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At The Philbrook: Retrospective For A No-Longer-Needed Exhibition

1954_12_Press

This Sunday, the Philbrook Museum of Art in Tulsa opens what I think should be a fascinating show: IMPACT: The Philbrook Indian Annual. It's a retrospective on the competition the Philbrook held for 33 years, from 1946 to 1979, open to Native American artists. The museum says that Over the years nearly 1,000 artists from 200 Native American communities entered almost 4,000 works of art for judging, exhibition, awards, and sale. The Philbrook Indian Annual played a pivotal role in the definition of twentieth-century Native American fine art … [Read more...]

Five Questions For Leonard Lauder As The Met Reveals His Cubist Collection

TerraceOftheHotelMistral

So this week the art world and the Metropolitan Museum of Art's* members are getting a first look at the Leonard Lauder Cubist collection--assembled over the past 40 years. The masterpieces and seminal works he has purchased amount to the best private Cubist collection in existence, by design:  He always has a museum gift in mind as he collects. When I spoke with him in 2012, he said: "Many people collect to possess. I collect to preserve, and no sooner do I have a collection put together than I am looking for a home for it in a public … [Read more...]

A Participatory Exhibit I Can Applaud (I Think)

WPhillips

Contrary to some belief out there, I'm not against all participatory, experiential activities in art museums. (I don't believe museums should be as quiet as cathedrals, either, but that's another post.) Here's a participartory program that sounds, in advance, without my being there, like a good one. It's at the Freer-Sackler Galleries* in Washington: in conjunction with the opening on Saturday of Unearthing Arabia: The Archaeological Adventures of Wendell Phillips and "International Archaeology Day" on Oct. 18, the museum has scheduled a … [Read more...]

“Sculpture Victorious,” Yes, But In What Way?

DameAlice

I was recently at the Yale Center for British Art, where Sculpture Victorious: Art in the Age of Invention, 1837-1901, is on view through Nov. 30. It's a fascinating exhibition in many respects, bringing together a very diverse assemblage of objects from a very diverse group of lenders. Looking at one piece, an idealized, imaginary portrait of the first earl of Winchester borrowed from the House of Lords, Michael Hatt, an art history professor at the University of Warwick who is one of three curators of the show, said to me: “It is a mix of … [Read more...]

Matisse Cut-Outs, Records, And Making Art Seem Scarce

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Back in late June, the Museum of Modern Art bought a quarter-page ad on page 2 of the Weekend section of The New York Times; it ran the full length of the left edge. It caught my eye because it announced that timed tickets were on sale as of that day for Henri Matisse: The Cut-Outs, which opens on Oct. 12. The ad did not, btw, list prices for the tickets -- just the web address for purchases -- but MoMA simply charges general admission for exhibitions, with no added tab. General adult admission is $25. At the time, I thought it was a bit … [Read more...]

What’s New About the New Greek Galleries at MFA?

Menander

Do people learn more at art museums when chronology governs a display or when a thematic narrative rules? It's a perennial question, and traditionally many museums with extensive collections answer it with the former because, with a broad, deep array of art in a particular category, they can. Less well-endowed collections have often gone the thematic route simply because they can't do a civilization or a period justice with their skimpy (or gap-filled) holdings. But not always. Lately more museums are going narrative because they thing … [Read more...]

Crystal Bridges: The Anti-Whitney-Biennial

AMaryKay

Saturday is the day. That's when the art world, which has been wondering what Don Bacigalupi, president of Crystal Bridges Museum of American Art, and assistant curator Chad Alligood have been seeing for the better part of 2013 and much of 2014 on their search for underappreciated artists, will find out. That's when the museum unveils State of the Art: Discovering American Art Now -- their selections. It is definitely an unconventional ride through art in America. I say that even though I haven't seen the show, though the press preview was … [Read more...]

Museum-Goers Say The Darndest Things

3 El Morocco New YorkWinogrand

Remember the old Art Linkletter "House Party" TV show feature, "Kids Say the Darndest Things"? Linkletter would interview kids and they would provide answers that boggled the mind, either because they were funny or poignant. I couldn't help think of it yesterday, after a visit to the Metropolitan Museum.* Among the exhibits I visited was Garry Winogrand, which consists of "more than 175 of the artist's iconic images, a trove of unseen prints, and even Winogrand’s famed series of photographs made at the Metropolitan Museum in 1969 when the … [Read more...]

“I did my best work there.”

TheVoyage

"There" is East Hampton, Long Island, and the speaker is Robert Motherwell. The period he's talking about is on view in an exhibition that opened on Saturday at the Guild Hall in East Hampton: Robert Motherwell: The East Hampton Years, 1944-1952. While in East Hampton, Motherwell lived and worked in a house and studio designed by Pierre Chareau, the inimitable French architect. A show devoted to the paintings Motherwell made during those remarkable years has never been mounted. Focusing on two dozen important works from seventeen major museums … [Read more...]

Ask The Curator: The Secret Life Of Cezanne’s Apples

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So far, The World Is an Apple: The Still Lifes of Paul Cézanne, a "ground-breaking" special exhibition at the Barnes Foundation, has been getting good reviews. The Wall Street Journal's review called it "small but select" and concluded: Although it offers only a taste of the bountiful feast Cézanne's paintings as a whole at the Barnes provide, "The World Is an Apple" allows one to scrutinize the artist's still lifes in illuminating isolation from the work of his peers, and to appreciate how the artist's powerful, painterly sensations could … [Read more...]

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