While in New York recently, Stan Mabry, a fine arts dealer, did a double take. He saw a painting that he had known of for many years, but only as the centerpiece among many works of art in a black-and-white photo of a Paris studio in the 1890s.
Philadelphia Stories
Introducing a new section in which curators discuss ongoing research projects and other collection notes. First up, Alexandra Kirtley of the Philadelphia Museum of Art.
Ralston Crawford’s visions of man and machine at the Nelson-Atkins
A pioneer of precisionist painting and geometric abstraction as well as a celebrated photographer, Ralston Crawford (1906–1978) was equally fascinated by mankind and the man-made. Both subjects—and a link between Crawford’s artistic practices—are explored in the exhibition Structured Visions: The Photographs of Ralston Crawford at the Nelson-Atkins Museum of Art.
Art from Every Angle
A monumental exhibition at the Pompidou Center in Paris offers a comprehensive survey of cubism
Faces of Detroit
At the Detroit Institute of Arts, an exhibition of found photographs offers a glimpse of the heart and soul of the city.
Curious Objects: Glass Act—John Stuart Gordon and the Vitreous Curiosities of Yale
Ben Miller examines a piece of trinitite—glass formed in the 1945 Trinity nuclear test—and a stained-glass window formerly installed in Yale’s Hopper College, both featured in John Stuart Gordon’s new book “American Glass.”
Kilt built: The Victoria & Albert opens a satellite museum for Scottish design
It’s good to stand in a new civic building like the V&A Dundee and feel the well-earned pride of people who’ve done something grand. Not just the curators, the rest of the staff, the local officials, and the building team. The new museum enlisted the entire city. For them, it’s a measure of Dundee’s future.
Monster mash at the Morgan Library
Museums and other cultural institutions the world over are celebrating Frankenstein this year, as 2018 marks the two hundredth anniversary of the publication of Mary Wollstonecraft Shelley’s book.
The Beguiling Berthe Morisot
An exhibition in 1876 at Paul Durand-Ruel’s gallery in Paris drew ridicule from art critic Albert Wolff, who warned readers of Le Figaro: “Here five or six lunatics, one of whom is a woman . . . have gotten together to work. These self-styled artists call themselves ‘Impressionists.’ ”
At the Wadsworth: Disquieting art from frightening times
An exhibition at the Wadsworth explores the monstrous aspects of twentieth century politics