an exhibition at the Metropolitan Museum of Art, New York City, February 14–May 28, 2018
by William Eggleston, with a preface by Lloyd Fonvielle
William Eggleston’s photographs provide a primer on how to look at things you’re about to overlook—the inside of an oven, an old blue pick-up truck parked behind a horizontal wisteria vine, a green shower stall, part of a concrete stairway between two white walls, a dog lapping water from a puddle.
an exhibition at the Center for Italian Modern Art, New York City, October 6, 2017–June 23, 2018
Alberto Savinio, the hidden spring of metaphysical modernism, lives on in his Self-Portrait as an Owl (1936). His face, with its marked eyebrows, dark eyes, thin lips, and air of melancholic diffidence, sketched in swirling feathers, resembles that of his brother, Giorgio de Chirico, who did a pencil drawing of …
At the Di Donna Galleries, the masks of the Yup’ik, an indigenous people related to the Inuit, seem to float off the dark blue walls where they hang, between paintings by Yves Tanguy and André Masson, Joan Miró and Enrico Donati, Victor Brauner and Wolfgang Paalen—all Surrealists. André Breton and Man Ray had first seen Yup’ik masks in 1935 in Paris at the Galerie Charles Ratton in Paris. But it was Max Ernst who introduced his friends to a trove of them in Manhattan. He was walking down Third Avenue one day when he spotted a spoon from the Northwest Coast in the window of Julius Carlebach’s antiques shop.