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Browse Recent Exhibition Reviews
Harry Cooper and Megan R. Luke
Exh. cat.
Yale University Press in association with Harvard University Art Museums, 2006.
168 pp.;
59 color ills.;
20 b/w ills.
$34.95
(0300109172)
Arthur M. Sackler Museum, Harvard University Art Museums, Cambridge, MA, February 4–May 7, 2006; Menil Collection, Houston, TX, May 25–August 20, 2006; Wexner Center for the Arts, Ohio State University, Columbus, OH, September 9–December 31, 2006
Frank Stella’s place in the pantheon of postwar U.S. art is in little doubt. From his appearance in Sixteen Americans (1959) at MoMA until his February 1966 solo show at Leo Castelli Gallery (which received several damning reviews, especially from younger artists like Mel Bochner), Stella was arguably the center of the New York art world. What made him so compelling was the very ambiguity of his art. It was most definitely painting, but it also verged towards the sculptural. So much so that even after praising Stella’s skilled brushwork in her review of his January 1964 exhibition at Castelli…
Full Review
May 15, 2006
Ann Yonemura
Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, 2006.
251 pp.
Cloth
(1588342395)
Tokyo National Museum, Tokyo, Japan, October 25–December 4, 2005. Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC. March 4–May 14, 2006
Though he is best known in the West as a master of landscape printmaking, Katsushika Hokusai (1760–1849) not only designed prints of every subject, he also illustrated books and painted works ranging from formal screens and hanging scrolls to studies and sketches. The previously limited view of his art as a printmaker will be overturned by this exhibition, which provides an unprecedented opportunity to view the full range of Hokusai’s painting and to fully appreciate the diversity and talent of this major master of ukiyo-e. Charles Lang Freer (1854–1919) assembled an unmatched collection of paintings by Hokusai, and this…
Full Review
May 3, 2006
Nihon Keiza Shimbun, Inc. and Yuriko Iwakiri, eds.
Japan:
Nihon Keizai Shimbun, 2005.
400 pp.
Paper
(1588342395)
Tokyo National Museum, Tokyo, Japan, October 25–December 4, 2005. Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC. March 4–May 14, 2006
The historic exhibition Hokusai contains almost 500 works (about 310 woodblock prints, 130 paintings, 40 published books, and 20 drawings) by Katsushika Hokusai (1760–1849), arguably the best-known Japanese artist outside Japan and the creator of the Great Wave (ca. 1831). According to the Tokyo National Museum press materials, there had been one other Hokusai exhibition of this scale, which was in Vienna in 1901. However, the exhibition at the Tokyo National Museum reflected a century of subsequent international scholarship. The exhibition follows a more focused Hokusai: Prints and Drawings (1991) at the Royal Academy of Art, London, with 133 prints…
Full Review
May 3, 2006
David Moos, ed.
Art Gallery of Ontario, 2005.
124 pp.;
39 color ills.
$34.95
(1894243455)
Exhibition Schedule: Art Gallery of Ontario, Toronto, June 1–August 7, 2005
Louis Grachos and Claire Schneider
Exh. cat.
Buffalo:
132 pp.;
114 color ills.
Cloth
$40.00
(1887457062)
Exhibition schedule: Albright-Knox Art Gallery, Buffalo, NY, July 15–October 2, 2005
Louis Grachos and Claire Schneider.
This past summer, the Art Gallery of Ontario (AGO) in Toronto and the Albright-Knox Art Gallery in Buffalo, inspired by the history and legacies of their collections and even the buildings that house them, focused on abstraction—each with a major exhibition and accompanying publication: The Shape of Colour: Excursions in Colour Field Art, 1950–2005 at the AGO and Extreme Abstraction at the Albright-Knox.
Responding to a bemused critic in a statement to the New York Times on June 13, 1943, Adolph Gottlieb and Mark Rothko, assisted by Barnett Newman, declared: “To us art is an adventure…
Full Review
March 30, 2006
Penelope Curtis, ed.
Leeds:
Henry Moore Institute in association with Victoria and Albert Museum, 2005.
140 pp.;
45 color ills.;
18 b/w ills.
Paper
$62.95
(1900081393)
Henry Moore Institute, Leeds, September 23, 2004–March 27, 2005
The recent exhibition, Depth of Field: The Place of Relief in the Time of Donatello, at the Henry Moore Institute in Leeds, focused on early fifteenth-century Italian relief sculptures from the collections of the Victoria & Albert Museum. Organized by Peta Motture, Glyn Davies, and Stuart Frost at the museum and by Penelope Curtis, Martina Droth, and Stephen Feeke of the Henry Moore Institute, it was the first exhibition to focus on Italian early fifteenth-century relief sculpture, and it presented the subject in a provocative and innovative way. Its specific purposes were to explore how the sculptures might be…
Full Review
March 30, 2006
Philippe Bordes
Exh. cat.
Williamstown, Mass.:
Sterling and Francine Clark Art Institute in association with Yale University Press, 2005.
400 pp.;
80 color ills.;
95 b/w ills.
Cloth
$75.00
(0300104472)
Exhibition schedule: J. Paul Getty Museum, Los Angeles, CA, February 1–April 24, 2005; Sterling and Francine Clark Art Institute, Williamstown, MA, June 5–September 5, 2005
Although many of Jacques-Louis David’s best-known paintings are in French public collections, over the past century U.S. institutions such as the Cleveland Museum of Art, the National Gallery of Art, the Kimbell Art Museum, the Getty Museum, and the Clark Art Institute have managed to snap up significant works by the artist. The presence in the United States of these images, which date mainly from the Napoleonic Empire and David’s period of post-Napoleonic exile in Brussels, was the stimulus for an exhibition of David’s late work at both the Getty and the Clark last year. The exhibition was accompanied by…
Full Review
March 15, 2006
Alanna Heiss, Klaus Biesenbach, and Glenn D. Lowry
Long Island City, NY:
P.S. 1 Contemporary Art Center, 2005.
392 pp.
Cloth
(0870709879)
P.S.1 Contemporary Art Center, March 13–September 26, 2005
On the evening I attended the Greater New York 2005 exhibition at P.S.1 Contemporary Art Center, I was surprised to find that the line queuing around the block was not there to see the works of one hundred and sixty of New York’s freshest artistic talents hanging in the galleries, halls, stairwells, bathrooms, and boiler room, but was waiting to join the mass of bodies slowly packing into the building’s courtyard. As it turns out, on summer Saturday nights P.S.1 hosts d.j.ed dance parties with liquor licenses (my admission ticket was a self-stick fiberglass wrist band). Much of the crowd…
Full Review
March 8, 2006
Venice, Italy, June 12–November 6, 2005
The themes of parent-child relationships, migration, and colonialism resonate throughout the exhibition spaces of the two-pronged Venice Biennale, as well as in the national pavilions. Curated by María de Corral, the Experience of Art at the Giardini and the Italian Pavilion joins forces with Always a Little Further, curated by Rosa Martínez at the Arsenale, to engage visitors in an overall exhibition that cuts across several countries and time periods. Despite the often incongruous juxtapositions, viewers can self-curate a selection of works, making the overwhelming Biennale a more manageable exhibition. What follows is this reviewer’s attempt at lending some…
Full Review
March 1, 2006
Peter Parshall and Rainer Schoch
National Gallery of Art in association with Yale University Press, 2005.
371 pp.;
177 color ills.;
53 b/w ills.
Cloth
$65.00
(0300113390)
National Gallery of Art, Washington, D.C., September 4–November 27, 2005; Germanisches Nationalmuseum, Nuremberg, December 14, 2005–March 19, 2006
When Peter Parshall authored his standard work, The Renaissance Print, 1470–1550 (with David Landau; New Haven: Yale University Press, 1994), critical readers noted one significant omission: the earliest century of woodcuts before the generation of Albrecht Dürer. Perhaps it was because those works offered stark outlines and relatively little interior modeling, though they frequently were also colored to enhance their naturalism. Now the missing link has been forged. Drawing from extraordinary holdings of this material in their respective museums, Parshall and Schoch provide the first real study of early woodcuts since Arthur Hind in 1935 (though Richard Field, who contributes…
Full Review
February 17, 2006
Seymour Slive
Exh. cat.
Yale University Press, 2005.
288 pp.;
160 color ills.;
30 b/w ills.
$45.00
(1903973740)
Los Angeles County Museum of Art, June 26–September 18, 2005;
Jacob van Ruisdael: Master of Landscape, at the Philadelphia Museum of Art until February 5, 2006, is a splendid exhibition; it is not to be missed by anyone with an interest in landscape painting or in Dutch art. The show provides an admirable overview of Ruisdael's work. It includes expected monuments such as the Dresden Jewish Cemetery (ca. 1655; cat. no. 22) and the Hermitage Marsh in a Forest (ca. 1665; cat. no. 37), but also a number of little-known gems. Though paintings quite understandably dominate the exhibition, works on paper—including all of Ruisdael's exceedingly rare etchings—are given their…
Full Review
January 27, 2006
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