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A greater compliment the artist could not have received; and here let us be allowed He lends himself to their scheme, without taking time for cool reflection. and the passionate heart of man Enter'd the breast of the wild dreaming boy; And is determined to join the armies of the republic, and seek that rank by his sword.
Table of contents
This is Hardcore | Frieze
Three books seek the origins of his art and the truth in painting. When Jan van Eyck most likely painted a Crucifixion and a Last Judgment , what lay behind them and between them? A focus exhibition looks for the missing pieces. Both painted a monk as patron and the Virgin within and apart, while centuries later another patron's legacy sheds light on Giambattista Tiepolo and his skies. When Mary puts the church behind her for the Annunciation, she stands at the threshold of the Renaissance as well.
Does realism stand for representational truth, a style and a means of representation, or a period or two in art history? When is a public collection a public responsibility? From Jan van Eyck to Pieter Bruegel, can such shimmering, personal art have emerged from a shared workshop? When a museum opens its own back rooms, two institutions come under the spotlight. For Jan Gossart, that history shaped Mannerism after all. Can an outsider struggle with real-world politics?
The drawings of Vincent van Gogh may instead help dispel the myth of origins, but they still pack a punch. Can Gustave Courbet's gravity and those manic highs of Vincent van Gogh trace a single path to Modernism? Gachet, shows what their admirers often missed. Perhaps the Muriel Kallis Steinberg Newman collection can fill their place.
I also enter into his gorgeous chain of voices surrounding two enigmatic shoes. Are they and their painter, Vincent van Gogh , really two of a kind, and what kind of art history does that leave?
Does it take a woman to discover the dignity of native people? Which is the true garden community, the suburbs or the city? When does madness end and theater begin? Carol Rama in Italy, Alan Vega in the punk scene, and "Delirious" go for sex, madness, and rock 'n' roll. Someone was out to impress, and the Met's reopened European painting galleries tell its story. Tired of centennials for modern art? Have museums lost their magic? Sturtevant did not make copies, but they sure look that way. Can video aspire to Old Master painting? When Napoleon turned his cannons on Spain, he also stirred up art, with a new taste for the Spanish Baroque.
Alfred Leslie set aside the brush for the computer and "the lives of some women. When science speaks, should the connoisseur listen, and should others care? Thanks to new tests, more and more art historians, reports say, are backing a disputed attribution to Jan Vermeer , but doubts about Young Woman Seated at the Virginals may not easily go away. He is the abstract artist's artist. Why is it so natural not to ask about Jan Vermeer and his women? Jan Vermeer offered a patient window on a quiet world. Is the revelation about him, his scenes, or his viewers—or are all alike caught in his art's illusion?
Is there more to Girl with a Pearl Earring than the movie? Does The Milkmaid stand for purity or pleasure—or nothing at all? For Jan Vermeer , a serving girl may hold dreams of love or a steady resolve. In "Vermeer and the Delft School," the art of painting takes on a city's dreams. Can a film capture Jan Vermeer's light —or his muse? Girl with a Pearl Earring claims to find a narrative that even he carefully withholds, and it makes one remember the elusiveness of an artist's world-view. Paolo Veronese did not go to Murano for the glass. What does that say about "Relative Values" and the cost of Renaissance art?
With Peter Greenaway, the society of the spectacle has a hungering for the real. When art and politics intersect, why must they meet on such contested ground? A second part looks at controversy surrounding the show itself. Is there a deconstructive architecture of the gallery?
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Must big gestures be macho and empty installations be empty of meaning? Should shaped canvas stick to canvas—or the wall? Was it ever easy to take in the Sistine Chapel? With Rain Room and Random International, is the art of artificial lights now just a light show? Has New York found its backyard swimming pool? For all their grand style, nothing seems more postmodern than video installations. So is Bill Viola a romantic at heart, or is it time to deconstruct Romanticism?
Can genius be seen only with a fish-eye lens? Bill Viola looks through the camera and find a human hand. Has the avant-garde fallen to academics, politics, celebrities, or niche markets? Do "December" and the solstice stand for a promise or for dark nights? Is it painting or construction—and an object in space or in history? Amid the swirl of big bucks at the Armory Show, Pulse, Volta, and other art fairs , does it even make sense to probe for conflict of interest?
April 18, 2018
Danh Vo went from boat person to a treasurer of family and collective memories. Can you reassemble the Statue of Liberty or determine inside from out on the Met's roof? With Danh Vo and Dan Graham, summer sculpture moves from liberty to luxury. Who needs shaped canvas to reshape the rectangle? Don Voisine does it with geometry, Angelika Schori on both sides of the picture plane, and Al Loving with paint and paper. When artists bring nature into the gallery, is it alive?
Düsseldorf
Can video art mean more than a dark, empty room? Does realism in painting preserve the truth? Nabis means prophets in Hebrew, but the movement stopped short of Modernism. With Edouard Vuillard , did love or reserve shape his art? Even apart from earthworks, can Minimalism mark the earth? It serves as a record of the black community for Beverly Buchanan and a step toward painting for Merrill Wagner. How can a black artist who refuses to deal in ghetto stereotypes make people angry?
Life Lines
Kara Walker traces a connection between slavery, popular culture, and Katrina. Only Kara Walker could call a sculpture more than seventy-five feet long a subtlety. Is it subtle enough to touch the riddle of the sphinx, Brooklyn gentrification, and African American experience? Kara Walker is losing patience with Trump's America, critics, and you.
High costs of living and the art-world carnival make postmodern artist and viewer alike pressed for time. Does that sound mean that abstraction lives on, thanks to Robert S. Neuman and Thomas Nozkowski, or that Kurt Lightner and Kelley Walker are using it to bury familiar images in paint and chocolate syrup? Is all the world a stage?