In a fascinating conversation that ranges from Alice Neel’s politics to her painting practice, we talk with Kelly Baum and Randall Griffey, the co-curators of the current exhibition at The Metropolitan Museum of Art and co-editors of the related catalogue, Alice Neel: People Come First. Subscribe: Apple Podcasts | Stitcher
David S. Areford— Sol LeWitt. For the dedicated or even occasional museum visitor, the artist’s name conjures up expansive and colorful murals (his “wall drawings”) and equally commanding, large-scale cubic sculptures (his “structures”). Often installed in grand public interior or exterior settings, these artworks collaborate with the architectural and spatial
Anne Monahan — Horace Pippin (1888-1946) painted two self-portraits in the 1940s on his way to becoming the decade’s most successful black artist. Both evince an indifference to illusionistic perspective in line with modern aesthetics, even as his self-taught pedigree appealed to those wary of avant garde styles and politics.
Well known during the twentieth century for his bold, imaginative illustrations that brought new characterizations to classic stories such as Treasure Island and The Boy’s King Arthur, N. C. Wyeth (1882–1945) vigorously pursued parallel interests in painting landscapes, seascapes, portraits, still lifes, murals and advertising images throughout his career. N.
Rachel High– Recently published by The Metropolitan Museum of Art and distributed by Yale University Press, My Soul Has Grown Deep: Black Art from the American South accompanies the exhibition History Refused to Die: Highlights from the Souls Grown Deep Foundation, on view at The Met Fifth Avenue through September
Hélène Valance— This spring, I had the luck to spend a few days in the Eolian archipelago off the coast of Sicily, in a house poised on the edge of a steep cliff overlooking the Mediterranean, with little in sight except the silhouettes of nearby volcanic islands. On my first
Antonio Sergio Bessa– In his foreword to the 2007 Whitney catalogue, museum director Adam Weinberg wrote with great insight that Gordon Matta-Clark’s work “resisted commodification and the museum context.” I would add that to counter the tendency to commodify, the experiential element in presenting his work is of utmost importance.
Corita Kent and the Language of Pop is an exhibition opening this Thursday, September 3rd, at the Harvard Art Museums. The Boston Globe recently published a piece in which Cate McQuaid whimsically proposes that if Don Draper and Mother Teresa had a love child, it would be Corita Kent. The
One of the exhibitions currently on view at the Whitney Museum of American Art is the extraordinary Robert Indiana: Beyond LOVE. According to Forbes magazine, the exhibition is “A long overdue celebration of the depth and breadth of the 85-year-old Indiana’s work over five generations.” Yale University Press is distributing
Kirsten Swenson, a contributor to the new book, Eva Hesse 1965, edited by Barry Rosen, writes here on the artist’s important transitions beginning in the last five years of her short life, as Hesse changed media from drawing and painting to sculpting the works for which she is so widely known.