an exhibition at the Solomon R. Guggenheim Museum, New York City, February 5–April 27, 2016; and the Museo Jumex, Mexico City, June 9–September 17, 2016
Delightful and funny aren’t words one regularly associates with contemporary art, but they certainly fit aspects of the work of Peter Fischli and David Weiss. At least, I heard a fair amount of giggling at the Guggenheim Museum’s beautifully laid-out retrospective of the Swiss collaborative team. Not that they were …
Navigating the West: George Caleb Bingham and the River
an exhibition at the Amon Carter Museum of American Art, Fort Worth, October 2, 2014–January 18, 2015; the Saint Louis Art Museum, February 22–May 17, 2015; and the Metropolitan Museum of Art, New York City, June 17–September 20, 2015
There is a lovely stylishness and sense of artificiality about the paintings George Caleb Bingham made of fur traders and boatmen on the Missouri and Mississippi rivers. In pictures that date mostly from the latter half of the 1840s and seem to take place in the early hours of a …
an exhibition at Tate Britain, London, May 19–August 10, 2014.
The Books That Shaped Art History: From Gombrich and Greenberg to Alpers and Krauss
edited by Richard Shone and John-Paul Stonard
It is a rare event for an art museum to do a large and ambitious exhibition about a person who was not a visual artist. But then Kenneth Clark, the subject of such a show now at Tate Britain, was for some five decades a unique figure in the cultural …
The Metropolitan Museum of Art’s “Piero della Francesca: Personal Encounters,” is the first ever exhibition about Piero’s devotional works. They are small-size paintings created for bedrooms or set-apart areas in the home. In spirit they take us to much the same austere and bare-bones realm as his more public pictures. Yet they present more directly and pleasurably the qualities that make Piero such a special figure, even by the heady standards of the fifteenth century, when so many Italian and Flemish artists, were finding one personal way after another to portray the actual, corporeal world they lived in.
Over the years, Kiefer’s work, continually summoning up Bible stories, wartime legends, and mystical awarenesses, has become woozily grandiloquent. He is an extraordinary showman, however. His pictures, where model ships or women’s frocks are often placed atop images of endless fields, the sea, or forests, can have a phenomenal physical presence. He is a master transformer of materials. From the first he made lead, steel, straw, glass, or crumbly clumps of cement with rebar sticking out bespeak fragility and delicacy.
This summer, the Neue Galerie in New York is offering the first large-scale American exhibition of the gleefully provocative German painter Otto Dix (1891–1969)—providing a rare opportunity, as New York Review contributor Sanford Schwartz says, “to appreciate an artist who could almost be our contemporary.” Here are a selection of images from the show, together with comments taken from Schwartz’s piece on Dix, which will appear in the Review‘s August 19 issue. The exhibition closes August 30. (Images provided by Neue Galerie New York.)
New Yorkers currently have two large exhibitions with which to take the pulse of contemporary art, and neither shows the patient feeling altogether well. At the Whitney Biennial, this time around presenting many videos along with paintings, installations, and artists’ collaboratives performing music, the spirit is retiring, docile, and a little like spending an afternoon at some lackluster shows in Chelsea.