“Picasso in the Metropolitan Museum of Art” is wretchedly installed. I cannot imagine what Gary Tinterow, the curator at the museum who organized the show, thought he was doing. Tinterow has crammed so many paintings, drawings, and prints so close together that it is virtually impossible to see anything on its own terms or to make distinctions between major and minor works. In this absurdly overcrowded hanging, key paintings—Gertrude Stein (1905-06), Woman in White (1923), Dora Maar in an Arm Chair (1939)—are treated like straphangers in a rush-hour subway.
Continuing a tradition of mine, here is a shamelessly subjective list of the most noteworthy research which came out in the last year: Putting a new spin on the idea of sticky wages, Lena Edlund, Joseph Engelberg, and Christopher A.
Elie Nadelman: Sculptor of Modern Life, Whitney Museum of American Art In the art of Elie Nadelman, sobriety and enchantment are strangely, wonderfully entangled. Nadelman, who died in 1946 at the age of sixty-four, gave sculpture’s ancient mandate to turn real space into dream space a modern vehemence and an adamantine logic, but also a flash of what-the-hell insouciance.
In recent months one has been able to recognize a tense anxiety in many of the people in the photography community to do with whether the conquerable interest in serious, expressive photography, felt by a large segment of the educated public, will last. Is it a fad akin to those which may be consistently found in popular culture, or is this interest reflective of something more meaningful? Has it come too late?