A landmark semiquincentennial collaboration unites two Philadelphia museums and a storied private collection to explore American art, identity, tradition, and change. ⬬
NYC Antiques Week: A Novice Tells All
Last Thursday, I was formally baptized into the world of antiques at New York City’s Antiques Week, anchored by its headlining event: The Winter Show. ⬬
Books: Rewriting Arrival
The Family of Migrants (Hannibal Books) underscores the poignant pitfalls of reducing migrants to clichés. ⬬
All-American Dream Cruise
The annual tradition of the Motor City’s Woodward Dream Cruise jumpstarted in 1995 as a municipal fundraiser for the city of Ferndale. Since, the event has evolved into action as one of the biggest car-crazed events in the world. ⬬
Objects: Blowin’ in the Wind
On the complex origins of whirligigs, a seaside art form that unfolded from the dying whaling industry. ⬬
The Patient Collector
With modest means and fifty-five years of persistence, a Maine state employee built a remarkable collection—and a legacy— one or two objects at a time.
Exhibitions: Discovering Caillebotte
When it comes to the likes of Monet, Manet, and Renoir, it seems there’s little left to unearth beneath the impressionist sun. But when it comes to Gustave Caillebotte, their less colorful colleague, tales remain to be told.
Best in Glass
Two longtime friends and colleagues in their passion for American decorative arts discuss a major acquisition to mark the hundredth anniversary of the founding of the Met’s American Wing.
Books: Treasure House
John Soane’s Cabinet of Curiosities (Yale University Press, $45) certainly lives up to its title. For starters, it’s a visual delight, leading readers through the haunting, eclectic maze of a London relic: a house museum, frozen in amber since 1837, that displays its trove of forty thousand objects in arrangements fixed by the architect and collector who bequeathed it to the nation.
In Depth: Childe Hassam
A project already nearly fifty years in the making, the Hassam catalogue raisonné, spearheaded by the president and director of Hirschl and Adler Galleries, is, we feel, sure to reset scholarly opinion of the American impressionist.