The Swiss artist Nicolas Party is both the subject and curator of Pastel, an extraordinary exhibition examining the under-appreciated, fugitive medium and its history.
Ephemera provides an important history lesson, especially for a war that is disappearing from America’s collective memory, but the most affective works in World War I and the Visual Arts are those that convey the pathos of the war experience.
What if Abstract Expressionism never happened?
Besides examining in-depth both the early and late Maine periods, Marsden Hartley’s Maine includes a fine essay on materials and techniques, based on careful examination of a dozen works, which shows a surprising continuity in composition and methods across Hartley’s career.
From critical to patriotic and everything in between, a vast exhibition at the Pennsylvania Academy of the Fine Arts displays the full range of US artists’ reactions to World War I.
Marsden Hartley represents a rather contradictory figure in American art and literature. Both poet and painter—he wrote poetry during the mornings throughout most of his life and painted in the afternoons—he survived through the latter, but actively sought out literary attention and wrote about literature as a “business.”
Nighttime darkness compresses space and alters colors, making ordinary places both more terrifying and more freeing, changing the social dynamic of those who walk in them.
With America Is Hard to See, the exhibition inaugurating its luminous new Renzo Piano building, the Whitney has reclaimed its role among the city’s museums as the engine of the new.
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.
OK, full disclosure: I have never been a huge Marsden Hartley fan.
The future of Fisk University’s priceless art collection donated years ago by artist Georgia O’Keeffe, and known as The Stieglitz Collection, may be decided at a trial set to begin tomorrow after five years of legal wrangling.