BAT presents a short photo-essay inspired by the current special exhibition at the Metropolitan Museum of Art, where admission is always pay-what-you-wish. Enjoy!
Photos: David Marc Fischer
Showing posts with label Metropolitan Museum of Art. Show all posts
Showing posts with label Metropolitan Museum of Art. Show all posts
Wednesday, July 09, 2008
Sunday, June 08, 2008
YVES SAINT LAURENT AND ART
When I think of the late fashion designer Yves Saint Laurent, I think mainly of his Mondrian dress and the other art-inspired garments displayed—as I recall—at the Metropolitan Museum of Art's retrospective of his work.
Source (1:23)
When I think of the late fashion designer Yves Saint Laurent, I think mainly of his Mondrian dress and the other art-inspired garments displayed—as I recall—at the Metropolitan Museum of Art's retrospective of his work.
Source (1:23)
Tuesday, August 14, 2007
CLARK VS. CLARK AT THE METROPOLITAN MUSEUM OF ART!There's still time to see squabbling brothers Sterling Clark and Stephen Clark battle it out in Impressionist and Early Modern Paintings: The Clark Brothers Collect, at the Metropolitan Museum of Art through Sunday, August 19, 2007.
I can't remember a more interesting ticket since Matisse/Picasso, back in '03. The Clark brothers, inheritors of the Singer Sewing Machine fortune, spent long stretches of time estranged from each other while amassing significant art collections including works by Degas, Homer, Renoir, and Seurat, among others. The Met exhibit offers selections from both collections.
During a recent visit my companion Louvre and I kept track of the bout using the official point system traditionally used by art referees. As we progressed through the exhibit, we agreed that Sterling was scoring higher but we couldn't quite rule out Peter Arno collector Stephen—not when he packed surprise punches such as this Thomas Eakins portrait of Professor Henry A. Rowland, its frame festooned with arithmetical scrawlings.
Set aside about an hour to enjoy this exhibit and read about the Clark family, which left New York City with The Dakota, Williamstown with the famous Clark Institute, and Cooperstown with the Baseball Hall of Fame!
I do have one quibble: The exhibit includes a magazine caricature of a Clark art party...but the museum neglected to provide a key to the people in the picture!
Art Credit
Thomas Eakins (American, 1844–1916)
Professor Henry A. Rowland, 1897
Oil on canvas; 80 1/4 x 54 in. (203.8 x 137.2 cm)
Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts, Gift of Stephen C. Clark, Esq. (1931.5)
Tuesday, July 17, 2007
SERRA AT MOMA
As promised, here is my set of details from the wonderful Richard Serra show at MOMA through September 10.
Richard Serra Sculpture: Forty Years takes place in three parts of the museum. In the garden and on the second floor are giant yet gracefully curved panels of metal with varying degrees of oxidation. You can see some of the patterns here, but probably the most typical variation isn't pictured: It's kind of a rich, red velvet look that goes very well with the museum's interior design.
Up on the sixth floor, in addition to some relatively small works that are like studies in edge and balance, there are other, large works that fill up the viewing rooms like the enclosed Stellas at the Metropolitan Museum of Art through July 29. It's a great, unusual experience to be in an exhibition space that's almost filled to bursting by the art on display. The change in perspective is very refreshing. And, in this case, it can be very humorous.
The contours of the works frame and enclose and separate and engulf you and the other visitors in surprising and often amusing ways that reminded me of Jacques Tati's Playtime, particularly the scene in which M. Hulot loses himself walking down identical intersecting corridors always to be faced by the same woman seated in a swivel chair.
A great thing about this show is that it can be thoroughly enjoyed in an hour or so by kids and adults alike. (The second floor seems to offer the most family fun.) You can get in free between 4:00 pm and 8:00 pm on Fridays; a long line tends to form for the 4:00 pm entry, but in my experience it's a lot easier to get in around 5:30 pm.
Photos: David Marc Fischer
As promised, here is my set of details from the wonderful Richard Serra show at MOMA through September 10.
Richard Serra Sculpture: Forty Years takes place in three parts of the museum. In the garden and on the second floor are giant yet gracefully curved panels of metal with varying degrees of oxidation. You can see some of the patterns here, but probably the most typical variation isn't pictured: It's kind of a rich, red velvet look that goes very well with the museum's interior design.
Up on the sixth floor, in addition to some relatively small works that are like studies in edge and balance, there are other, large works that fill up the viewing rooms like the enclosed Stellas at the Metropolitan Museum of Art through July 29. It's a great, unusual experience to be in an exhibition space that's almost filled to bursting by the art on display. The change in perspective is very refreshing. And, in this case, it can be very humorous.
The contours of the works frame and enclose and separate and engulf you and the other visitors in surprising and often amusing ways that reminded me of Jacques Tati's Playtime, particularly the scene in which M. Hulot loses himself walking down identical intersecting corridors always to be faced by the same woman seated in a swivel chair.
A great thing about this show is that it can be thoroughly enjoyed in an hour or so by kids and adults alike. (The second floor seems to offer the most family fun.) You can get in free between 4:00 pm and 8:00 pm on Fridays; a long line tends to form for the 4:00 pm entry, but in my experience it's a lot easier to get in around 5:30 pm.
Photos: David Marc Fischer
Thursday, May 24, 2007
AT THE MET
Lately I've been on a winning streak as a cultural tourist. Yesterday it was a trip to the Metropolitan Museum of Art. My brisk jog through the new Greek and Roman Galleries was delightful. But why had the museum kept so many of its antiquity highlights hidden for so long?
I was just sorry that there seems to have been some kind of a tradeoff. It seems to me that the "permanent" Oceania display has been cut back dramatically--and that was one of my favorite spots in the entire museum! So I hope I'm wrong. Perhaps I simply took a wrong turn somewhere.
Also missing (or at least moved somewhere else) were two of my favorite paintings. I like this, but what happened to the (compositionally similar) painting that had occupied its position? And what of that young couple running in the rain??
Anyway, the main reason I am posting this is to praise the Met, not to bury it. The special exhibition on Barcelona and Modernity is wonderful. It surveys the culture that nourished Pablo Picasso and also includes a marvelous stretch devoted to Antoni Gaudí's work and other high points in Barcelona design and architecture. The works in that section alone are worth a visit. The exhibition might be a tad simplistic in hewing closely to a narrative that shows an extraordinary flowering of Barcelona culture painfully cut short by the rise of Franco--and I got a little miffed at the emphasis on Dalí (a.k.a. Avida Dollars) to the detriment of other creative types (i.e. Buñuel and Llorca) who started their careers in the same circle--but this collection of works is very much worth seeing (some are achingly beautiful) and the show's Spanish orientation is a welcome alternative to the more typical France- or Paris-centered view of European art during the same period.
Here's one of the Gaudí pieces in the show, which closes on June 3, 2007.
Also at the museum are indoor and outdoor displays of work by Frank Stella. The interior display is just great, featuring a bunch of large architectural/sculptural works inside a room that can barely contain them. It's very unusual to see sculpture displayed in such a way--and it really comes off well. I didn't even make it to the outdoor display at the rooftop garden, but Scoboco gives that a good writeup, too.
The Stella work reminded me of Diabolik's lair in the stylish movie Danger: Diabolik, shown on Mystery Science Theater 3000.
Source (9:55)
Photo of Met: David Marc Fischer
Antoni Gaudí (1852–1926)
Double Folding Screen from Casa Milà, 1909
Oak, metal, and frosted glass; 78 1/2 x 160 in. (190 x 400 cm)
Private collection, courtesy the Allan Stone Gallery, New York
Lately I've been on a winning streak as a cultural tourist. Yesterday it was a trip to the Metropolitan Museum of Art. My brisk jog through the new Greek and Roman Galleries was delightful. But why had the museum kept so many of its antiquity highlights hidden for so long? I was just sorry that there seems to have been some kind of a tradeoff. It seems to me that the "permanent" Oceania display has been cut back dramatically--and that was one of my favorite spots in the entire museum! So I hope I'm wrong. Perhaps I simply took a wrong turn somewhere.
Also missing (or at least moved somewhere else) were two of my favorite paintings. I like this, but what happened to the (compositionally similar) painting that had occupied its position? And what of that young couple running in the rain??
Anyway, the main reason I am posting this is to praise the Met, not to bury it. The special exhibition on Barcelona and Modernity is wonderful. It surveys the culture that nourished Pablo Picasso and also includes a marvelous stretch devoted to Antoni Gaudí's work and other high points in Barcelona design and architecture. The works in that section alone are worth a visit. The exhibition might be a tad simplistic in hewing closely to a narrative that shows an extraordinary flowering of Barcelona culture painfully cut short by the rise of Franco--and I got a little miffed at the emphasis on Dalí (a.k.a. Avida Dollars) to the detriment of other creative types (i.e. Buñuel and Llorca) who started their careers in the same circle--but this collection of works is very much worth seeing (some are achingly beautiful) and the show's Spanish orientation is a welcome alternative to the more typical France- or Paris-centered view of European art during the same period.
Here's one of the Gaudí pieces in the show, which closes on June 3, 2007.
Also at the museum are indoor and outdoor displays of work by Frank Stella. The interior display is just great, featuring a bunch of large architectural/sculptural works inside a room that can barely contain them. It's very unusual to see sculpture displayed in such a way--and it really comes off well. I didn't even make it to the outdoor display at the rooftop garden, but Scoboco gives that a good writeup, too.
The Stella work reminded me of Diabolik's lair in the stylish movie Danger: Diabolik, shown on Mystery Science Theater 3000.
Source (9:55)
Photo of Met: David Marc Fischer
Antoni Gaudí (1852–1926)
Double Folding Screen from Casa Milà, 1909
Oak, metal, and frosted glass; 78 1/2 x 160 in. (190 x 400 cm)
Private collection, courtesy the Allan Stone Gallery, New York
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