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Jerusalem 1000–1400: Every People Under Heaven, closing January 8, is one of the Metropolitan Museum of Art’s sprawling historical exhibitions, but the objects themselves on view are subdued. A case of delicate Arabic astrolabes are some of the first of the 200 artifacts visitors encounter, followed by personal totems of devotion like portable crosses from Ethiopia, a 13th-century pilgrim’s souvenir diptych of the Virgin Mary, and a 14th-century Jewish wedding ring topped with the destroyed Temple of Jerusalem.
These represent an interior spiritual life in contrast to Jerusalem’s monumental houses of worship. Then there are the lentil pots, gold coins, and textile wares, reminders that the sacred city was as much a medieval crossroads of commerce as religion. This perspective on everyday people illuminates how Jerusalem as a geographical place has long been internationally diverse, while the city as an idea instigated carnage in its Crusades and Holy Wars.
Among the most captivating items are five capitals sculpted in the 1170s for the Church of the Annunciation in Nazareth. Never installed, likely due to Saladin’s siege in 1187, they were exhumed from their burial places in the 20th century. The dynamic apostles, demons, and the Virgin Mary processing across the limestone, and their endless motion, seem to embody the constant flow of people through Jerusalem’s fluctuating boundaries.
Jerusalem 1000–1400: Every People Under Heaven continues at the Metropolitan Museum of Art (1000 Fifth Avenue, Upper East Side, Manhattan) through January 8.
The new generation of artists and curators is eager to explore alternative organizations and to tackle current social inequalities and issues.
Her female nudes were extraordinary for the time because she portrayed female sexual desire. Her subjects defied conventional ideals of femininity.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
Francis made over 10,000 artworks, starred in more than 100 solo exhibitions, and, in the late 1950s to mid-1960s, commanded the highest prices of any living painter.
Brian Blomerth’s Mycelium Wassonii deploys amazing graphic storytelling to share his own exploration of mushroom history.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
Over a century after Wright designed a workplace that borrowed features from the home, designers are at it again, but who does a homey office really serve?
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
This week, the National Gallery of Art finally acquired a major work by Faith Ringgold, the director of The Velvet Underground talks film, North America’s Hindu Nationalist problem, canceling legacy admissions, and more.
Sculptures of Oaxacan alebrijes, envisioned as guardians of the nation’s immigrant community, and catrinas, Day of the Dead skeletons, are now at Rockefeller Center.