August 2022 Blog Posts

The fedora stays on, the jacket, too, even in the dog days of summer as Bell mills about his new show, Larry Bell & John Chamberlain. His contribution includes a corner of the south gallery occupied by his trademark glass cubes as well as vapor drawings made from cutouts and the same microparticles he applies to the cubes.
Originally, the mask was adorned by members of all socioeconomic classes to conceal identity. This was necessary since most legal and moral boundaries were blurred during this period, and so were the Venetian Republic’s rules regarding upper and lower social classes intermingling. Originating in the fourteenth century, the Venetian mask was originally intended to serve as a method of inclusiveness.
The curators set a welcome stage for the visitor to the Center. Greeting them at the entrance is Martin Sharp’s Blowing in the Mind/Mister Tambourine Man (1968). Sharp is known as the mastermind behind posters and album covers for some of the biggest names in ’60s rock and roll history.
We all need water. No matter where, no matter when, human life cannot survive without it. This has been made acutely and painfully apparent across large swaths of the globe this summer as human-driven climate change has fueled water shortages with detrimental effects to both the environment and human life.
The Benin Bronzes of Nigeria, their provenance, and the possibility of restitution have been making headlines of late. Currently scattered across the world, this collection of a thousand plus statues and plaques was stolen in 1897 from the African Kingdom of Benin, modern-day Nigeria, by British troops.
Fresh off its survey of Faith Ringgold, the New Museum presents a retrospective of another veteran African American painter whose aesthetic DNA courses through subsequent generations of black artists. “Art and Race Matters: The Career of Robert Colescott” is the artist’s first museum outing since 1989.
Not particularly impressive at first glance, Joseph Nicéphore Niépce's View from the Window at Le Gras is a grey-hued pewter plate with the blurred shadow-shapes of treelines and buildings. Despite its unprepossessing appearance, this photograph was integral to the development of modern photography.
Leonardo da Vinci’s iconic Mona Lisa, the world’s most famous, recognizable, and copied artwork, has a storied history. Painted between 1503 and 1519, it was owned by French royalty for centuries. Liberated by Revolutionary forces, the painting briefly adorned Napoleon’s bedroom, then was installed in the Louvre.
Many countries decided to impose very strict regulations on the press in order to limit, or completely prevent, the circulation of negative accounts. Lord Kitchener, the British Secretary of War, made sure that the control on correspondents was so watertight that the photojournalist Jimmy Hare reported that “to so much as make a snapshot without official permission in writing means arrest.”
Along with the exhibition, Hendricks’s art and its impact will be further explored through a richly illustrated exhibition catalogue with contributions by artists and creative figures including Derrick Adams, Nick Cave, Awol Erizku, Jeremy O. Harris, Rashid Johnson, Toyin Ojih Odutola, Fahamu Pecou, and Kehinde Wiley.