Against the cult of novelty
100 years ago, the cult of novelty was born.
Picasso, Paris, and modern art in Vichy France
An exibition ponders modern art, Vichy France, and the responsibilities of the artist.
The Steins Collect Metropolitan Museum of Art Van Gogh: Up Close Philadelphia Museum of Art Van Gogh: The Life By Steven Naifeh and Gregory White Smith (Random House, 953 pp., $40) Nobody in the history of culture has known more about the art of persuasion than the avant-garde painters, sculptors, writers, composers, choreographers, and impresarios who transformed European art from the end of the nineteenth century to the middle of the twentieth century.
Leo and His Circle: The Life of Leo Castelli By Annie Cohen-Solal (Alfred A. Knopf, 540 pp., $35) I. Annie Cohen-Solal’s new biography of Leo Castelli, the art dealer who will forever be associated with the meteoric rise of Jasper Johns and Robert Rauschenberg in the years around 1960, has set me to thinking about the interest that men and women who run galleries inspire among a fairly wide public.
“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.
Picasso: Mosqueteros--Gagosian Gallery Younger Than Jesus--New Museum The Pictures Generation, 1974-1984--Metropolitan Museum of Art Compass in Hand--Museum of Modern Art The exhibition of Picasso's late work at the Gagosian Gallery this spring was a phenomenon. Day after day, Gagosian's huge space on West 21st Street attracted a remarkably heterogeneous public, a mix of artists, art students, Brooklyn hipsters, well-heeled professionals, and European and Asian tourists, gathered together in a way I do not recall seeing before, certainly not in Chelsea. People did not just come and look.
PICASSO: MOSQUETEROS GAGOSIAN GALLERY YOUNGER THAN JESUS NEW MUSEUM THE PICTURES GENERATION, 1974-1984 METROPOLITAN MUSEUM OF ART COMPASS IN HAND MUSEUM OF MODERN ART The exhibition of Picasso's late work at the Gagosian Gallery this spring was a phenomenon. Day after day, Gagosian's huge space on West 21st Street attracted a remarkably heterogeneous public, a mix of artists, art students, Brooklyn hipsters, well-heeled professionals, and European and Asian tourists, gathered together in a way I do not recall seeing before, certainly not in Chelsea.
The Language of Forms: Lectures on Insular Manuscript Art By Meyer Schapiro (Pierpont Morgan Library) Romanesque Architectural Sculpture By Meyer Schapiro (University of Chicago Press) I. When Meyer Schapiro died ten years ago, at the age of ninety-one, he had a place in American intellectual life that was extraordinarily large and also rather mysterious. Quite a few of the people who mentioned his name with a quickening excitement, a catch in their voices, had probably not read a single one of the exacting essays about medieval art on which his scholarly reputation rested.
"Matisse Picasso," the exhibition that has now arrived at the Museum of Modern Art after packing in the crowds at Tate Modern in London and the Grand Palais in Paris, begins as a sort of Butch Cassidy and the Sundance Kid for culture vultures, a study in male bonding in the artistic stratosphere that features the somewhat older, more formal Matisse and the younger, unabashedly bohemian Picasso. Later on, when the show really gets going, museumgoers are supposed to be agog at what amounts to a clash of the titans with avant-gardist sparks flying, a High Modernist love-hate-love kind of thing.