How is Frankenstein relevant today? Charlie Fox and Rosalind Williams will answer that question in their talk at the Morgan Library & Museum on Wednesday night.
Thiebaud, just a few months shy of his 98th birthday, offers a glimpse into the thinking behind his five decades of work.
Featuring subjects that range from deli counters and solitary figures to dramatic views of San Francisco’s plunging streets, Thiebaud’s drawings endow the most common objects and everyday scenes with a sense of poetry and nostalgia.
Hujar’s photographs document the effervescent creative spirit that pulsed through the East Village as the AIDS crisis unfolded.
Museum educators are crucial to museums’ long-term public engagement, but these freelancers lack the job security of a full-time, salaried position.
Museum education is a significant aspect of the way museums interface with their audiences, and freelance educators have made themselves crucial to the operation of many of New York’s main art institutions.
In his lifetime, German type designer Hermann Zapf created around 200 typefaces across the world’s languages, from Arabic to Cherokee.
A drawing/collage that Cy Twombly made on May 27, 1970, includes three disparate objects: a reproduction of his large, multi-panel painting, “Treatise on the Veil” (1968); a sheet of paper whose dimensions echoed the reproduction, with vertical creases made by folding; and another sheet containing his handwritten signature and the phrase “Study for Veil,” along with the stamped date and the number 3 written inside a stamp containing the artist’s name.
Consider “Study for The Forest in Winter at Sunset,” a work in oil and charcoal on brown paper by Théodore Rousseau, the 19th-century French painter now under scrutiny at the Morgan Library & Museum. Although it was done between 1845 and 1850, it feels like something Anselm Kiefer might come up with for a 12-foot-wide canvas: a controlled chaos of bare, twisting tree limbs in slashes of paint as dark and smoldering as charred bitumen.
A 1511 edition of Dürer’s Apocalypsis (The Apocalypse) is just one of the many literary and artistic achievements in Marks of Genius: Treasures of the Bodleian Library now at the Morgan Library & Museum.
Skimming through various museum sites for their fall schedules, the first thing that caught my eye was a notice for The Art of the Chinese Album at the Metropolitan Museum of Art.
Surreal. It’s one of those words like insane or awesome that’s taken a beating from aggressive misuse. I’ve heard the term applied to both a bus driver wearing a funny hat and the sight of the second plane hitting the tower. “It was so surreal,” that long e sung out like an animal’s cry of distress, is one of the more commonplace characterizations of any even vaguely untypical experience. The show currently at the Morgan Library and Museum, Drawing Surrealism, affords an opportunity to get reacquainted with the ideas and art behind the now overly familiar adjective.