Arts Summary

February 16, 2024

COAL + ICE at Asia Society, February 13 – August 11, 2024

“Climate change takes center stage at Asia Society with the presentation of COAL + ICE, an immersive photography and video exhibition taking place February 13 through August 11, 2024. The exhibition will be accompanied by a multidisciplinary program series, with performances and activations throughout the city, designed to raise awareness and catalyze responses to the climate crisis.

Encompassing work by over 30 photographers and artists from around the world, the exhibition traces a photographic arc of climate change spanning the past century, from deep within coal mines, to the melting glaciers of the greater Himalaya. Greenhouse gases are warming the high-altitude climate of the Tibetan Plateau, disturbing the great rivers of Asia and disrupting the lives of billions of people downstream. Rising sea levels and extreme weather events are highlighted in the exhibition by an immersive presentation of the video installation Deluge by Gideon Mendel, documenting flooding around the world.

COAL + ICE is a collaborative visual experience that calls attention to the urgent global issue of climate change. Through intimate portraits and vast, altered landscapes, the works on view document the consequences triggered by our continued reliance on fossil fuels, and bring to life the environmental and human costs of climate change, in Asia and around the world. The exhibition will be presented across four floors of Asia Society, and will culminate with a series of projects by photographers, artists, and designers who foreground a range of differently scaled solutions to the climate crisis including an installation on renewable energy by Jamey Stillings.” — Asia Society.

Camille Seaman, *Iceberg in Blood Red Sea*, Lemaire Channel, Antarctica, 2016. Courtesy of the artist.

Clifford Ross, *Nazare Wave IX*, Portugal, 2022. Courtesy of the artist.

Darcy Padilla, California, USA, 2017. Courtesy of the artist/Agence VU’.

David Breashears, Mount Everest, Main Rongbuk Glacier, Tibet, China, 2007. Courtesy of GlacierWorks.

Gideon Mendel, *Muhammad Chuttal Korai*, Pakistan, 2022.

Lewis Hine, Pennsylvania, USA, 1911. Courtesy of the Library of Congress.

Jimmy Chin, Mount Everest, Main Rongbuk Glacier, Tibet, China, 2007. Courtesy of GlacierWorks.

Jamey Stillings, *Valle de los Vientos, Atacama Desert, Chile, #40758*, 1 September 2022. Courtesy of the artist.

Nichole Sobecki, Somalia, 2016. Courtesy of VII.

Geng Yunsheng, Yunnan Province, China, 2002.

Co-curated by Magnum photographer Susan Meiselas and exhibition designer Jeroen de Vries, and led by Orville Schell, Asia Society Vice President and Arthur Ross Director of the Center on U.S.-China Relations, the exhibition has evolved since its initial premiere in Beijing in 2011. Each photographer’s commitment to capturing our changing environment and its human toll is reflected in imagery curated from their long-term, authored bodies of work.

Images courtesy Asia Society.

February 15, 2024

Language, Decipherment, and Translation – from Then to Now at The Grolier Club, February 29 – May 11, 2024

“A new exhibition of contemporary artists’ books at the Grolier Club celebrates hundreds of years of communication through real and imagined languages. On view from February 29 through May 11, 2024 in the Club’s second floor gallery, Language, Decipherment, and Translation – from Then to Now presents a kaleidoscopic presentation of more than 50 books, collages, prints, and scrolls that feature hieroglyphics, translations of classic folktales, and other forms of written and visual language.

Curated by Grolier Club member Deirdre Lawrence—who was inspired in part by the recent 200th anniversary of the decipherment of the Rosetta Stone (1822)—the exhibition features many intricately detailed artists’ books by visionary contemporary artists. “Drawn primarily from my personal collection of approximately 2,000 books and prints, and growing, this exhibition reflects my collecting interests spanning the ancient world, especially Egypt; the work of Walt Whitman, who was himself enthralled by Ancient Egypt; the history of art, especially photography; and books made by contemporary artists,” said Lawrence.” — The Grolier Club

Charles Reuben Hale, Henry Morton, S. Huntington Jones, **Report of the committee appointed by the Philomathean Society…of the University of Pennsylvania to translate the inscription on the Rosetta Stone** (Philadelphia, Pa.: The Society, 1858, first edition). 3.

Timothy C. Ely, **The Flight into Egypt: Binding the Book**, Foreword by Terence McKenna (San Francisco, Ca.: Chronicle Books, 1995). Reproduction of unique book completed in 1985.

Islam Mahmoud Mohamed Aly, **Marginalia 1** (Iowa City, Iowa: Self-published, 2013, Artists Proof #2 of an edition of 20). Laser cut Arabic calligraphy. Handmade flax, abaca and cotton paper. Coptic and Ethiopian binding with Plexiglass covers.

Brian Dettmer, **The Migration of Symbols** (Brooklyn, NY: unique sculpted book, acrylic varnish, 2014). Intervention of a 1956 edition of Count Goblet D’Alviella’s book of the same title (1894).

Joydeb and Moyna Chitrakar, **Tsunami** (Chennai, IMD: Tara Books, 2019, no. 13 of an edition of 1,000). Silk screened scroll in the form of a book.

Allen Crawford and Walt Whitman, **Whitman Illuminated: Song of Myself,** illustrated by Allen Crawford. (Portland, Ore. & Brooklyn, NY: Tin House Books, 2014). 8.

Meg Hitchcock, **Chanting the Square Deific**, A poem by Walt Whitman. (New York: Self-published, 2014). Unique collage, letters cut from an old German Bible.

José Maria Sicilia, **Le Livre des Mille Nuits et Une Nuit, volets IV** (Paris, FR: Michael Woolworth, 2015, no. 10 of an edition of 20, signed by the artist). Printed by Marc Moyano, Julien Torhy, Michael Woolworth (lithographs and woodcuts) and Vincent Fardoux (photogravure). Embroidery by Carmen Vassal’lo. Based on the 1910 edition of The 1001 Nights, translation by J. C. Mardrus (Fasquelle).

Laura Davidson, **Useful Knowledge** (Boston, Ma.: Laura Davidson, 1998, no. 21 of 25 copies, signed by the artist). Linoleum prints, some hand-colored, bound in painted wooden boards.

Sabra Moore, **Reconstruction Project** (Brooklyn, NY: Self-published, 1984, color Xerox with gessoed cover, edition of 30). Created by Sabra Moore and nineteen North and South American women artists including Sharon Gilbert, Jaune Quick-To-See Smith, Nancy Spero, among others.

Didier Mutel, **La Pierre Rosette (The Rosetta Stone)** (Orchamps, FR: Atelier Didier Mutel, 2015, no. 15 of an edition of 50, signed and dated by the artist). Eau forte etching on copper, printed in black on Arches paper. Printed at a 1.1 scale with its ancient precursor and contains three original alphabets designed by Mutel.

February 11, 2024

Celebrate the 150th Anniversary Season of The 92nd Street Y with Ballet Hispánico, February 21, 2024

“Ballet Hispánico, the nation’s largest Latinx/Latine/Hispanic cultural organization and one of America’s Cultural Treasures, presents a night of historic and new works witnessing the vibrancy and diversity of Latine cultures at The 92nd Street Y, 1395 Lexington Ave, New York, NY on February 21, 2024 at 7:30pm.

Ballet Hispánico celebrates the catalyst that is 92NY for modern dance choreographers with classic pieces like a re-staging of Talley Beatty’s electrifying Recuerdo de Campo Amor, the flamenco-immersed Línea Recta by Annabelle Lopez Ochoa, and the Cuban social dance extravaganza Club Havana by Pedro Ruíz. Talley Beatty, a vital figure of the Black dance canon, was an important force in Ballet Hispánico history in the 1970s and an artist in residence at 92NY. This unique collaboration between two iconic institutions, Ballet Hispánico and The 92nd Street Y, New York, will be an unforgettable evening of culture and the celebration of dance.” — Ballet Hispánico

Ballet Hispánico. *Linea Recta*. Choreography by Annabelle Lopez Ochoa. Photo by Gabriel Morales FIC

Ballet Hispánico. *Línea Recta*. Choreography by Annabelle Lopez Ochoa. Photo by Gabriel Morales FIC

Ballet Hispánico. *Línea Recta*. Choreography by Annabelle Lopez Ochoa. New York City Center. Photo by Erin Baiano

Ballet Hispánico. Linea Recta. Choreography by Annabelle Lopez Ochoa. Photo by Steven Pisano

Ballet Hispánico. *Club Havana*. Choreography by Pedro Ruiz. Photo by Ben McKeown, courtesy of the American Dance Festival

Ballet Hispánico. Club Havana. Choreography by Pedro Ruiz. New York City Center, Thursday, June 1, 2023. Photo by Erin Baiano

Title image: Ballet Hispánico. Photo by Ben McKeown, courtesy of the American Dance Festival.

Images courtesy Ballet Hispánico.

February 8, 2024

Marshall Arisman: Does That Make Sense? at School of Visual Arts Gramercy Gallery, through March 9, 2024

“School of Visual Arts (SVA) honors the late Marshall Arisman, prolific artist and founder of the College’s MFA Illustration as Visual Essay program, with ‘Does That Make Sense?,’ an exhibition—named for Arisman’s beloved idiom—of his lesserknown works. Designed and curated by Arisman’s recently appointed successor and program alumnus Riccardo Vecchio (MFA 1996 Illustration as Visual Essay), in collaboration with SVA Galleries and Arisman’s wife, writer Dee Ito, ‘Does That Make Sense?’ will be on view Thursday, January 25, through Monday, February 12, 2024, at the SVA Gramercy Gallery, 209 E 23rd St., New York City.

Carefully chosen by Vecchio and Ito from an enormous archive in his personal studio, works include a wide variety of drawings and prints ofArisman’s signature monkeys including from his illustrated novel The Divine Elvis and other books, a triptych from a series focused on the bombing of Hiroshima and Nagasaki in WWII, humorous and culturally skewering comic-style pieces, and even an array of unfinished projects. As a whole, they reflect an artist engrossed in his process. A mix of paintings, illustrations, writings and sketches in Arisman’s signature inky hues and scratchy fine lines, convey a limitless curiosity and an undying passion for his craft.” — School of Visual Arts

Installation views of Marshall Arisman:”Does That Make Sense?” at School of Visual Arts Gallery.

Of “Does That Make Sense?,” Vecchio notes, “As artists, we are grateful for the recognition and fame that come with cohesive, iconic and recognizable styles, yet at the same time the work that gives us fame can also hinder the many, often divergent, facets and curiosities we are eager to explore. In my journey through his archives, it was evident to me that Marshall never stopped questioning, searching, experimenting. Aside from the groundbreaking and well-documented works that brought him fame and defined an era, many of the folders were filled with work that defied chronology and dates; as Marshall passionately painted over works, retitling, changing dates or tearing them apart to create completely new pieces. This show will, I hope, reveal Marshall as the eternally curious, indefatigable artist that he was.”

Title image: Marshall Arisman, Monkey with Pencil, 1980s, ink and spray paint on paper, 33 x 25 inches.

Images courtesy School of Visual Arts.

February 7, 2024

Indian Skies: The Howard Hodgkin Collection of Indian Court Painting at The Met Fifth Avenue, February 6 – June 9, 2024

“Widely regarded as one of the finest of its kind, British artist Howard Hodgkin’s collection of Indian paintings includes works created at the Mughal, Deccan, Rajput, and Pahari courts dating from the 16th to the 19th century. Opening at The Metropolitan Museum of Art on February 6, 2024, the exhibition Indian Skies: The Howard Hodgkin Collection of Indian Court Painting will present a unique and personal vision of India’s great painting tradition through newly acquired works from the artist’s collection. In 2022, The Met announced a major acquisition of more than 80 drawings and paintings from the Howard Hodgkin Collection.” — The Met

Max Hollein, The Met’s Marina Kellen French Director and CEO, commented: “Howard Hodgkin’s extraordinary collection of Indian paintings features stunning portraits along with beautifully detailed text illustrations, studies of the natural world, and devotional subjects that are sure to captivate visitors to The Met. The collection was interwoven with the artist’s life—and his experiences in India and his relationships with scholars and artists of Indian art—and often inspired his own creative output. This exhibition celebrates the brilliance and power of these tremendous paintings and offers a glimpse into the artist’s unique vision and passion for one of the world’s great pictorial tradition. We are thrilled to present the works that have recently joined our collection and extend our thanks to The Howard Hodgkin Indian Collection Trust for lending additional important works.”

Sultan Muhammad ‘Adil Shah and Ikhlas Khan Riding an Elephant. Haidar ‘Ali (Indian), Ibrahim Khan (Indian), ca. 1645. Made in India, Deccan, Bijapur. Country of Origin India. Ink, opaque watercolor, and gold on paper. 28.6 × 32 cm. Howard Hodgkin Collection, Purchase, Florence and Herbert Irving Acquisitions, Harris Brisbane Dick, and 2020 Benefit Funds; Howard S. and Nancy Marks, Lila Acheson Wallace, and Friends of Islamic Art Gifts; Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; and funds from various donors, 2022

Marriage procession in a bazaar; from a Ramayana or Bhagavata Purana Series. Mandi, Himachal Pradesh, ca. 1640–50. Opaque watercolor and gold on paper. 32 × 49 cm. Howard Hodgkin Collection, Purchase, Gift of Florence and Herbert Irving, by exchange, 2022

Maharaj Bakhat Singh. India, Rajasthan, Nagaur, ca. 1735. Opaque watercolor and gold on paper. 43.5 × 30.5 cm. Howard Hodgkin Collection, Purchase, Gift of Florence and Herbert Irving, by exchange, 2022

Attributed to The Stipple Master (Indian, active ca. 1690–1715). Sangram Singh Hawking. Rajasthan, Udaipur, ca. 1705–10. Opaque watercolor, gold and ink on paper. Image: 31 × 43.5 cm. Howard Hodgkin Collection, Purchase, Gift of Florence and Herbert Irving, by exchange,

Maharao Ram Singh’s Marriage Procession at Udaipur Rajasthan, Kota, ca. 1851. Opaque watercolor and gold on cotton cloth. 92.6 × 69.5 cm.
Howard Hodgkin Collection, Purchase, Gift of Florence and Herbert Irving, by exchange, 2022

Maharaja Raj Singh Receives a Yogi in a Garden Rajasthan, Sawar, 1714. Opaque watercolor, gold and tin on paper. 48 × 53 cm. Howard Hodgkin Collection, Purchase, Gift of Florence and Herbert Irving, by exchange, 2022

Attributed to Kota Master. Maharao Madho Singh Hunting Wild Boar. Rajasthan, Kota, ca. 1720. Opaque watercolor, gold and tin on paper. 49.8 × 62.3 cm. Howard Hodgkin Collection, Purchase, Gift of Florence and Herbert Irving, by exchange, 2022

Maharaja Kirpal Pal of Basohli Smoking. India, Punjab Hills, Mankot, ca.1690. Opaque watercolor, gold and silver on paper. Howard Hodgkin Collection, Purchase, Gift of Florence and Herbert Irving, by exchange, 2022

Maharaja Raj Singh in a Garden Arcade. India, Rajasthan, Sawar, ca. 1710-15. Opaque watercolor and gold on paper. 29 × 39.2 cm. Howard Hodgkin Collection, Purchase, Gift of Florence and Herbert Irving, by exchange, 2022

John Guy, Florence and Herbert Irving Curator of South and Southeast Asian Art at The Met, said: “Two counterpoints are reflected and refracted in Hodgkin’s collection. First the quiet naturalism of the Persianate aesthetic of Mughal paintings, witnessed in portraiture and nature studies and second, as exemplified in the Rajput and Pahari court traditions, a celebration of the radiant energy of the Indian landscape. Here scenes are filled with the saturated colors of the earth and exuberant greenery, skies filled with the looming darkness of rain-laden monsoon clouds. These are vibrant emotive paintings, evocative of place and time, winter and summer, day and night.”

Indian Skies: The Howard Hodgkin Collection of Indian Court Painting is co-curated by John Guy, Florence and Herbert Irving Curator of South and Southeast Asian Art, and Navina Najat Haidar, Nasser Sabah al-Ahmad al-Sabah Curator in Charge of Islamic Art, at The Met.

Title image: An Elephant and Keeper. Attributed to Ilyas Khan Bahadur. India, Mughal, ca. 1650-60. Opaque color and gold on paper. Howard Hodgkin Collection, Purchase, Florence and Herbert Irving Acquisitions, Harris Brisbane Dick, and 2020 Benefit Funds; Howard S. and Nancy Marks, Lila Acheson Wallace, and Friends of Islamic. Art Gifts; Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; and funds from various donors, 2022.

Images courtesy The Metropolitan Museum of Art.

February 2, 2024

El Dorado: Myths of Gold at Americas Society, Part II on view January 24 – March 18, 2024

“The show, which explores the myth of El Dorado from the Pre-Hispanic period to the contemporary era, is co-curated by Aimé Iglesias Lukin, Director and Chief Curator, Art at Americas Society, Tie Jojima, Associate Curator, Manager of Exhibitions, Art at Americas Society and Edward J. Sullivan, the Helen Gould Sheppard Professor of Art History, New York University.

The exhibition brings together more than 100 objects and artworks that explore the myth as a foundational narrative of the Americas. It includes paintings, prints, photographs, sculptures, engravings, and videos that offer new interpretations and questions about the myth from a hemispheric lens.

Since the invasion of Europeans to the Americas, rumors spread quickly about a kingdom filled with gold, driving conquistadores to find it. Despite never being found, the mythical El Dorado defined the continent as an empty land up for grabs. El Dorado: Myths of Gold brings together artworks and artists that engage with the myth, sometimes offering a critical view and a path of resistance.” — Americas Society

Hew Locke, *Columbus, Central Park*, 2018. C-type photograph with mixed media, 72 x 48 inches (182.9 x 121.9 cm). Courtesy of the artist and P·P·O·W, New York. Photo: Angus Mill

Mazenett Quiroga, *Selva intervenida (Pacífico colombiano)* (Intervened jungle [Colombian Pacific]), 2018. Digital printing and gold leaf, 49 ¼ x 33 7/8 inches (125 x 86 cm). Courtesy of the artists and Instituto de Visión.

Mathias Goeritz, *Cruz en la caja* (Cross in a box), 1960-61. Wood, gesso, gold leaf, paint, brass, steel and magnets, 28 ¼ x 22 x 3 1/8 inches (71.8 x 55.9 x 8 cm). Tate Americas Foundation, courtesy of the Latin American Acquisitions Committee 2015

Bruno Baptistelli, *Untitled (Pedites)*, 2023. Resin, copper, and nickel, plated in 18-karat gold, foot: 2 x 4 inches (5 x 10 cm), anklet: 2 x 4 inches (5 x 10 cm). Courtesy of Galeria Luisa Strina and the artist. Photo: Ana Pigosso

Carlos Motta, *Contra natura*, 2019. Gold and copper figure and magnifying glass on wooden shelf, 0.78 x 0.39 inches (2 x 1 cm). Courtesy of the artist and mor charpentier

Harmonia Rosales, *Our Lady of Regla*, 2019. Oil, iron oxide, and 24k gold on wood panel, 40 x 40 inches (101.6 x 101.6 cm). Private Collection

Unknown artist, Ecuador, *Nuestra Señora de Passau* (Our Lady of Passau), eighteenth century. Oil on canvas, 21 x 18 inches (53.2 x 45.8 cm). Colección Patricia Phelps de Cisneros

Jaime Lauriano, *Colonização #2*, 2022. Apoti (bench used in Candomblé terreiros), cattail straw mat, bowl, and twenty-eight Portuguese stones cast in brass, 20 7/8 x 13 3/8 x 13 3/8 inches (53 x 34 x 34 cm). Courtesy of the artist and Nara Roesler Gallery

Ronny Quevedo, *el guarda meta de los cosmos (from the abyss)* (Meta guardian of the cosmos [from the abyss]), 2022. Mixed media in three parts, 60 x 179 ¾ x 60 inches (152.4 x 456.6 x 152.4 cm). Courtesy of the artist and Alexander Gray Associates

“Through their use of gold, both physical and metaphorical, the artists in this exhibition emphasize to us the ambivalent power of myth in conditioning who we are as a region, opening space for us to resist extractive systems and to reconsider what we are seeking,” writes the exhibition curatorial team.

Organized in collaboration with Fundacio n PROA in Buenos Aires (Argentina) and Museo Amparo in Puebla (Mexico), the exhibition takes place in two parts: Part I from September through December 2023 and Part II from January through May 2024.

Title image: Juan Covelli, Tesoros especulativos (Speculative treasures), 2020-22. Video, 5 minutes. Courtesy of the artist.

Images courtesy Americas Society.

January 28, 2024

RBG Collars: Photographs by Elinor Carucci at Jewish Museum, through May 27, 2024

“The Jewish Museum presents RBG Collars: Photographs by Elinor Carucci, an installation of two dozen photographs of former US Supreme Court Justice Ruth Bader Ginsburg’s collars and necklaces taken by the contemporary photographer Elinor Carucci (Israeli, b. 1971) shortly after Ginsburg’s death in 2020. The suite of photographs is being shown at the Jewish Museum for the first time since they were acquired for the Museum’s collection in 2021. The installation will also include jewelry from the collection, reflecting freely on the expressive possibilities as well as the cultural and religious aspects of adornment. RBG Collars: Photographs by Elinor Carucci will be on view from December 15, 2023, through May 27, 2024, in Scenes from the Collection on Floor Three of the Museum.

Nancy Lee Katz, *Ruth Bader Ginsburg*, 1994, printed later. Gelatin silver print. Sheet: 13 15/16 × 10 15/16 in. (35.4 × 27.8 cm). Image: 9 15/16 × 9 3/4 in. (25.2 × 24.8 cm). The Jewish Museum, NY. Gift of Michael S. Sachs

Elinor Carucci, *South African Collar: Ginsburg’s favorite collar, worn in her official portrait*, 2020. Archival pigment print. Framed: 10 1/2 × 10 1/2 × 1 in. (26.7 × 26.7 × 2.5 cm). The Jewish Museum, NY. Purchase: Horace W. Goldsmith Foundation Fund

Elinor Carucci, *Husband Marty Ginsburg’s words, “It’s not sacrifice, it’s family”*, 2020. Archival pigment print. Framed: 10 1/2 × 10 1/2 × 1 in. (26.7 × 26.7 × 2.5 cm). The Jewish Museum, NY. Purchase: Horace W. Goldsmith Foundation Fund

Elinor Carucci, *Pride Collar* (2016), 2020. Archival pigment print. Framed: 10 1/2 × 10 1/2 × 1 in. (26.7 × 26.7 × 2.5 cm). The Jewish Museum, NY. Purchase: Horace W. Goldsmith Foundation Fund

Elinor Carucci, *University of Hawaii Jurist in Residence Collar* (2017), 2020. Archival pigment print. Framed: 10 1/2 × 10 1/2 × 1 in. (26.7 × 26.7 × 2.5 cm). The Jewish Museum, NY. Purchase: Horace W. Goldsmith Foundation Fund

Elinor Carucci, *Majority Collar*, 2020. Archival pigment print. Framed: 10 1/2 × 10 1/2 × 1 in. (26.7 × 26.7 × 2.5 cm). The Jewish Museum, NY. Purchase: Horace W. Goldsmith Foundation Fund

Elinor Carucci, *Dissent Collar* (2012), 2020. Archival pigment print. Framed: 10 1/2 × 10 1/2 × 1 in. (26.7 × 26.7 × 2.5 cm). The Jewish Museum, NY. Purchase: Horace W. Goldsmith Foundation Fund

Ruth Bader Ginsburg (1933-2020), who was the second-ever woman to sit on the US Supreme Court, wore collars not just to emphasize the long overdue feminine energy she brought to the court, but also to encode meaning into her dress—a sartorial strategy practiced by powerful women throughout history. Her early penchant for traditional lace jabots was later joined by necklaces made of beads, shells, and metalwork from around the world, many of them gifts from colleagues and admirers. Seen as a whole, the photographs of these collars offer a collective portrait of the late Justice through these objects imbued with her personal style, values, and relationships. While Ginsburg often chose them on a whim, she occasionally used them as a form of wordless communication; in every instance, they served as a reminder that her august responsibilities were carried out by a particular human being. Towards the end of her life, Ginsburg’s style helped to make her a feminist pop culture icon: collared and bespectacled, she adorned tote bags, t-shirts, and tattoos as ‘the Notorious RBG.'” — Jewish Museum

The installation is organized by Shira Backer, Leon Levy Associate Curator, the Jewish Museum.

Images courtesy Jewish Museum.

January 19, 2024

National Gallery of Art Receives Major Gift of Works by Joseph Cornell. On view from January 18, 2024

“The National Gallery of Art announced a historic gift of 20 box constructions and 7 collages by Joseph Cornell, one of the most important figures of 20th-century art, from Robert and Aimee Lehrman. This transformative gift, joining four boxes, eight collages, and several other works already in the National Gallery’s collection, makes the museum one of the world’s leading repositories of Cornell’s art. Some 35 years in the making, the Lehrman collection was inspired both by renowned curator Walter Hopps, who introduced Robert Lehrman to Cornell’s work, and by the Lindy and Edwin Bergman Joseph Cornell Collection at the Art Institute of Chicago. The Lehrman collection includes boxes from all of Cornell’s major series as well as the collages that concluded his career. Beginning January 18, 2024, several box constructions and collages from this gift will be on view in the East Building’s Upper Level galleries.” — National Gallery of Art

Joseph Cornell. *L’Egypte de Mlle. Cleo de Merode: cours elementaire d’histoire naturelle (Miss Cleo de Merode’s Egypt: Elementary Natural History Course)*, 1940, box construction, overall: 11.75 x 26.99 x 18.42 cm (4 5/8 x 10 5/8 x 7 1/4 in.). National Gallery of Art, Washington.
Collection of Robert and Aimee Lehrman, Washington, D.C., in honor of Lynda Hartigan.

Joseph Cornell. *L’Humeur Vagabonde (Restless Mood)*, 1955, box construction, overall: 36.83 x 26.35 x 6.99 cm (14 1/2 x 10 3/8 x 2 3/4 in.). National Gallery of Art, Washington. Collection of Robert and Aimee Lehrman, Washington, D.C., in honor of Jake, Jason and Juliette Lehrman.

Joseph Cornell. *A Parrot for Juan Gris*, winter 1953–1954,
box construction, overall: 45.09 x 30.96 x 11.75 cm (17 3/4 x 12 3/16 x 4 5/8 in.). National Gallery of Art, Washington. Collection of Robert and Aimee Lehrman, Washington, D.C., in honor of Aimee Lehrman.

Joseph Cornell. *Variétés Apollinaris*, 1953, box construction, overall: 52.07 x 29.21 x 11.43 cm (20 1/2 x 11 1/2 x 4 1/2 in.). National Gallery of Art, Washington. Collection of Robert and Aimee Lehrman, Washington, D.C., in honor of Isabelle Scott and Heidi Berry.

“The National Gallery is thrilled to receive this remarkable gift from Robert and Aimee Lehrman, which significantly enhances the museum’s collection of modern art and will also engage visitors and inspire wonder and awe for years to come,” said Kaywin Feldman, director of the National Gallery of Art. “Together with the Smithsonian American Art Museum, which houses the vast Cornell archive of source materials and notes for the boxes, collages, and films, this gift to the National Gallery now makes Washington, DC, the world’s leading destination for Cornell scholars, students, and art lovers.”

“This remarkable, world-class gift instantly makes the National Gallery an indispensable site for anyone wanting to appreciate and study the art of Joseph Cornell, one of the most unusual and influential American artists of the 20th century,” said Harry Cooper, senior curator and head of the department of modern and contemporary art at the National Gallery of Art. “Cornell’s works are delicate, precious worlds unto themselves, and we are honored to preserve, study, and display this meticulously assembled collection of his art for posterity.”

“One of art’s greatest powers and enduring qualities is that it speaks to us through time, about the continuum of creativity and culture. I know of no better place for Cornell’s art than the National Gallery of Art, where Cornell’s work will join and speak to some of the greatest art of all time,” said Robert Lehrman.

Images courtesy National Gallery of Art.

January 5, 2024

Sarah Crowner: Around Orange at Pulitzer Arts Foundation, through February 4, 2024

“A bold red, orange, blue, and black abstract painting installation nearly as long as a tennis court, glazed red terracotta tiles, and a pale birchwood floor structure are among the building blocks of a major three-part commission project by the artist Sarah Crowner (b. 1974) that will transform the ground level of the Pulitzer Arts Foundation this fall. On view September 8, 2023, through February 4, 2024, Sarah Crowner: Around Orange is organized by Stephanie Weissberg, Curator, Pulitzer Arts Foundation.

As specially commissioned by the Pulitzer, the three-part installation represents an intergenerational visual dialogue between Crowner–an artist whose buoyant abstractions engage the history of art–and the late Ellsworth Kelly (1923–2015)–painter, sculptor, and printmaker–whose wall sculpture Blue Black (2000) hangs permanently in the main gallery of the Pulitzer and has become an emblem of the museum.” — Pulitzer Arts Foundation

Sarah Crowner. *Untitled (Around Orange)*, 2023. Acrylic on canvas, sewn 72 x 144 inches (182.88 X 365.76 cm) © Sarah Crowner; Courtesy of the artist, Luhring Augustine, New York, and Galerie Nordenhake, Berlin, Mexico City and Stockholm. Photo by Charles Benton.

Sarah Crowner. *Untitled (Around Orange)*, 2023. Acrylic on canvas, sewn 72 x 120 inches (182.88 X 304.8 cm) © Sarah Crowner; Courtesy of the artist, Luhring Augustine, New York, and Galerie Nordenhake, Berlin, Mexico City and Stockholm. Photo by Charles Benton.

Sarah Crowner. *Untitled (Around Orange)*, 2023. Acrylic on canvas, sewn 72 x 72 inches (182.9 x 182.9 cm) © Sarah Crowner; Courtesy of the artist, Luhring Augustine, New York, and Galerie Nordenhake, Berlin, Mexico City and Stockholm. Photo: Farzad Owrang.

Sarah Crowner. *Untitled (Around Orange)*, 2023. Acrylic on canvas, sewn 72 x 48 inches (182.9 x 121.9 cm) © Sarah Crowner; Courtesy of the artist, Luhring Augustine, New York, and Galerie Nordenhake, Berlin, Mexico City and Stockholm. Photo: Farzad Owrang.

“Through subtle placement and the strategic selection of color and tactility of material, Sarah illuminates core elements of the Pulitzer’s identity. Her choices derive from careful research into the Pulitzer’s own architecture, designed by Tadao Ando, and to Ellsworth Kelly’s Blue Black,” notes Pulitzer Executive Director Cara Starke.

Starke continues, “The Pulitzer has a tradition of commissioning works of art and presenting exhibitions responding to the museum’s architecture and collection. In 2017, Blue Black was the inspiration for an exhibition of the same title organized by the artist Glenn Ligon.”

“Around Orange is both refined and exuberant,” suggests Weissberg. “Sarah draws attention to the nuanced decisions that Ellsworth Kelly made in responding to Tadao Ando’s interior. She also retains evidence of her own production process by leaving visible the stitching of sections of canvas or the color variations between tiles.”

Title image: Installation view of Sarah Crowner: Around Orange at the Pulitzer Arts Foundation, Sep 8, 2023–Feb 4, 2024. Photograph by Alise O’Brien Photography, © Pulitzer Arts Foundation and Alise O’Brien Photography.

Images courtesy Pulitzer Arts Foundation.

January 2, 2024

Women Dressing Women at The Met Fifth Avenue Costume Institute, through March 3, 2024

“The Costume Institute’s fall 2023 exhibition, Women Dressing Women, celebrates the creativity and artistic legacy of women designers. Comprising approximately 80 objects that document the work of more than 70 makers, the exhibition traces a lineage of influential women-led fashion houses from the 20th century to the present, highlighting the pioneering designers who led them. Designers whose work is on view include Rei Kawakubo for Comme des Garçons, Adèle Henriette Nigrin Fortuny, Gabriela Hearst, Ann Lowe, Claire McCardell, Pia Davis and Autumn Randolph for No Sesso, Miuccia Prada, Madeleine Vionnet, and Vivienne Westwood, among many others.

Through the exploration of four key notions—anonymity, visibility, agency, and absence/omission—Women Dressing Women offers a new interpretation of the traditional canon of fashion history and examines the ways in which the industry has served as a powerful vehicle for women’s social, financial, and creative autonomy. Discoveries about the identities, mentorship histories, and connections between women makers throughout history are explored, providing new insights and an enhanced understanding of their work.” — The Met

Installation views of Women Dressing Women at The Met Fifth Avenue, Women, December 7, 2023 – March 3, 2024. All photos © The Metropolitan Museum of Art.

Gallery View, Agency: Liminal Spaces of Fashion

Gallery View, Agency: Appropriating Menswear

Gallery View, Agency: The Boutique Generation

Gallery View, Agency: Reclaiming the Body

Gallery View, Agency: Empowerment Through Practice

Mellissa Huber, Associate Curator, The Costume Institute stated: “Our fall exhibition provides an opportunity to engage with the critical histories of innovative women designers, all of whom played pivotal roles in the conception of fashion as we know it today. In recognizing that the contributions of women to fashion are unquantifiable, our intention with this show is to celebrate and acknowledge through a focus on The Costume Institute’s permanent collection, which represents a rich timeline of Western fashion history. We hope that this exhibition fosters impactful conversations between our visitors and across the designers’ larger bodies of work, highlighting the plurality and diversity of women’s important contributions to the field.”

The exhibition is organized by Mellissa Huber, Associate Curator, The Costume Institute, and guest co-curator Karen Van Godtsenhoven. Headpieces are created for the exhibition by artist Caitlin Keogh.

Title image: Gallery View: Atmosphere.

Images courtesy The Metropolitan Museum of Art.

December 26, 2023

James Lee Byars at Pirelli HangarBicocca, through February 18, 2024

“Pirelli HangarBicocca is pleased to present an exhibition of James Lee Byars, one of the most enigmatic and legendary figures in 20th-century art. The show, the first retrospective in Italy dedicated to the American artist since his death in 1997, journeys through his layered work, which developed as a continuous exploration of the deepest meanings of the existing world, poised between mysticism, spirituality, and corporality.

The retrospective of works by James Lee Byars (Detroit, Michigan, 1932 – Cairo, 1997), curated by Vicente Todolí and organized by Pirelli HangarBicocca and Museo Nacional Centro de Arte Reina Sofía in Madrid (where a version of the exhibition project will be presented from April 25 to September 1, 2024, at the Palacio de Velázquez), will be held in the Navate spaces at Pirelli HangarBicocca. Bringing together a vast selection of sculptural works and monumental installations created from 1974 to 1997, and coming from international museum collections, it features works that have rarely been exhibited, and that are presented in Italy for the first time.” — Pirelli HangarBicocca

James Lee Byars. Exhibition view at Pirelli HangarBicocca, Milan, 2023. Courtesy Pirelli HangarBicocca, Milan. Photo Agostino Osio.

James Lee Byars. Exhibition view at Pirelli HangarBicocca, Milan, 2023. Foreground: *The Door of Innocence*, 1986-89. Background: *The Figure of Question is in the Room*, 1986. Toyota Municipal Museum of Art. Courtesy Pirelli HangarBicocca, Milan. Photo Agostino Osio.

James Lee Byars. *Byars is Elephant*, 1997. Installation view at Pirelli HangarBicocca, Milan, 2023. Pinault Collection. Courtesy Pirelli HangarBicocca, Milan. Photo Agostino Osio.

James Lee Byars. *The Diamond Floor*, 1995. Installation view at Pirelli HangarBicocca, Milan, 2023. The Estate of James Lee Byars and Michael Werner Gallery, New York, London and Berlin. Courtesy Pirelli HangarBicocca, Milan. Photo Agostino Osio.

James Lee Byars. *Red Angel of Marseille*, 1993. Installation view at Pirelli HangarBicocca, Milan, 2023 FNAC 99316, Centre national des arts plastiques. On deposit at Centre Pompidou, Paris. Courtesy Pirelli HangarBicocca, Milan. Photo Agostino Osio.

Todolí states: “We usually conceive site-specific retrospectives that dialogue with the architecture of Pirelli HangarBicocca. In his practice James Lee Byars used to adapt his corpus of works to the space in which it was displayed, thus creating an exhibition that was an overall installation in itself. Therefore, our selection of artworks interacts with the former-industrial building of the Navate, challenging us to interpret the space according to the artist’s own conceptual approach.”

December 26, 2023

Thao Nguyen Phan “Reincarnations of Shadows” at Pirelli Hangar Bicocca, through January 14, 2024

“Pirelli HangarBicocca presents ‘Reincarnations of Shadows,’ Thao Nguyen Phan’s first solo show in Italy. Internationally recognized for her combined use of painting, moving image, and sculpture, the Vietnamese artist creates dreamlike and poetic narratives that trace the history of her country in relation to contemporary environmental and social changes. The exhibition, conceived as a layering of audio, visual, and tactile references among videos, sculptures, watercolors, silk and lacquer paintings, explores Phan’s practice, highlighting its symbolic and imaginative qualities. For the occasion, the artist has created a series of new productions and presents for the first time the video installation Reincarnations of Shadows (moving-image-poem) (2023): a personal reflection on the transformative and regenerative potential of art.” — Pirelli HangarBicocca

Thao Nguyen Phan, “Reincarnations of Shadows”, exhibition view at Pirelli HangarBicocca, Milan, 2023. Courtesy the artist and Pirelli HangarBicocca, Milan. Photo Agostino Osio.

Thao Nguyen Phan, *Reincarnations of Shadows (moving-image-poem)*, 2023. Installation view at Pirelli HangarBicocca, Milan, 2023. Commissioned by Pirelli HangarBicocca and co-produced by Fondazione In Between Art Film. Courtesy the artist and Pirelli HangarBicocca, Milan. Photo Agostino Osio.

Thao Nguyen Phan, *First rain, Brise-soleil*, 2021 – ongoing. Installation view at Pirelli HangarBicocca, Milan, 2023. Produced by the Han Nefkens Art Foundation in collaboration with Kochi Biennale, with additional support from Tate St Ives. Courtesy the artist and Pirelli HangarBicocca, Milan. Photo Agostino Osio.

Thao Nguyen Phan, *Voyages de Rhodes*, 2014-2017. Installation view at Pirelli HangarBicocca, Milan, 2023. Courtesy the artist and Pirelli HangarBicocca, Milan. Photo Agostino Osio.

Thao Nguyen Phan, *Dream of March and August*, 2018 – ongoing. Installation view at Pirelli HangarBicocca, Milan, 2023. Courtesy the artist; Galerie Zink Waldkirchen and Pirelli HangarBicocca, Milan. Photo Agostino Osio.

Thao Nguyen Phan, *Man Looking Towards Darkness*, 2016. Installation view at Pirelli HangarBicocca, Milan, 2023. Courtesy the artist and Pirelli HangarBicocca, Milan. Photo Agostino Osio.

The title of the exhibition is based on the new video, Reincarnations of Shadows (moving-image-poem) (2023), commissioned by Pirelli HangarBicocca and co-produced by Fondazione In Between Art Film.

“Reincarnations of Shadows,” curated by Lucia Aspesi and Fiammetta Griccioli is organized by Pirelli HangarBicocca in collaboration with Kunsthal Charlottenborg, Copenhagen (where a version of the exhibition project will be presented from March 13 to August 11, 2024).

Title image: Thao Nguyen Phan, “Reincarnations of Shadows”, exhibition view at Pirelli HangarBicocca, Milan, 2023. Courtesy the artist and Pirelli HangarBicocca, Milan. Photo Agostino Osio.