Angels & Tomboys: Girlhood in 19th-Century American Art is a major traveling loan exhibition, which is the first to examine nineteenth-century depictions of girls in paintings, sculpture, prints and photographs. Featuring approximately 80 masterworks by John Singer Sargent, Thomas Eakins, Winslow Homer, Cecilia Beaux and William Merritt Chase, the exhibition analyzes the myriad ways that artists vigorously participated in the artistic and social construction of girlhood while also revealing the hopes and fears that adults had for their children. While the sentimental portrayal of girls as angelic, passive and domestic was the pervasive characterization, this project also identifies and investigates compelling and transgressive female images including tomboys, working children and adolescents..
This Will Have Been: Art, Love & Politics in the 1980s, an ambitious presentation that represents the diversity and complexity of art produced during the 1980s—from the Pictures generation to neo-expressionism, from the rise of photography to the emergence of abject art—offering a historical overview while situating
The Whitney Museum of American Art. Explore works, exhibitions, and events online. Located in New York City. This exhibition brings together rarely seen films, advertisements, and political campaign messages that reflect the extravagant yet deadpan excess of Pop.
Ori Gersht is a conduit between the past and the present. With the latest digital technology, Gersht’s work poetically revisits sources ranging from 19th-century romantic landscape painting to the Holocaust, which imbue his work with a compelling tension between beauty and violence, memory and history. In twenty-five works, including large-scale photographs and films dating from the late 1990s to today, Gersht examines the evolving relationship between cultural, political, and art histories to shape an exhibition The New York Times describes as “beauty, tender and fleeting, amid history’s ire.”
As an extension of Gersht’s engagement with art history, he has been given full access to the MFA’s encyclopedic holdings. An integral component of the exhibition, Gersht selected works from the collection in close collaboration with curators across the Museum. The Foster Gallery will be punctuated by these works, including American paintings, Japanese prints, and vintage photography. The exhibition also features a film, Liquid Assets, that Gersht created especially for this MFA exhibition, taking as his starting point an ancient Greek coin from the collection.
“Ori Gersht: History Repeating” is the first full survey of Gersht’s work, including several photographs never before exhibited, and is accompanied by a major monograph published by the MFA.
The artists of Dancing around the Bride created works that blurred the boundaries between art and life through a radical exploration of chance, collaboration, and interdisciplinarity—practices that have proven to be highly influential today. As the works of Cage, Cunningham, Johns, and Rauschenberg have never before been examined together in the context of their exchanges with Marcel Duchamp, the exhibition presents these artists in a new light, revealing their profound effects on one another and on the reinvention of art itself in the twentieth and twenty-first centuries.
This installation of architectural works from MoMA’s collection offers a series of fresh perspectives on the ways in which, over the last half century, architects have responded actively to the ever-evolving conditions of the polis. The display engages a range of media in MoMA’s collection, putting architectural stances in dialogue with the works of other urban practitioners: artists, photographers, and designers. Divided into nine sections, plus a special performance piece by Andrés Jaque Arquitectos (at MoMA PS1 on September 16 and 23), the exhibition presents a variety of critiques, from radicalism, institutional critique, and iconoclasm, to the blurring of social borders and the examination of public space.
Conservators in Germany have joined the protest over plans to relocate the world-famous collection of Old Masters in Berlin's Gemäldegalerie. Under the Stiftung Preussischer Kulturbesitz's (Prussian Cultural Heritage Foundation) plan, the estimated 3,000 works will move into the much smaller Bode Museum to make way for modern art including the collection of Ulla and Heiner Pietzsch. Any Old Master that cannot be displayed in the smaller space will go into storage for an estimated six years until a new space is found for the collection on the capital's Museum Island.
The move, which was announced at the beginning of July, poses a “significant conservation risk”, said a statement released by the Bonn-based Verband der Restauratoren (Association of Restorers) on 19 July.
Modernizing America: Artists of the Armory Show focuses on American artists who participated in the exhibition. Drawn exclusively from the Museum’s Permanent Collection, this exhibition explores the impact of modern European art movements on American art in the early years of the 20th Century.
Dancing around the Bride is the first exhibition to explore the interwoven lives, works, and experimental spirit of Marcel Duchamp (American, born France, 1887–1968) and four of the most important American postwar artists: composer John Cage (1912–1992), choreographer Merce Cunningham (1919–2009), and visual artists Jasper Johns (born 1930) and Robert Rauschenberg (1925–2008). Creating both individually and together, they profoundly affected the direction of postwar avant-garde art and American culture as a whole.
John Cage: The Sight of Silence showcases 60 works most of which Cage created while he was an artist-in-residence at the Mountain Lake Workshop in Virginia during the 1980s and again in 1990. The exhibition showcases this production as well as some of the artist’s unusual graphic musical scores accompanied by recordings of his music, photographs and video of Cage performing and painting, as well as other documentary material, providing insight into the mind of one of the twentieth century’s most important avant-garde thinkers.
"So, last winter, I put out a call on Facebook. I’d pay anyone $155 plus the cost of materials to make me a perfect fake by Richter, Ryman, Flavin, Fontana, Duchamp, Hirst, Guyton, or Agnes Martin. (Why $155? It’s enough money to me that the painting had to be worth it, and 55 is a funnier number than 50.)"
A major exhibition drawn from art collections around the world, Manet: Portraying Life features both Edouard Manet's formal portraiture and his scenes of family and friends in the context of everyday life. Organized in collaboration with the Royal Academy of Arts in London, TMA will be the exclusive U.S. venue for the show.
I may not get there, but if any readers attend, please tell me about your experience!
A screening of John Cage’s One11 and 103, 1992, opened without much fanfare on Thursday on the High Line, the elevated park along Manhattan’s West Side. Installed to celebrated what would be the composer and artist’s 100th birthday, the piece itself is a contemplative melding of sound and light, but its installation in a dim passageway detracts from the experience of viewing the work.
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