Archive for the ‘Art’ Category
The poet Rainer Maria Rilke saw the retrospective of Paul Cézanne at the 1907 Autumn Salon in Paris. Overcome by Cézanne’s “infinitely responsive conscience,” recognizable in the painter’s shifting fragments across the canvas, he returned to the exhibition daily until its close. In his writings on the exhibition, Rilke’s most jubilant praise was lauded to Madame Cézanne in a Red Armchair (ca. 1877).
There are only two days left to view an important exhibition of oils and pastels by Michael Mazur (1935-2009) at the Ryan Lee Gallery. In 1976 Mazur, at a time when he was forty-one and his career was reaching a substantial level, found himself drawn to Stoneham Zoo, which was in a rather derelict state at the time, if I remember correctly, and decided to create a series of works in the monkey cages there. It reminded him of work he had done in mental hospitals as a student and teacher, both offering art therapy and drawing the patients, which he saw more as inmates, people in captivity. As he developed this theme in his work, he began to draw more from memory. Around 1976 and in recent years he had been working concentratedly both with narrative scenes and with landscape. He approached the monkey cages with these three pursuits in mind.
This important exhibition of Edward Steichen’s fashion and celebrity photography for Condé Nast, which will close soon in Toronto and continue on to Fort Lauderdale and Kansas City, emerged from an earlier, ambitious survey of his entire career, Edward Steichen: Lives in Photography, also organized by Foundation for the Exhibition of Photography and the Musée de Élysée. While researching that exhibition, the curators, William Ewing and Todd Brandow, discovered two thousand vintage prints from Steichen’s years at Vogue and Vanity Fair in the Condé Nast Archive, where they were catalogued and preserved to museum standards. These had never been exhibited before and presented an opportunity not to be missed.
We are mesmerized. The polished sheen of the glass radiates colors as intensely as jewels. A myriad of forms in kaleidoscopic transformation suggest at once flowers, sea urchins, snowflakes, or bacteria. Crystalline circles like flowers or alabaster Easter eggs multiply in extravagant exuberance. Tree branches, undulating snakes (or are they veins?) spread across the profusion.
Leonard Freed, The Italians, Quantuck Lane Press, 2011, exhibition now at the Museo di Roma in Trastevere through May 27, 2012.
The great documentary art photographer’s warm-hearted, but sharply observed takes on Italian life between 1956 and 2005 appear in 190 superb duotone illustrations. With an introductory essay in English and Italian by Berkshire Review/New York Arts editor, Michael Miller.
The selection of images in the book and in the exhibition was made by Freed’s widow, Brigitte and James Mairs, editor at the Quantuck Lane Press. The Italian edition, which is also bilingual and virtually identical, is distributed by the local organizer, Admira.
My direct experience with the George Eastman House International Museum of Photography and Film, to give it its full name, began with their latest major restoration project, the recently rediscovered footage Orson Welles shot for the cinematic interludes in his Mercury production of Too Much Johnson. Apart from being a tour de force of conservation, the project underscored one inspiring aspect of the institution. George Eastman House is a museum, but, unlike virtually all art museums, which pride themselves on avoiding acquisitions in compromised condition, it actively seeks out films in need of conservation—that being its primary function, both to fill in the documentation of the history of photography and cinema, and to make lost works of art available to the public. This activity justifies itself of course, but its importance is heightened by the fact that motion pictures in particular were not considered worthy of preservation.
“Alibis: Sigmar Polke 1963–2010,” April 19–August 3, 2014 at the Museum of Modern Art, with an aside on Gerhard Richter
Bluntly put: this event should not be missed. The first comprehensive overview of the multifaceted German artist Sigmar Polke (1941–2010), the exhibition dominates MoMA’s 2nd floor atrium and 10 subsequent rooms. Consisting of more than 250 works, it is one of the largest ever mounted at the museum. A rich catalogue accompanies the exhibition: Alibis: Sigmar Polke, 1963-2010, edited by Kathy Halbreich with Mark Godfrey, Lanka Tattersall, and Magnus Schaefer. To facilitate engagement, visitors are provided with a 32-page guide, containing all pertinent label information, leaving the walls purified for visual reception. Text, so much a part of Polke’s art, then is left aesthetically integral. The exhibition will travel to the Tate Modern in London from October 1, 2014 through February 8, 2015, and then to Cologne’s Museum Ludwig March 15 to July 5, 2015.
Let me say first of all, as editor and publisher of New York Arts, how fortunate I consider myself that I was able to spend a few minutes chatting with Jefe Anglesdottir, the renowned Danish architect, familiar to anyone who has so much as glanced through Metropolis or The New York Times’s T Magazine for his malls, museum car parks, and the cutting-edge houses of worship he has designed for what he calls “oddball sects,” for example the Positivist Temple in Częstochowa and the South Beach Rosicrucian Center. In recent years his restless creativity has led him into other art forms, most recently opera production. His first effort in the field is ambitious, nothing less than Wagner’s Ring des Nibelungen for the Launceston Opera in Tasmania. For this interview I flew to Abu Dhabi, where I met with Mr. Anglesdottir in the Al Dar Lounge, said to be the most luxurious VIP lounge in the world.