Visual Arts
Two art exhibitions in New York should be seen multiple times. Each will deepen your appreciation of a great artist. Neither is mobbed with visitors. Each, in this wildly overpriced city, is absolutely free.
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Surprisingly, the 17th- and 18th-century drawings and prints in “Pastoral on Paper” proffer bold experiments in charcoal, chalk, and gouache.
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Viewing the art while strolling along the Muddy River gives city-dwellers and visitors a reason to linger and enjoy one of the city’s oldest and most beautiful open spaces.
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“Matisse in Morocco” is a 35-year labor of love, as meticulously researched as a Ph.D. thesis but without the turgid language, as charmingly composed as the travelogues of Goethe, and with characters worthy of Balzac.
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“The MFA is a place that really matters to a lot of people, and it is the safety of this place that matters and its commitment to excellence. These are things that must never be compromised.”
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This exhibition is evidence of the venerable museum’s interest in expanding its collections so that more voices and perspectives can contribute to our understanding of our own complicated history.
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Phyllis Ewen ponders humanity’s perilous relationship with the earth, expressing her concerns through her artwork.
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Every subject in Jim Dine’s richly rendered work seems to edge towards something other than itself, deeper and more personal.
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I wish this catalogue spelled out John Singer Sargent’s professional stance as a “juste milieu” painter more methodically. That term refers to those eager to be associated with new stylistic tendencies yet careful not to transgress the establishment’s norms.
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While he paints, Stanley Whitney listens to and is inspired by jazz. Miles Davis’s album “Bitches Brew” is his constant companion in the studio.
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Arts Remembrance: In Memoriam — Tom Stoppard