March 10, 2014 | Gallery events
Chinese Porcelain Company: "Contemporary Chinese Ink"; March 14 to 22
"Early Chinese Ceramics"; March 14 to 22
Erik Thomsen Gallery: "Japanese Paintings and Works of Art"; March 15 to April 25
Joan B. Mirviss: Japan in Black & White: Ink and Clay"; March 14 to April 25
Peter Pap at Kentshire Galleries: "Art in Bloom - Antique Rugs from Private Collections"; March 20 to 30
Throckmorton Fine Art: "Celestial Deities: Early Chinese Buddhist Sculpture, c. 500 - 1100 CE"; to April 26
To celebrate and promote Asia Week New York, the city's premier on-line and bricks- and-mortar auction houses offer for sale their best paintings and decorative arts from China, Japan, India, Korea, Southeast Asia, and the Himalayas from March 14 to 22. Here is a sampling of the top lots being offered for sale:
Bonham's Indian, Himalayan, and Southeast Asian art sale on March 17 has a copper alloy figure of Padmapani from Western Tibet dating from the twelfth or thirt…» More
March 10, 2014 | The cross-disciplinary exhibition opened on March 11 at the Metropolitan Museum explores the way carpets moved and were used around the globe by pairing three seventeenth-century Islamic rugs with Dutch paintings of the same period. The Magazine ANTIQUES spoke to exhibition curator Deniz Beyazit, the assistant curator in the Department of Islamic Art, to understand the origins of the project, and asked Peter Pap, the renowned San Francisco-based dealer in Oriental rugs, to take us through each pairing to understand more about the trade, the carpets themselves, and what they meant to makers in the east and consumers in the west.
The Magazine ANTIQUES (TMA): Deniz, how did this exhibition come about? As a curator in the Islamic Art department, did you choose favorite carpets to feature, and identify paintings featuring something similar; or work backwards from the paintings, then find partner carpets?
Deniz Beyazit (DB): One day I had the idea for the show-I am origina…» More
"Glackens combines greatness as an artist with a big man's mind,"
Alfred C. Barnes
By the time it arrives at the Barnes Foundation in Philadelphia next fall the big William Glackens (1870-1938) exhibition that has just opened at the Museum of Art, Fort Lauderdale will have altered the reputation of this surprisingly versatile artist. In the view of the show's curator Avis Berman, a regular contributor to Antiques, the eighty-five works on display establish the artist as far more experimental, subtle, and yes, modern, than he has heretofore been credited with being. Of course readers of this magazine we were already aware that there is a great deal more to Glackens than conventionally thought thanks to Berman's excellent articles on his work here (March/April 2011 and January/February 2014).
The traveling show and its catalogue, edited by Berman, will also put on view the things that make her a valued contributor to Antiques: the depth of her scholarshi…» More
March 10, 2014 | King by Alice Neel (1900-1988), c. 1954. India ink on paper, 13.33 by 11 inches. The Estate of Alice Neel, Courtesy Aurel Scheibler, Berlin.
The modern section of the Armory Show on Pier 92 (March 6-9) opened with a significant surprise: an installation curated by Susan Harris, Venus Drawn Out: 20th Century Works by Great Woman Artists. Pier 92 had never done a curatorial project before so encountering one hung salon style amidst the intensely commercial hubbub of the show was the first surprise...but not the last. When she was initially asked to do an exhibition culled from the galleries that would be exhibiting on the pier, Harris began by thinking about drawings, something she loves but not something that is at the red hot center of a market where paintings rule, surprise number two. As she was making a list of twentieth-century artists whose drawings she admired she realized that they were all by women, another unexpected development. Thus Venus Drawn Out whose organic, a…» More
March 10, 2014 | The photographs by Charles Marville in this issue and on view at the Metropolitan Museum of Art strike me as an important early chapter in the story of our modern lives. Marville's job was to photograph Paris before and after Baron Haussmann erased its centuries old densely wound streets, replacing them with the broad new avenues and alluring vistas that seduce us with life's limitless possibilities. Marville's street scenes are mostly absent of humanity, in part because capturing people during the long exposures required of early photography made populous scenes unlikely. But the photographer does seem to have intuited-or else I am making this up-that the freedom promised by modernity would come at a certain cost and that we might not always be at home on the vast boulevards of the future. To my eye these vistas (both before and after Haussmann) look a little like crime scenes; they hint at how life will feel when people have to struggle with a world of constant upheaval, so…» 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