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If you’ve ever walked down the foyer of the Frick Museum, you’ve probably paused curiously in front of the roped-off white marble staircase anchoring the hall to your right. It ascends toward the neoclassical museum’s second floor, a mysterious realm that has never been open to the public. Now, thanks to a recently announced expansion plan, it won’t be long before you can wander to your heart’s content.
The second-floor rooms are set to be converted into galleries, providing a home for those members of the museum’s 1,200-item permanent collection which have until now been banished to storage. Images of the upstairs reveal casual, laid-back quarters where the Frick family slept, studied and took breakfast — a sharp contrast to their former home’s opulent downstairs space.
“Opening gallery space on the second floor will allow us to show more of our collection’s decorative arts, bronze statuettes, small scale paintings, and drawings — works that may be lost in the larger galleries downstairs because of their smaller scale,” Heidi Rosenau, associate director of media relations and marketing, told Hyperallergic.
The conceptual design by Davis Brody Bond Architects and Planners (the firm that helmed the museum’s fourth enlargment in 2011) also has some bold additions that could turn the Frick into a mini Louvre. That dreamy courtyard garden with the birdbath that you’re also not allowed to enter? It’s going to get knocked out to accommodate an additional gallery on the main floor.
“[It] will give us greater flexibility and allow us to host special exhibitions of larger individual works, such as full-length paintings, that cannot currently be shown in the special exhibition galleries in our basement,” Rosenau said. The new gallery will also help them avoid displacing permanent works like the much-loved Whistler paintings when they hold temporary shows.
The most dramatic addition of all will be the construction of an “architecturally respectful” six-story wing to the East 70th Street side of the museum. It will house more gallery, library, conservation and administrative space, as well as classrooms, a 220-seat auditorium and a rooftop garden.
Altogether, the expansion will add an additional 42,000 square feet of space, increasing the Frick’s footprint by a third.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.