Helena Rubinstein holding one of her masks from the Ivory Coast, 1934. Photograph by George Maillard Kesslere. Helena Rubinstein Foundation Archives, Fashion Institute of Technology, SUNY, Gladys Marcus Library, Special Collections
Once again, a new fall season awaits us. Although I’m a bit late with it, I’d like to give you folks a rundown on coming attractions at the museums--some of which are already here. Sometimes I don’t get around to reviewing these shows until they’re fairly far along, which is (more…)
Morris Louis, Tet, 1958. Acrylic resin (Magna) on canvas, 94 1/8 x 152 1/8 in. (239.1 x 386.4 cm.) Collection Whitney Museum, New York, NY, courtesy Mnuchin Gallery. Digital image (c) Whitney Museum of Art, NY (c) 2014 Maryland College Institute of Art (MICA). Rights administered by Artists Rights Society (ARS), New York, All Rights Reserved
Two unforgettables are currently in their last week of exposure on the Upper East Side, Helen Frankenthaler at Gagosian & Morris Louis at Mnuchin. If you haven't already seen these splendid shows, make a point of getting there--this is painting as painting should be (and so rarely is).
Left to right: Paula De Luccia, Mill Wild(2008); Liv Mette Larsen, Neighborhood X (2014); Neighborhood IV (2014); and Neighborhood IX (2014).
In Manhattan just now we have two shows with four artists between them, all worthy of note. Two of these artists, George Hofmann & Ben Dowell, are holding forth in Williamsburg, while the other two, Liv Mette Larsen & Paula De Luccia, can be found on the Lower East Side. (more…)
Robert Motherwell. The Voyage, 1949. Oil and tempera on paper mounted on composition board. 48 x 94 in. The Museum of Modern Art, New York. Gift of Blanchette Hooker Rockefeller, 1955.
Only last autumn, when I was reviewing the exhibition of collages from the 1940s by Robert Motherwell at the Guggenheim, I was wishing the show also included his paintings from the same period. Now I have gotten my wish, in an intriguing and inspiring show at The Guild Hall in (more…)
William Glackens (American, 1870-1938). Far from the Fresh Air Farm: The Crowded City Street, with its Dangers and Temptations, Is a Pitiful Makeshift Playground for Children. 1911. Crayon heightened with watercolor on paper, 24 12/ x 16 1/2 inches. Nova Southeastern University Museum of Art, Fort Lauderdale, Bequest of Ira Glackens, 91.41.152
I didn’t get to the Hamptons until August this year, but that was all to the good, as three stellar exhibitions had only recently opened—and will be up into October. One’s on three dealers who represented Jackson Pollock in the 40s and 50s, one’s on that stalwart impressionist of “The 8,” William Glackens, and one displays early work by Robert Motherwell. In this posting, I’ll deal with the first two: all three are equally worthy, but I just don’t have time to write about all of them at present.
The show that chronicles Pollock’s three major dealers is, not surprisingly, at the Pollock-Krasner House and Study Center, in The Springs of East Hampton. It’s titled “Pollock’s Champions,” and was organized by Bobbi Coller, PhD, guest curator (through October 31). As Coller observes, in her introductory wall text, “An artist’s relationship with his or her dealer is an unusual and complex partnership,” and certainly “much more than a business agreement.” (more…)
William Perehudoff (1918 - 2013), AC-85-015, 1985, acrylic on canvas, 42 x 82 inches. Courtesy Berry Campbell Gallery, New York.
Pomonians tend to have short artistic memories. Or so, at least, is the conclusion I've come to from seeing how august museums like the Met, the Frick and the Morgan seem to feel that to attract younger museum-goers, they must augment their invaluable holdings in older art with all the latest buzz (no matter how feeble). Modernists, on the other hand, (more…)
Way back in February, I went to the media preview of “Italian Futurism, 1909-1944: Reconstructing the Universe” at the Solomon R. Guggenheim Museum (through September 1).
This is the kind of show that I normally applaud: a lavish, clearly expensive, multimedia extravaganza of a major modern movement, with more than 360 works by more than 80 artists, architects, designers, photographers, and writers, borrowed from all over the civilized world. (more…)
Edward Avedisian, Normal Love #1, 1963. Liquitex on canvas, 67 1/4 x 67 1/2 inches. Courtesy Tibor de Nagy Gallery, New York.
There was a time when the Manhattan art world was much smaller, and one movement could sweep across a large segment of it (though never commanding its entirety).
An example of this was the switch from painterly abstract expressionism to what Clement Greenberg called “post-painterly abstraction.” Though it received only a fraction of the publicity accorded pop, it was the guiding principle in (more…)