May 1, 2014 | Here is the conventional wisdom about our world: contemporary art, in the ascendant for decades now, is on an ahistorical rampage, wielding its industrial strength newness and sowing disdain for beauty, mastery of technique, and anything that smacks of pastness. While this may be true of a segment of the art market and its press, artists are quite another matter. Tucked into nearly every issue of Antiques are the works and words of living artists for whom the things we value here are a significant source of inspiration. The British artists described below are a case in point as is Stephen Rolfe Powell, a glass artist whose Whackos and Teasers sit amiably amidst a great collection of Kentucky-bred sugar chests and early stoneware.
The Yale Center for British Art currently has an ambitious exhibition of artists' books inspired by the natural world that pairs examples from the distant past with those of contemporary makers. The printmaker and engraver Andrew Raftery who is wel…» More
November 6, 2013 | Are New Yorkers the most parochial people on the planet? I sometimes think so, especially when it comes to art, where we have an absolute genius for overlooking the important in busy pursuit of The Important. We are a city of zeitgeist sniffers, way too hungry for whatever fad diet the art market is currently dishing out. Luckily our plat du jour gets a lot tastier whenever the Met or the Frick or another city museum brings forth a sensational exhibition with global reach and historical depth, as they frequently do. The glorious Interwoven Globe: The Worldwide Textile Trade, 1500-1800 currently at the Met comes to mind.
We have assembled an issue that has little or nothing to do with what is going on in New York...or even with the East Coast for that matter. This may not be a felony but it might qualify as some kind of journalistic misdemeanor in many eyes. You be the judge. I can say with confidence that here on our island we have somehow missed the passion for American art o…» More
September 9, 2013 |
Like most editors I am interested in everything, but that doesn't mean I don't have opinions. I have, in fact, far too many of them, so I like it when some of my prejudices get rearranged, as they were early last spring when Eleanor Gustafson and I visited the Philadelphia home of John Whitenight and Frederick LaValley featured here. Ten rooms with aesthetic movement furniture, two hundred glass parlor domes, automata of a smoking monkey and a Renaissance nobleman strumming a mandolin, rare conservatory plants, and other Victoriana? Deeply cuckoo I figured. I was wrong.
All great collecting is, I think, a form of autobiography, and the more sincere it is, the more successful. "No one lives like this anymore," a friend said when I showed him my snapshots of the rooms. Also wrong. No one ever lived like this, and that is exactly what won me over. I admire everything about the Whitenight-LaValley house, but what I love most is its boldness and sincerity-the take it or leave it…» More
July 2, 2013 | Is it so surprising that New York has long been a center for folk and outsider art? From Electra Havemeyer Webb, founder of the Shelburne Museum, who started out in the glossy precincts of Park Avenue in the 1940s to Monty Blanchard, current president of the American Folk Art Museum, whose Tribeca loft is a geyser of the self-taught, the creatively independent, and the unexpected, the city has courted the unorthodox and rewarded variety. Or at least it used to. The imperial crown now sits heavily on New York's head, and the place that is like nowhere else in the world seems bent on becoming like everywhere else. Which brings us to the once small, adventurous, and lovable Museum of Modern Art, now a monolith on West Fifty-Third Street. As the world knows, MoMA plans to rule the street in a vast expanse of glass and steel by demolishing a small gem of twentieth-century architecture, the former home of the American Folk Art Museum. You can turn to our Preservation page to find tha…» More
May 8, 2013 |
Our cover shows an early and uncharacteristically jaunty painting by George Ault, part of the Lunder Collection featured in the article about the Colby College Museum of Art. Elsewhere in the issue an example of Ault's later, more hard-boiled style can be seen in Marica and Jan Vilcek's collection of
early American modernism. Ault was by most accounts an impossible person who rendered the discouraging reality he perceived around him in his own form of vernacular cubism. His View from Brooklyn is a favorite of mine.
Not to be too squish-headed about it, but the presence of two George Aults here suggests a kind of karma running through this issue. Not quite intentionally, we have paid tribute in a variety of articles to our peculiarly American form of arts patronage: The Vilceks and their foundation; the Alfond and Lunder families and their gifts to Colby; the arts patrons of Fort Worth who staged a remarkable art exhibition for President and Mrs. Kennedy in their hotel s…» More
[Compiled by Bill Stern, Executive Director at the Museum of California Design, Los Angeles. Originally published in "Curator's Eye" in Modern Magazi» View All