May 11, 2016 |
The Library Court of the Yale Center for British Art, following its recent reinstallation. Photograph by Richard Caspole.
Traditional architecture can age gracefully but nothing is more dispiriting than modernism gone to seed. That may be especially true of Louis Kahn’s work because Kahn hid nothing; it was part of his bravery, and his ethics, to put every trick and technique on view, exposing it all with as much light as his walls could contain. If you revere his architecture as I do, you want the fit and finish of his final building, the Yale Center for British Art, which reopens on May 11 after an elaborate conservation project, to live up to the architect’s exceptional honesty by giving you his bravery unfiltered, undiluted, and with all of the serene thrills of 1977. And so it has.
Louis Kahn standing in front of the Yale Center for British Art under construction, in a photograph taken in February 1973. Yale Center for British Art, Institutional Archives.…» More
February 10, 2016 | Last October The Magazine ANTIQUES and our sister publications MODERN and Art in America joined forces with the venerable ARTnews. In November we moved from SoHo, our longtime home, to new offices just down from Madison Square Park and within sight of the Flatiron Building, built in 1902, the year ARTnews began publication.
By Eleanor H. Gustafson
The Flatiron Building, designed by Daniel Burnham (1846–1912), completed 1902, in a photograph of c. 1905 by the Detroit Publishing Company. Library of Congress, Washington, D.C., Prints and Photographs Division.
It’s a neighborhood that is currently food central for New York gastronomes and casual grazers. Bookended by the high end Eleven Madison Park on one side of the park and the mecca of Eataly on the other, there is the humble Shake Shack at the park’s core, where you can eat al fresco and look at some fine sculpture and architecture. For us this neighborhood constitutes the ideal conjunction of food and ar…» More
December 18, 2015 |
Making It Modern: The Folk Art Collection of Elie and Viola Nadelman by Margaret K. Hofer and Roberta J. M. Olson (New-York Historical Society in association with D. Giles). 376 pp., color and b/w illus.
There’s nowt so queer as folk,” according to the venerable English comment on the vagaries of human personality. Indeed, when the Polish-born American sculptor Elie Nadelman and his wife Viola Flannery married in 1919, the exceptional variety of objects that we now categorize as folk art were only beginning to be recognized as worthy of serious collecting in America.
Though the Nadelmans referred to their ac quisitions as “folk art” from the beginning of their collecting activities in 1920, the term itself didn’t enter widespread use until the next decade.
The Nadlemans had considerable money to spend because Viola had been left a sizeable estate by her first husband, and they started their collection by purchasing objects to furnish their houses. Among their first signif…» More
December 4, 2015 | Although the American Folk Art Museum’s exhibition space has contracted since it moved to 2 Lincoln Square from the now-demolished Tod Williams and Billie Tsien building on West Fifty-Third Street, it continues to expand thematically. Following its recent exhibition of self-taught performance artists, When the Curtain Never Comes Down, which stretched from Japan to Brazil, the museum is now mounting Art Brut in America: The Incursion of Jean Dubuffet. The two hundred works are drawn from Dubuffet’s vast collection in the Collection de l’Art Brut in Lausanne, Switzerland. The exhibition is in some ways a reprise of a ten-year-long display of twelve hundred works from his collection that was held in the East Hampton, Long Island, home of the artist Alfonso Ossorio between 1952 and 1962. This time around the works brought here will have a public venue, and what visitors will see amounts to a staging of Dubuffet’s great moment of impact on American art and artists. That some of the…» More
December 4, 2015 | The once famous career of the musical prodigy Thomas “Blind Tom” Wiggins, born a slave and raised to entertain audiences here and abroad with uncanny feats of musical mastery, tainted virtually everyone who touched it. Wiggins’s owners exploited him and profited hugely from his earnings (his concerts and sheet music yielded an astonishing $20,000 in 1879); critics and reporters wrote about him in gaudily racist language; African-American intellectuals kept him at arm’s length dismayed by his stage antics. Yet Wiggins’s gifts were indeed awesome: he was composing music at age five and went on to master the works of Bach, Beethoven, and other composers, often in a single afternoon. He also leaped about the stage, clapped for himself, and used the racial slurs his managers had taught him though he could not have understood their import. Today he would be classified as autistic.
“Blind Tom” Wiggins (1849–1908) in a photograph of 1865 by W.L. Germon’s Temple of Art, Philadelphia.…» 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