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 10, 2013 | We at ANTIQUES mourn the death of Michael K. Brown, a great friend of the magazine and a cherished member of the American decorative arts family. Our November-December issue will include a tribute to him as a man of enormous kindness, scholarship, humor, and loyalty.
Michael K. Brown (1953-2013), longtime curator of the Bayou Bend Collection and Gardens, Museum of Fine Arts, Houston.
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
March 11, 2013 | A few weeks ago the Connecticut congressman Joe Courtney registered dismay at one of the more significant departures from historical fact inSteven Spielberg's Oscar-bound Lincoln. To dramatize the narrow margin by which the Thirteenth Amendment passed, the film's screenwriter Tony Kushner shows two members of the Connecticut delegation voting against the abolition of slavery. As it happened, all four voted in favor of the amendment. Kushner replied, arguing for his dramatic license (and pointing out that he had changed the names of the actual figures so as not to impugn them). He went on to observe that despite its four enlightened representatives the Nutmeg State ("the Georgia of the North") was soft on slavery, giving his fictionalized vote the whiff of a deeper truth.
Kushner seemed unreasonably peeved at being called into question by a mere congressman, which is too bad as he does have a point: sometimes you need the conventions of fiction to arrive at historical fact. A l…» More
by Émile Jacques Ruhlmann (1879-1933), 1926. Macassar ebony, amaranth, and ivory. Metropolitan Museum of Art. By Cynthia Drayton» View All