It’s not easy to summarize Roberto Burle Marx and the many facets of his creative output.
The current exhibition at the Jewish Museum, Masterpieces & Curiosities: The Fictional Portrait, does a few remarkable things, perhaps the most remarkable being that it begins to turn the institution inside out, to make not only its collection available to the visitor, but also the policies and procedures that underlie how it augments and organizes its collection.
Oversized frog heads; a thin, silk faille gown swathed in a cotton candy-colored parka; a cacophony of plaids, polka dots, chevrons, furs, sequins, feathers, tribal prints, and religious iconography. This is the world of Isaac Mizrahi, on view at the Jewish Museum.
These works from Argentina explore the effects of living in a media-saturated world, but a theme as general as “media” can erase the specifics of a country’s identity.
About halfway through the Jewish Museum’s Revolution of the Eye: Modern Art and the Birth of American Television, you can watch a curious short video circa 1952 directed by Sidney Peterson.
Nicole Eisenman’s painting “Seder” puts the viewer at the center of a formal Passover family gathering.
From her early photographs of dolls acting like humans, to more recent explorations of humans who resemble dolls, artist Laurie Simmons has spent her career blurring the boundaries between reality and fantasy.
Tucked away in a corner of the permanent collection of the Jewish Museum is a little movie theater that transports you far away from the artifacts of Jewish history in the surrounding galleries.
A big part of the art world is art history, and nowhere is that clearer than in the recent spate of exhibition revivals.
There may never have been a better month to see Brazilian art in New York. Last weekend, Frieze brought a taste of São Paulo art galleries Casa Triângulo, Fortes Vilaça, Mendes Wood, Vermelho, and Jaqueline Martins, as well as Rio de Janeiro’s A Gentil Carioca, to Manhattan.
Last Sunday night, on the occasion of the exhibit Chagall: Love, War, and Exile on view at the Jewish Museum, Jordan Kantor a painter and professor at California College of the Arts, hosted an intimate panel looking back at painting since the death of Chagall to the present.
How do you get across the meaning of an object that’s separated from everyday life by the glass of a museum vitrine? This question, constantly grappled with by curators of object-based collections, is very much at stake in the Jewish Museum’s current exhibition As it were … So to speak: A Museum Collection in Dialogue with Barbara Bloom.