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The centerpiece of the stunning new exhibition at the Morgan Library & Museum, Leonardo da Vinci: Treasures from the Biblioteca Reale, Turin, is “Head of a Young Woman,” which Bernard Berenson, the renowned authority on Italian Renaissance art, called “one of the finest achievements of all draughtsm
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As the blue Prosecco-and-Curaçao cocktails were passed around, I asked Elaine Tin Nyo, the artist and ringleader of Edible Magritte, an after-hours event at the Museum of Modern Art (MoMA), if we’d be eating eyeballs that night.
Art
Balthus: The Last Studies at Gagosian Gallery offers a kind of endnote to Balthus: Cats and Girls — Paintings and Provocations, the exhibition a couple of blocks away at the Metropolitan Museum of Art. It’s a denouement that disentwines the cultured from the creepiness in Balthus’ work, leaving only
Art
Brimming with knockabout energy, Arlene Shechet’s polymorphous clay sculptures at Sikkema Jenkins — exuberantly colored columns, clumps and sacks of glazed ceramic — feel almost illegitimate in their sensuality and humor, a reaction that immediately calls into question why a word like “illegitimate”
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With inadvertent timeliness, a retrospective of the world’s richest artist opened in one of the world’s richest cities in the middle of the run of Robert Polidori’s elegiac photography exhibition, Versailles.
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In his dismissal of Magritte: The Mystery of the Ordinary, 1926–1938 — the recently opened retrospective of René Magritte (1898-1967) at the Museum of Modern Art — the New York Times’ Holland Cotter cites the ubiquity of the Belgian surrealist’s images and the relative paucity of insight to be glean
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Radio Waves: New York “Nouveau Réalisme” and Rauschenberg at Sperone Westwater is a long-overdue exhibition revolving around the enigmatic Swiss artist Jean Tinguely.
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What’s most compelling about Chris Burden: Extreme Measures — the Los Angeles-based artist’s first New York retrospective, which has taken over five floors of the New Museum — is what’s not there. Or almost not there.
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On paper, the Mexican artist Pablo Helguera may fit the mold of a neoconceptualist with a social agenda, but the more I see of his work, the more he resembles some kind of latter-day mystic, conjuring up improbable connections and unsettling dislocations.
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You’d think that after two weeks in Italy, there’d be no better way to ease into the New York scene than Sol LeWitt’s monumental “Wall Drawing #564: Complex forms with color ink washes superimposed” (1988) at the Paula Cooper Gallery.
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FLORENCE, Italy — Is there a more hallucinatory painter than Jacopo Carucci, more popularly known as Jacopo Pontormo?
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AREZZO, Italy — The organization of space. Its definition can be found under Piero della Francesca, whose frescoes depicting the Legend of the True Cross (1452–1466) are mind-bending excursions into the cumulative force of perspective, line, plane and pattern.