Between 1917 and 1937, Alfred Stieglitz took 331 photographs of Georgia O’Keeffe. Along with the thousands of letters the two exchanged throughout their 30-year romance, these photographs occupy a sort of middle ground between documentation and expression, between correspondence and art. They are an eloquent testament to a profound and
Before there were LOLcats, there was the art of Victorian photocollage. Today’s Wall Street Journal features an online slideshow of whimsical assemblages created by highly creative women in 19th century England. These images, which place human heads on animal bodies and assemble bizarre dinner parties in painted landscapes, are taken
Jasper Johns: Gray is an intriguing and elegant look at Johns’s sustained exploration of the color gray in paintings, drawings, prints, and sculpture over the past 50 years. This book is the companion to the Johns exhibition which opened yesterday at the Metropolitan Museum of Art, running until May 4.
The Met has installed a new porch, just in time for winter. It is enormous and luxuriously decorated, a hundred-year-old artifact the size of a house. It is Louis Comfort Tiffany’s famous Daffodil Terrace. Or at least a faithful reconstruction of it. The real terrace belonged to Laurelton Hall, the
Roberta Smith reviewed “Set in Stone: The Medieval Face in Sculpture” in the New York Times today. The exhibit is currently on display at the Metropolitan Museum of Art and will run until February 18, 2007. From the review: “Set in Stone: The Face in Medieval Sculpture” is one of
“Pinch yourself,” says Roberta Smith in the New York Times, “The Metropolitan Museum’s sublime exhibition of the Renaissance painter Fra Angelico is not a dream, much less a heavenly vision. Sure, its images are populated by figures with halos, wings or both. And yes, these motifs create a veritable mirage