By returning to the details of life embedded in bodies, objects, and the earth, the artists featured in Before the Fall at Neue Galerie conveyed the hope that the world might reassemble itself.
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.
Beckmann’s “Self-Portrait with Cigarette” belonged to the Metropolitan Museum until 1971, when its deaccession set off a series of disputes that reshaped museum practices.
What New York gave Beckmann was not superficial subject matter, but inspiration in the form of energy.
There’s often no rhyme or reason to the selection of art in individual booths at fairs — other than, of course, a gallery’s aim to sell well.
Last year I wrote an article called “What You Might Be Missing at MoMA,” which discussed the paintings exiled to the corridors of the Museum of Modern Art’s fourth and fifth floors.
You’d never find Pablo Picasso or Jackson Pollock relegated to the corridors of the Museum of Modern Art. Rarely do artists deemed essential to MoMA’s historical narrative rub elbows with the throngs swarming the escalators and passageways in endless transit from galleries to café to restroom and back.