The Museum of Modern Art (MoMA) recently opened an impressive and exhaustive retrospective of the art of Willem de Kooning (1904-1997). Born in Rotterdam, the Dutch artist immigrated to the United States as a ship’s stowaway in 1926. He gained notoriety and success in the New York...
Marina Abramović’s The Artist is Present, at the Museum of Modern Art We’re just past the halfway point of the run of Marina Abramović’s retrospective at MOMA, “The Artist is Present,” and chances are good you’ve already seen it, or maybe seen one of the blogs that has...
When walking into the Brooklyn Museum’s recent Kiki Smith exhibit, a large panel presents this brief statement about the exhibit: “The idea of how women found space for creative inspiration in the past is the point of departure for Sojourn, this exhibition by Kiki Smith.” It...
Medea and its Double by Euripides, adapted and directed by Hyoung-Taek Limb. Presented by Seoul Factory for the Performing Arts and La MaMa ETC Auto Da Fe by Masataka Matsuda, translated by Kameron Steele and Shigeki Mori, directed by Josh Fox with Paul Bargetto. Presented by...
The mini-marquee exhibit, which runs through the end of November, offers a blueprint of what to expect from the Met as it moves forward with a new model of recession-special installations—small shows anchored in a prominent work or two, and bolstered by a supporting cast drawn from the museum’s expansive permanent collection. The logic of the move is clear: with a contracting endowment and significantly reduced operating budget, the Met’s recently-appointed director Thomas Campbell decided that looking inward and relying on the occasional munificence of partner institutions was the museum’s most promising tactic to cut costs without sacrificing quality. But concerns challenging the utility of this approach persist, making
Vermeer’s Masterpiece the most important trial of Campbell’s young career. Unfortunately, the budget blockbuster falls flat. To be sure, the exhibit betrays hints of limited resources. Including period reproductions of ceramic bowls and tile work, for example, is charming but suggests a quiet desperation to fill space without clear purpose in the absence of relevant content, while the comic book-length catalogue (stapled at the spine) indicates that the Met has abandoned its tradition of producing gorgeously hefty companion pieces to its major exhibits. But this is hardly the problem.
By Sarah Mills Martha Rosler’s homeless project is back, only this time in archival form. The exhibition, “If You Lived Here Still…,” currently on view at New York’s e-Flux gallery, revisits numerous materials on homelessness and housing, which Rosler first began collecting...
