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
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
ARTS & FOODS: Rituals since 1851
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
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
FASHION VICTIMS: The Pleasures and Perils of Dress in the 19th Century
June 18, 2014 – June 30, 2015
Transport yourself back to the 19th century where beautiful outfits fashioned by seamstresses and shoemakers supplied the privileged with enviable ensembles. Swathed from head to toe in expensive garments and shod in delicate footwear, fashion-forward women graced the boulevards and the ballrooms with their colourful presence. Their tailored male companions cut equally refined figures in their black coats, spotless white linens, lustrous top hats and shiny boots. Yet presenting an elegant exterior was not without its perils. The discomfort of constricting corsets and impossibly narrow footwear was matched by the dangers of wearing articles of fashion dyed with poison-laced colours and made of highly flammable materials.
From the challenges faced by those who produced fashionable dress to the risks taken by those who wore it, this exhibition provides thought provoking insights into what it means to be a fashion victim.
THE BATA SHOE MUSEUM: THE BATA SHOW MUSEUM
SARGENT: PORTRAITS OF ARTISTS AND FRIENDS
John Singer Sargent (1856-1925) was the greatest portrait painter of his generation. Acclaimed on both sides of the Atlantic, he was closely connected to many of the other leading artists, writers, actors and musicians of the time. His portraits of these friends and contemporaries, including Auguste Rodin, Claude Monet and Robert Louis Stevenson, were rarely commissioned and allowed him to create more intimate and experimental works than was possible in his formal portraiture.
This major exhibition of over seventy portraits spans Sargent’s time in London, Paris and Boston as well as his travels in the Italian and English countryside.
NATIONAL PORTRAIT GALLERY, LONDON: NATIONAL PORTRAIT GALLERY, LONDON
THE LOST MUSEUM
July, 2014 – May, 2015
A group of students, professors, and artists calling themselves “The Jenks Society for Lost Museums” has spent the past year researching the Jenks Museum, re-collecting scattered relics and remnants, and transforming words into rooms and fragments of curatorial description into spectral art. They have built a three-part installation that re-imagines the office of the museum’s founder, showcases the remaining fragments of the collection, and conjures the ghosts of artifacts once found in the museum back into existence – as reimagined by over 80 artists.
An axe and a gun, bottles of arsenic and a walking stick, portray John Whipple Potter Jenks, founder of the museum. Tattered labels speak of fragility and decay. The installation tells the story of Jenks and the museum that was his life’s work, of his sudden death on the building’s steps and of the museums subsequent decline. The collection – 92 truckloads of artifacts and specimens – hauled to a dump on the Seekonk River.
It is a work of art that relies on subtlety and rewards the curious, a story that displays loss over time and demonstrates the uncertainties of preservation, an exhibit that presents a memory of the past and promotes hope for the future.
JENKS MUSEUM OF NATURAL HISTORY and ANTHROPOLOGY: JENKS MUSEUM OF NATURAL HISTORY and ANTHROPOLOGY
June 19, 2014 – April 12, 2015
The exhibition explores the theme of equilibrium, what to walk means, the function of the arch of the foot and the relationship between the foot and the mind, the horizontal and vertical, walking
and dancing, posture and the vertiginous void, scaling a mountain and discovering oneself, lightness and fatigue, a walk and a landscape, travelling by foot and the town or city. These themes
are examined in interviews, artwork, handmade objects, priceless volumes, like the first editions of Dante’s Divine Comedy and the anatomical essays of Andrea Vesalio and Jean-Jacques Manget.
Another section of the exhibition is devoted to the phenomenology of walking. Exemplary walks will be shown in a spectacular setting: from the steps of royalty (Queen Elisabeth II of England) and those of world leaders (Mao Tse Tung, John F. Kennedy and Fidel Castro), to comedic walks (Charlie Chaplin), the steps of dictators (Adolf Hitler and Benito Mussolini), and, finally, those of Mohandas Ghandi and Pope John Paul II.
MUSEO SALVATORE FERRAGAMO: MUSEO SALVATORE FERRAGAMO
JEAN DUBUFFET: Soul of the Underground
October 18, 2014 – April 5, 2015
Jean Dubuffet (French, 1901–1985) maintained a rebellious attitude toward prevailing notions of high culture, beauty, and good taste, and was a relentless innovator from the time he committed himself to art making in the early 1940s. Jean Dubuffet: Soul of the Underground, the first monographic presentation on the artist at MoMA in over 25 years, illuminates Dubuffet’s radical experimentation with form and material by focusing on the key moment in his career, from the 1940s to the mid-1960s. He mixed sand, gravel, and other materials into his pigments, applying them in layers with brushes and palette knives to create a thickened impasto, and then excavated images from them by scratching and scraping away with the pointed handle of his paintbrush. He revolutionized lithography, experimenting with textures by attacking lithographic stones with sandpaper, rags, and chemicals, and creating images with dirt, fruit peels, leaves, and other organic materials. Drawings in ink or gouache mimicked these feats of combination and re-combination, resulting in surfaces of decaying or ever-expanding membranes.
This exhibition draws on MoMA’s unparalleled collection of paintings, sculptures, drawings, prints, and illustrated books by Dubuffet and shows his move towards near-total abstraction with pictures comprised of allover compositions unanchored by horizons, topographies of layered sand and dirt, or patterned lithographs of droplets and granules. Central to this presentation is a monumental lithographic project, the Phenomena series (1958–62), which manifests the artist’s fascination with surfaces of the Earth and natural forces, and which became fodder for future works across mediums, as he cut up prints, collaged them, and reconstituted them.
MUSEUM OF MODERN ART, NEW YORK: MUSEUM OF MODERN ART
THE ART OF THE CHINESE ALBUM
September 6, 2014 – March 29, 2015
This exhibition showcases the album, one of the most intimate of Chinese painting formats. The special structure of the album, in which each turn of the page is an opportunity to remake the world anew, presents unique possibilities and challenges for artists. For Dai Benxiao (1621–1693), the album was a chance to plumb the depths of a single style, like a jazz improviser testing the limits of a single musical mode. For Shitao (1642–1707), the album provided the opportunity to shock and surprise the viewer with radical shifts in perspective and subject from page to page. For Dong Qichang (1555–1636) and his followers, the album was a stage on which to display their art historical knowledge by devoting each leaf to the style of a different old master. This exhibition explores these and other ways that artists have used this format from the twelfth century to the present.
METROPOLITAN MUSEUM OF ART: METROPOLITAN MUSEUM OF ART
TOMI UNGERER: All in One
January 16, 2015 – March 22, 2015
Tomi Ungerer is best known as the award winning author and illustrator of such beloved 1960s children’s classics as The Three Robbers (1961) and Moon Man (1966). But the virtuoso draftsman—who was born in Alsace, France, in 1931, and who currently resides in a remote part of Ireland near Cork—is much more than this. Even as Ungerer was busy producing children’s books for the publisher Harper & Row, he was making a name for himself with witty advertising campaigns for the New York Times and the Village Voice, biting satirical illustrations about the business world, and brutal pictorial responses to racism, fascism, and the Vietnam War. Ungerer also made graphic erotic drawings throughout his career. That Ungerer is not as well known in America today as he is in Europe is largely due to his self-imposed exile c.1970, when he and his wife abruptly abandoned New York and relocated to a farm in Nova Scotia, where Ungerer produced some of his most exquisite drawings to date.
The Drawing Center exhibition is the first career retrospective in the United States dedicated to this extraordinary artist. Beginning with his childhood drawings depicting the Nazi invasion of Strasbourg, through his work in New York and Canada, and concluding with Ungerer’s most recent political and satirical campaigns as well as his illustrations for the 2013 children’s book Fog Island, Tomi Ungerer: All in One will re-introduce this wildly creative individual to New York City and the world. The exhibition will occupy the entire Drawing Center, with a spotlight “exhibition” of Ungerer’s erotic drawings in the Drawing Room and animations in the lower-level Lab gallery.
THE DRAWING CENTER: THE DRAWING CENTER
HOLLYWOOD GLAMOUR: Fashion and Jewelry from the Silver Screen
September 9, 2014 – March 8, 2015
Hollywood Glamour: Fashion and Jewelry from the Silver Screen presents designer gowns and exquisite jewelry from the 1930s and ‘40s—the most glamorous years of Hollywood film. The exhibition focuses on the iconic style of sultry starlets of the period, including Gloria Swanson, Anna May Wong, Greta Garbo, Marlene Dietrich, Mae West, and Joan Crawford. Hollywood style in this era was a blend of on- and off-screen fashion and accessories, including dramatic costumes created for the screen by famous designers such as Adrian, Travis Banton, and Chanel and dazzling jewelry from makers of the era like Trabert & Hoeffer-Mauboussin and Paul Flato. Along with eye-catching gowns once worn by famous figures and the sparkling jewels that contributed to their allure from the MFA and private collections, photography by Edward Steichen along with period photographs, film stills, and film clips capture the style of the silver screen era. Enjoy a glimpse of Hollywood in the Golden Age of glamour.
MUSEUM OF FINE ARTS, BOSTON: MUSEUM OF FINE ARTS, BOSTON
CUBISM: The Leonard A. Lauder Collection
October 20, 2014 – February 16, 2015
Over the past 40 years, Leonard Lauder has selectively acquired masterpieces and seminal works to create the most important collection in private hands of works by the four preeminent Cubist artists: Mr. Lauder made his first two Cubist acquisitions in 1976 and continues to add to the Collection, which is distinguished by its quality, focus, and depth. In coordination with Mr. Lauder’s announcement of the gift of the Cubist works, the Metropolitan Museum, with support from a group of trustees and supporters, including Mr. Lauder, has established a new research center for modern art, housed at the Metropolitan. The Leonard A. Lauder Research Center for Modern Art will serve as a center for scholarship, archival documentation and collections, and innovative approaches to studying the history of Cubism, its origins and influence. The Center has been envisioned by Mr. Lauder as a means to transform the presence of modern art at the Metropolitan in dialogue with its encyclopedic collections. With its own dedicated two-year fellowships—with two new recipients arriving each year—the Center will also sustain focused research on all aspects of modernism, the Leonard A. Lauder Collection and the Metropolitan Museum’s growing holdings of early and mid-20th-century art.
METROPOLITAN MUSEUM OF ART: METROPOLITAN MUSEUM OF ART
KILLER HEELS: The Art of the High-Heeled Shoe
September 10, 2014 – February 15, 2015
Killer Heels explores fashion’s most provocative accessory. From the high platform chopines of sixteenth-century Italy to the glamorous stilettos on today’s runways and red carpets, the exhibition looks at the high-heeled shoe’s rich and varied history and its enduring place in our popular imagination.
As fashion statement, fetish object, instrument of power, and outlet of artistic expression for both the designer and the wearer, throughout the ages the high-heeled shoe has gone through many shifts in style and symbolism. Deadly sharp stilettos, architecturally inspired wedges and platforms, and a number of artfully crafted shoes that defy categorization are featured among the more than 160 historical and contemporary heels on loan from designers, from the renowned Brooklyn Museum costume collection housed at the Metropolitan Museum of Art, and from the Bata Shoe Museum. Designers and design houses represented in Killer Heels include Manolo Blahnik, Chanel, Salvatore Ferragamo, Zaha Hadid X United Nude, Iris van Herpen X United Nude, Christian Louboutin, Alexander McQueen, André Perugia, Prada, Elsa Schiaparelli, Noritaka Tatehana, Vivienne Westwood, and Pietro Yantorny.
BROOKLYN MUSEUM: BROOKLYN MUSEUM