David Carrier is writing a book about the historic center of Naples.
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Nowadays ubiquitous, because galleries are so familiar, we perhaps do not sufficiently realize how distinctive they are.
Philippe de Montebello was appointed the director of the Metropolitan Museum of Art in New Yorkin 1977 after having served at the same museum as chief curator under Thomas Hoving. When he retired in 2008 he was the longest-serving director in the institutions history, and also the longest-serving director of any major art museum.
When recently we interviewed Philippe de Montebello, it happened that Sir Norman was in town, and so he participated in that discussion. He had much to say which was of great interest and so we thought it natural to continue the discussion with an interview devoted entirely to him.
Alanna Heiss is hailed as a founder of what we know as the alternative space movement, and one of the most important centers for contemporary art in the country.
“The beginning of the “Wall of Light” paintings came when I was sitting on a beach in Mexico in Zihuatanejo. I’d been visiting the ruins and I was in a moment of repose, so I made a little watercolor that was a memory portrait of my impression of what I’d been doing.”
On successive mornings in July, in sunny Dublin, I had the privilege of interviewing two museum directors. We talked about practical and conceptual issues—and we discussed the history of their institutions
Sylvain Bellenger, who was born in Normandy, took French degrees in philosophy and in art history. He then moved to the United States, where he held curatorial posts at the Cleveland Museum of Art and at the Art Institute of Chicago before being appointed in 2014 Director at Capodimonte in Naples.
Both born in 1494, Pontormo and Rosso Fiorentino were apprenticed to the High Renaissance master Andrea del Sarto, and yet their careers proceeded very differently.
In his essay for the massive exhibition catalogue, the photographer Geoffrey James remarks that, though he has yet to travel to the city, when there, I know I will not find Sudeks Prague. He is right.
True to the spirit and intentions of street art, this vast and indeed wild exhibition organized by the city administration of Frankfurt took place everywhere but within the clean confines of the museum itself. The city of Frankfurt became the canvas upon which works were executed by about a dozen Brazilian taggers, writers, and graffiti artists who represented a plethora of genres.
What often gives the art of an old master emotional depth is the attachment of surprising symbolic meanings to seemingly banal artifacts.
Driving along narrow country roads eighteen kilometers north of Aix-en-Provence one comes to Château la Coste, an art center designed by Tadao Ando in 2011.
The photographs in Sally Mann’s exhibition Remembered Light: Cy Twombly in Lexington are radically different. For a dozen years, towards the end of his life, Twombly worked half the year in Lexington, Virginia, the small town where, like Mann, he was born.
There is one striking counter-example to the recent skeptical claims about the reach of art writing.
This selection of paintings Francis Bacon made in the last fifteen years of his life (1977 1992) shows how, by employing a seemingly narrow range of subjects, he created an impressive variety of pictures.
Nasreen Mohamedi (1937 1990), born in what is now Pakistan, trained partly in London (1954 57) and Paris (1961 63), was a Muslim who traveled to Bahrain, Iran, and Turkey while she lived and worked in India.
Both parts of this exhibition of fifteen small paintings by Eilshemius and twenty-two by Thompson are very interesting. And both challenge our received ideas of modernism. But whats puzzling is the conjunction of these two figures.
Fascinated with buildingswith their spaces, the light that plays around them, their human uses the paintings of this artist, which are works of great poetic beauty, carry an apparent objectivity. I quote from Gary Schwartzs account of the Dutch 17th-century painter Pieter Saenredam, which applies also word for word to Richard Estess pictures.
In his Lectures on Aesthetics, Hegel says that in art, the unfolding of truth and the revelations of world history are interlinked.
A blind man might write an interesting treatise on visual aesthetics: he could explain that painters depict still-life objects, historical events, landscapes and whatever else may be seen. He could tell us that some 20th-century artists created paintings with no depicted subject.
In 1973 Martin Cooper made the first public cell phone call from the street in mid-town Manhattan. New Era, a continuous ten minute, fifty-six second loop video by Doug Aitken responds to that event and the present consequences of this new technology.
What defines modernist painting, and distinguishes it from old master European art, is the elimination of obvious details. This suppression permits expressive directness and pursuit of immediacy, which makes the figurative works of Matisse and Picasso, like the abstractions of Mondrian and Pollock, distinctively modernist.
Andy Warhol and Ai Weiwei are closely tied to mass media. Both are celebrities who are famous beyond the narrow bounds of the art world, and both have enormous studios with small armies of assistants. They never really met, but Warhol visited Beijing and Ai lived in Manhattan from 1983 93, and so saw Warhol in passing. And so we learn from Eric Shiner’s interview published in the exhibition catalogue, when Ai came to New York, he read The Philosophy of Andy Warhol (From A to B and Back Again). “To me,” he said, “Warhol always remained the most interesting figure in American art.
“In view of the some four thousand publications on Michelangelo Merisi da Caravaggio,” the author of a very recent book about him writes, “one might think that everything that could possibly be said about the artist has been saidbut not by authors currently reaching for their pens or switching on their laptops.”
In his late, short book St. Mark’s Rest (1877), John Ruskin says that nations compose their autobiographies in three ways: in “the book of their deeds, the book of their words, and the book of their art.”
Intimate Infinite is a revelatory commentary on the history of gallery spaces. In the three floors of the Lévy Gorvy gallery on Madison Avenue you see almost one hundred works, most of them small enough to fit into your carry-on luggage, by twenty-seven artists.
There is a lot to see in each individual work, and there are many large works in this crowded exhibition. You need to take your time here. But ultimately the display works very nicely for German because she is an artist who deals in the stimulating pleasures of visual overload.
The most remarkable artwork in Richard Serra’s recent exhibition, which included dense paint stick drawings and sculpture, is Four Rounds: Equal Weight, Unequal Measure (2017).
During the 1920s and 30s Arshile Gorky and his New York fellow painters slowly and with real difficulty worked their way through European modernism.
In his luminous essay The School of Giorgione (1877) Walter Pater, asserting that painting must be before all things decorative, a thing for the eye, a space of colour on the wall, describes the art of Giorgione, as he imagines it.
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Because most of us lack confidence in our ability to simply look at and feel art, in the same way that we can listen to and feel music, there exists a vast business of interpretation. (Michael Findlay, The Value of Art)
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Early on Giorgio Morandi was a familiar, but marginal figure within Italian Futurism, who by the time of his death occupied only a modest place in modernist collecting culture. Thanks to important historical work by Janet Abramowicz in Giorgio Morandi: The Art of Silence (2005), we have a reliable account of Morandis life. To this growing corpus, we can now add the perspectives of other contemporary artists collected in Zwirner Bookss Giorgio Morandi: Late Paintings.
| In Memoriam
Tom was one of the first postwar artists to question the heritage, hubris, and clichéd bloat of Abstract Expressionism. His intelligence transformed art as a political act; the creation of exquisite canvases that would fit in humble homes and not necessarily be destined for corporations or institutions
Recently Jeffrey Deitch has been much in the news. He has just returned from L.A. where he held the directorship of MOCA for three years. Within this relatively short span of time, Deitch managed to transform radically the ways we approach museums, whether as insiders or outsiders, and, further even, he may have introduced a seismic change within the Art World proper.
Thelma Golden, Director of the Studio Museum in Harlem, is a native New Yorker who grew up in Queens a precocious art lover. After graduating from Smith College with a BA in Art History and African-American Studies, in 1987 she became a curator at the Studio Museum.
When one of us, Joachim Pissarro, was chief curator at the Kimbell Museum in the 1990s, he worked with Mikhael Piotrovsky, the director of the Hermitage. And so when it happened that the other one of us, David Carrier, was visiting Saint Petersburg in July, 2014, we wanted to interview Piotrovsky.
When we began this ongoing sequence of interviews with museum directors, we knew that we wanted to talk with Glenn Lowry. To be a director of any museum is a complex, highly conflicted job. To be director of MoMA involves special pressures, which seem unique to the flagship American museum dedicated to collecting and reflecting on modern and contemporary art.
Massimiliano Gioni, Director of Exhibitions at the New Museum was curator of the 55th International Art Exhibition, La Biennale di Venezia in 2013. When one of us saw that exhibition and then we both read the massive catalogue Il Palazzo Enciclopedico (Venice: Marsilio Editori, 2013) we could scarcely believe our eyes.
When Joachim Pissarro and I began to organize our interviews with major museum directors—men or women who had decisively changed their institutions—from the very start we planned to talk with directors both in this country and internationally. Thus we interviewed not only Jeffrey Deitch, who had directed MOCA in LA; Philippe de Montebello of the Metropolitan; Alanna Heiss, and then Glenn Lowry, from MoMA; Massimiliano Gioni of the New Museum; and Thelma Golden of the Studio Museum in Harlem; but also Sir Norman Rosenthal from the Royal Academy, London; and Mikhail Piotrovsky at the Hermitage in St. Petersburg. In this, the eighth of our interviews, we talk with Nigerian-born Okwui Enwezor who, after a distinguished early career as curator in the United States, organized exhibitions in Europe, where now he is director of the Haus der Kunst, Munich.
Our prime interest in this interview has been to inquire on the origins of the JPNF and how this museum came to be established in this location. As most of our readers will have not (yet) visited Dubai—indeed, thus far only one of us has made the journey—we wanted to get some essential background information about Dubai’s art scene.
Before MoMA was conceived, Albert Barnes (18721951) embarked upon an ambitious collecting program focused on Impressionism, Post-Impressionism, Henri Matisse, and pre-Cubist Picasso.
In the mid- and late 1970s, a small group of young men and women in London and New York created a remarkably individual style of dress and music. The punks believed that by D.I.Y. (do it yourself), they could provoke revolutionary change.
For West Wall, Dwan Main Gallery (1967), a now classic exhibition presented in 2008 at Peter Blum, Chelsea, William Anastasi photographed an empty gallery, silkscreened that image onto a slightly smaller canvas, and installed that work on the wall, making the wall . . . a kind of ready-made mural, thus changing every show in that space thereafter.
When an old master painter shows someone reading, its natural to wonder: what is that document? So, for example, when we view the Metropolitan Museum of Arts Johannes Vermeer, Woman in Blue Reading a Letter (1663 − 1664) we may speculate: is this a love letter, a note about practical business, or perhaps something even less exciting?
“Where the literature of foreign nations and of past cultures is accessible only across the barrier of language,” Meyer Schapiro wrote, “the works of painting, sculpture, and architecture may be enjoyed directly through the eyes and the humanity of their makers experienced in the expressiveness of forms.”
Mangold works in series, reworking a visual motif in varied colors and, sometimes, in paintings of various sizes until he has exhausted its potential.
Seeing an artists studio is exciting: what admirer of Caravaggio wouldnt enjoy a glimpse of his workspace, as it is imaginatively reconstructed in Derek Jarmans 1986 film? By going behind the scenes, we learn about the private life of a creative person, in a way that deepens our knowledge of their art.
Normally, theres a visually obvious distinction between figurative and abstract paintings. John Constable shows English landscapes, while Jackson Pollocks large late-1940s abstractions depict nothing real.
The pleasures and perils of studio visits at provincial art schools are not unfamiliar to us critics. When you see what talented students have learned by imitating faculty artists from a previous generation, you recognize that these young people must move to an art center and radically innovate if they are to find an entry point into the contemporary art world.
For any art historian interested in Nicolas Poussin but not a devotee of the interpretative literature, visiting this exhibition, which marks the 305th year since the artists death in 1665, might be puzzling.
Half a lifetime ago, around 1980, I started doing art criticism under the spell of Joseph Masheck, who was then the editor of Artforum.
When painters migrate between previously distant visual cultures, novel artistic syntheses may seem possible. No country has a longer or more illustrious tradition of visual accomplishment than China. But until the 20th century, art in China mostly developed without directly responding to European painting. Zao Wou-Ki was one of the first Chinese painters to attempt a synthesis of these very different traditions.
A decade ago, the art historian James Elkins published On the Strange Place of Religion in Contemporary Art, a book that offered a highly suggestive observation. The United States is a very religious country, he noted, but very little contemporary art found in the mainstream galleries or museums presents religion in a positive way.
For his first solo show in New York, Ryan Sawyer offered a challenging variation on now well-entrenched deconstructive themes. He stripped all of the copper from the drywall of the front room of the James Fuentes Gallery, and sold it in Brooklyn as scrap metal.
Now and then we can learn much about the nature of painting thanks to the coexistence at one time of antithetical personalities, whose opposition reveals the changing limits of this medium. Titian (1490 1576) and Michelangelo
(1475 1564), like Ingres (1780 1867) and Delacroix (1798 1863), are such artist “frenemies.” So too are Sean Scully (b. 1945) and Christopher Wool (b.1955).
For more than three decades now, a great deal of contemporary German painting has been shown in New York. The leading artists have had gallery and museum exhibitions, and all of them have been much celebrated. And yet, as this exhibition shows, how exotic Georg Baselitz’s visual aesthetic remains.
This exhibition of Paul Cézannes images of his most frequently portrayed model, his wife, Hortense Fiquet (1850 1922), includes 24 of the 29 known paintings of her, three watercolors, fourteen drawings, and three sketchbooks.
No curatorial task is more difficult than assembling an international survey exhibition. If in Pittsburgh, the task is further complicated by the history of the Carnegie Museum and its Internationals.
Where is the dividing line between painting and photography, two visual artistic media that are often said to be essentially opposed? The long history of very diverse answers to this question is fascinating and revealing.John Houck’s liminal art, which marks and erases the boundaries between painting and photography, offers a highly original extension of this lengthy history.
Joffe doesn’t repeat herselfshe doesn’t need to because she is consistently, magnificently inventive.
What can an abstract painting represent? Rochelle Feinstein offers a plenitude of answers. Image of an Image is the most challenging retrospective that I have recently had the pleasure of viewing.
This, the first museum retrospective devoted to the New York painter Harvey Quaytman (1937 – 2002), includes more than seventy works, many of them large.
The art world is in love with Matisse. In the decade 2000-10 alone, he was in 74 museum shows, many with catalogues.
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When staying at a luxurious Normandy beach hotel, Marcel, the narrator of In Search of Lost Time, and a pal write a friendly note to a famous painter, Elstir, who lives nearby. Elstir then invites Marcel for a studio visit, though Marcel would prefer to meet the girls he sees but doesnt yet know.
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Everyone knows about rapid climate change. No one who even glances at the newspaper or looks at the news can be unaware of these concerns. How, then, can visual artists respond to this situation? Mark Cheetham argues that politically responsible contemporary art needs to explicitly take account of ecological issues.
- The Contemporary Art Gallery by David Carrier
- JEFFREY DEITCH with David Carrier and Joachim Pissarro
- PHILIPPE DE MONTEBELLO with David Carrier and Joachim Pissarro
- Thelma Golden with Joachim Pissarro and David Carrier
- SIR NORMAN ROSENTHAL with David Carrier and Joachim Pissarro together with Darren Jones, Gaby Collins-Fernandez, and Alyona Valerie Dybunova
- MIKHAIL PIOTROVSKY with David Carrier & Joachim Pissarro
- ALANNA HEISS with David Carrier and Joachim Pissarro, with the assistance of Gaby Collins-Fernandez
- GLENN LOWRY with Joachim Pissarro, Gaby Collins-Fernandez, and David Carrier
- SEAN SCULLY with David Carrier
- MASSIMILIANO GIONI with David Carrier and Joachim Pissarro by David Carrier
- BARBARA DAWSON & SEAN RAINBIRD with David Carrier & Joachim Pissarro
- OKWUI ENWEZOR with David Carrier & Joachim Pissarro
- SYLVAIN BELLENGER with David Carrier and Joachim Pissarro
- DEBORAH NAJAR with Joachim Pissarro and David Carrier
- Pontormo and Rosso Fiorentino: Diverging Paths of Mannerism by David Carrier
- The New Barnes Foundation Museum by David Carrier
- JOSEF SUDEK The Legacy of a Deeper Vision by David Carrier
- Punk: Chaos to Couture by David Carrier
- Street Art Brazil by Joachim Pissarro and David Carrier
- Jennifer Bornstein, Judith Bernstein, and Frances Stark by David Carrier
- ROBERT GOBER The Heart is Not a Metaphor by David Carrier
- Arthur Ou by David Carrier
- SEAN SCULLY Different Places by David Carrier
- Late Medieval Panel Paintings II: Materials, Methods, Meanings by David Carrier
- SALLY MANN Remembered Light: Cy Twombly in Lexington by David Carrier
- Robert Mangold: A Survey, 1965 – 2003 by David Carrier
- Art Criticism That Made A Difference by David Carrier
- In the Studio: Photographs In the Studio: Paintings by David Carrier
- FRANCIS BACON Late Paintings by David Carrier
- LILIANE TOMASKO Into the Darkness by David Carrier
- NASREEN MOHAMEDI by David Carrier
- Pearlstein/Warhol/Cantor: From Pittsburgh to New York by David Carrier
- Naked at the Edge: Louis Eilshemius and Bob Thompson by David Carrier
- Poussin et Dieu by David Carrier
- RICHARD ESTES Painting New York City by David Carrier
- DAVID REED / THORNTON WILLIS by David Carrier
- THE 57TH VENICE BIENNALE: Viva arte Viva by David Carrier
- Zao Wou-Ki No Limits by David Carrier
- Seeing Blindness NICOLAS POUSSIN, Blind Orion Searching for the Rising Sun by David Carrier
- Back to Eden: Contemporary Artists Wander the Garden by David Carrier
- DOUG AITKEN: New Era by David Carrier
- RYAN CONRAD SAWYER by David Carrier
- JOAN BROWN by David Carrier
- CHRISTOPHER WOOL and SEAN SCULLY by David Carrier
- Andy Warhol & Ai Weiwei by David Carrier
- GEORG BASELITZ: 1977-1992 by David Carrier
- Looking/Reading/Writing by David Carrier
- Madame Cézanne by Adele Tutter and David Carrier
- Visions of Order and Chaos: The Enlightened Eye by David Carrier and Graham Shearing
- Carnegie International, 57th Edition by David Carrier and Graham Shearing
- Intimate Infinite: Imagine a Journey by David Carrier
- John Houck: Holding Environment by David Carrier
- VANESSA GERMAN by David Carrier
- CHANTAL JOFFE by David Carrier
- RICHARD SERRA: Sculpture and Drawings by David Carrier
- Rochelle Feinstein: Image of an Image by David Carrier
- Arshile Gorky 1904-1948 by David Carrier
- Harvey Quaytman: Against the Static by David Carrier
- Frankenthaler: History Returns to Venice by Joachim Pissarro and David Carrier
- MATISSE In Search of True Painting by David Carrier
- Giorgio Morandi: Late Paintings by David Carrier
- Landscape into Eco Art: Articulations of Nature Since the ’60s by David Carrier