Think your four-year-old might be an artistic prodigy? While early drawing ability doesn’t mean your child will be the next Picasso, a new study suggests it may indicate brightness.
CHICAGO — In a 2004 address to London’s Royal Academy, critic Robert Hughes said that drawing “satisfies the desire for an active, investigative, manually vivid relation with the things we see and yearn to know about.” An exhibition of drawings currently on view at the Art Institute of Chicago exemplifies Hughes’s statement.
For the first time, the dark manifestations of the Spanish drawings held by the Morgan Library and Museum are seeing the gallery lights. Visions and Nightmares: Four Centuries of Spanish Drawings opened last month as the museum’s inaugural foray into the overlooked history of drawing in Spanish art.
Shortly after President Obama announced his support for same-sex marriage in May 2012, the online version of the Guardian came out with an interactive graph depicting gay rights in the US on a state by state basis.
There’s something in the air about art and reading. In addition to Summer Reading at The Hole, the New York Studio School is presenting a show called Reading the Space: Contemporary Australian Drawing 4.
The elaborately baroque art of Matthew Barney puts some people off, and I count myself among them. His Olympian athleticism, symbol-laden costume dramas and obsession with petroleum jelly can be fascinating, but they can also feel chilly and remote.
Rawson Projects is a miraculously bright spot in the neighborhood of Greenpoint, where many first-floor businesses are still in repair after Sandy. Inside the gallery, Ben Berlow’s show of new drawings seems timely and thoughtful in its intimacy and sympathy for weathered materials.
In 1961, two scrappy young artists decided to stage their first show together. One of them was Georg Baselitz, who would later become a mainstay of Neo-Expressionism’s German flank; the other was Eugen Schönebeck, who would stop painting by the time he was thirty.
There are 24 charcoal drawings now on display at the Museum of Modern Art that Willem de Kooning did with his eyes closed. This was not an uncommon thing for de Kooning, who often liked to close his eyes, or avert his eyes, or use them to watch TV while he drew. This may sound like a gimmick, or some kind of dada or surrealist gambit, or an act of desperation from an artist running on fumes. But it was none of these.
I recall the 1993-1994 Lucian Freud retrospective at the Metropolitan Museum of Art as possibly the dreariest exhibition I’d ever seen there.
Dr. Frankenstein’s monster, as discussed in last week’s post, was assembled out of discarded body parts — an exhumed limb here, a torso there — with everything “awkwardly sewn into a corporeal pastiche.”
Tonight’s invite-only symposium organized by The Drawing Center invited five artists and two curators to explore the state of drawing today. Here’s my report.