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We’re instinctively taught not to touch the art by stern museum guards and gallery attendants that drill into us all the idea that art is untouchable, literally. So imagine my surprise when I visited the home of New York critic and curator Karen Wilkin and saw her cats using her sculpture collection as funky cat houses.
“All of our cats have had relationships with the sculpture we live with,” she told me. “I think they realize that we’re very interested in sculpture so they should be, too. Marsden’s predecessor, a splendid Maine Coon named Rumford, used to thread in and out of a [Anthony] Caro bronze that’s near our front door, as a greeting. Rumford’s sister, Augusta used to balance on the linear Caro, ‘Table Piece Z-25.’ And everyone, past and present, had liked to play inside a low André Fauteux that makes an enclosure. Marsden likes to circumnavigate the [André] Fauteux, balancing on the narrow part of the I-beams, but we’ve never managed to photograph that.”
Do you think the sculptor minds your cats using it like a cat bed, I ask. “I sent Tony [Caro] photos of Marsden in the newest addition to our Caro collection, ‘Case Study,’ and he wrote back ‘I’m glad your pussycat has found a happy home in my sculpture,’” Wilkin explained. “The Caros, although presently cat-less, are sympathetic to the species.”
The cat critics have it, metal modern sculptures are purr-fect.
Poussin and the Dance is a valiant attempt to break into Poussin’s staunchly academic oeuvre and provide a relatable point of entry, highlighting the exciting elements of revelry and movement despite impenetrable and unemotional rendering.
Anarchist illustrator N.O. Bonzo produces decentralized media in a highly bureaucratic cultural landscape. Their illustrations, murals, and literature emerge in unexpected places, from the streets of Portland, Oregon, to the far ends of Reddit and Twitter, addressing relations of labor and identity in the workplace and on the streets. Growth and care are central themes…
This exhibition explores how images of the human body were used to provoke profound physical and emotional responses in viewers from the 15th through 18th centuries.
With scavenged materials, Amanda Maciel Antunes constructs a motherland.
Where are the directors taking the stage to acknowledge workers’ demands today?
The collaborative handmade paper- and printmaking center at the Pennsylvania Academy of the Fine Arts publishes new works by Liz Collins and Sarah McEneaney.
There is a debate whether the memory of Little Syria should be seized upon to tell truthful and positive stories about Arabs in the US, or whether any conflation between its history and contemporary politics is inappropriate.
The profile includes works by Egon Schiele, Amedeo Modigliani, Peter Paul Rubens, and a prehistoric Venus of Willendorf figurine.
These horrifying dolls definitely won’t murder you in your sleep.