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In a better world we would all be thronging the doors of the Newark Museum; in the best of worlds Ulysses Grant Dietz would be there to meet us, taking us through the galleries with fellow curators Christa Clarke and Katherine Anne Paul
"The Civil War has left its mark on two important pieces of vernacular furniture acquired by the Wadsworth Atheneum"
Recent noteworthy publications that are a pleasure to read and a delight to behold
"There has never been another artist like George Caleb Bingham"
“Scintillating…addictive” applauded The Guardian; “outstanding…one of the best I’ve ever seen,” acclaimed The Telegraph; “mesmerising” said The Spectator. All were describing the exhibition Sargent: Portraits of Artists and Friends at London’s National Portrait Gallery earlier this year. But for anyone in New York this summer, it gets even better. An expanded version of the show of John Singer Sargent’s portraits of the influential and colorful characters from the worlds of art, literature, music, and theater who were his friends—Claude Monet, Auguste Rodin, Robert Louis Stevenson, Henry James, and Ellen Terry, to name a few—is on view at the Metropolitan Museum of Art until October 4. We asked Elizabeth Kornhauser, Alice Pratt Brown Curator of American Paintings and Sculpture, and Stephanie Herdrich, assistant research curator, who organized the installation here, to
Discoveries come in such unexpected ways. You can search for years for a missing piece of your puzzle without success. And then, sometimes, it falls in your lap! That is what happened last year when my friend Tom Jewett, of Jewett-Berdan Antiques, posted pictures of his Christmas decorations on Facebook.
The exhibition of an important collection of folk art at the Worcester Art Museum this summer gives us the opportunity to draw attention to the renaissance of a great museum in a city that is also busily being reborn.
When it opened last fall on Newport’s swank Bellevue Avenue, the Audrain Automobile Museum was immediately up to speed (metaphors drawn from car culture are inexcusable but somehow inevitable with the Audrain), exhibiting a small but head-turning group of rare pre-World War II luxury cars, such as a fire-engine red 1930 Pierce-Arrow Convertible with a custom fitted compartment for your golf bag, and a 1931 Lincoln Model K convertible in a beautiful, and shall we say enviable, pea green.
One sign of an important exhibition may be its ability to move us into unfamiliar territory. By that measure, as by others, the recent show at the American Folk Art Museum, When the Curtain Never Comes Down, has claimed our attention. Its twenty-seven self-taught/outsider artists are represented by both permanent works— assemblages, garments, instruments, drawings, and the like—but more significantly by their actions in movement, song, and other forms of evanescent self-display. In the current art climate it is a relief to encounter art that for the most part cannot be bought or sold. But surely we are drawn to these evangelists of the self for other, deeper reasons