion designers from Paul Poiret to Yves Saint Laurent, whose fashions are infused at every turn with romance, nostalgia, and make-believe. Through the looking glass of fashion, designers conjoin disparate stylistic references into a pastiche of Chinese aesthetic and cultural traditions.
The exhibition will feature more than one hundred examples of haute couture and avant-garde ready-to-wear alongside Chinese art. Filmic representations of China will be incorporated throughout to reveal how our visions of China are framed by narratives that draw upon popular culture, and also to recognize the importance of cinema as a medium through which to understand the richness of Chinese history.
THE METROPOLITAN MUSEUM OF ART: THE METROPOLITAN MUSEUM OF ART
BARNETT NEWMAN: The Late Work
March 27, 2015 – August 2, 2015
The work of artist Barnett Newman (1905-1970) has come to define the spiritual aspirations and material innovations of American painting in the mid-twentieth century. Large and bold vertical planes of color, with thin upright lines that came to be known as “zips,” characterize Newman’s vocabulary of form. In contrast to the horizontal compositions that define the landscape tradition in Western art, Newman’s work reflects the upright posture of the human body. For the artist, this reorientation was deeply political. He felt it could free painting from the past and allow an entirely new awareness for the viewer through the ineffable experience of standing in front of his work. In his essay from 1948, “The Sublime is Now,” Newman wrote, “We are freeing ourselves of the impediments of memory, association, nostalgia, legend, myth, or what have you, that have been the devices of Western European painting. Instead of making cathedrals out of Christ, man or ‘life’ we are making it out of ourselves, out of our own feelings.”
Having come to a career as an artist later in life, Newman’s produced a relatively small body of work. In 1970, when he passed at the age of 65, he left a group of work in his studio that included unfinished paintings. In an arrested state of development, the unfinished works offer a rare opportunity to study the late work in relationship to Newman’s broader production. Because the artist did not make preparatory studies, these works, as paintings in process, reveal the remarkable material and technical innovations and transformations, including his shift from oil to acrylic paint, in his work from 1965-1970. In dialogue with his early work from the late 1940s and early 1950s, they also provide a way of understanding the formal evolution of his painting process throughout his oeuvre.
This will be the first exhibition to focus on Newman’s production in the last five years of his life.
THE MENIL COLLECTION, Houston: THE MENIL COLLECTION, Houston