Arts Summary

November 2, 2023

Going Dark: The Contemporary Figure at the Edge of Visibility at Guggenheim Museum, October 20, 2023 – April 7, 2024

“The Guggenheim Museum presents Going Dark: The Contemporary Figure at the Edge of Visibility, a major exhibition predicated on a duality: works of art that present the figure, yet obscure it in some way, thus existing at the ‘edge of visibility.’ The exhibition asserts that these experimentations in figuration across media—painting, photography, drawing, prints, sculpture, video, and installation—articulate pressing questions around what it means to be seen, not seen, or erased in society. On view from October 20, 2023, through April 7, 2024, the exhibition features 28 artists and fills all six ramps of the museum’s Frank Lloyd Wright–designed rotunda.” — Guggenheim Museum

Installation view, *Going Dark: The Contemporary Figure at the Edge of Visibility*, Solomon R. Guggenheim Museum, New York, October 20, 2023–April 7, 2024. Photo: Midge Wattles © Solomon R. Guggenheim Foundation

Artists in the exhibition: American Artist, Kevin Beasley, Rebecca Belmore, Dawoud Bey, John Edmonds, Ellen Gallagher, David Hammons, Lyle Ashton Harris, Tomashi Jackson, Titus Kaphar, Glenn Ligon, Kerry James Marshall, Tiona Nekkia McClodden, Joiri Minaya, Sandra Mujinga, Chris Ofili, Sondra Perry, Farah Al Qasimi, Faith Ringgold, Doris Salcedo, Lorna Simpson, Ming Smith, Sable Elyse Smith, Stephanie Syjuco, Hank Willis Thomas, WangShui, Carrie Mae Weems, and Charles White.

Going Dark: The Contemporary Figure at the Edge of Visibility is organized by Ashley James, Associate Curator, Contemporary Art, with Faith Hunter, Curatorial Assistant.

Images courtesy Solomon R. Guggenheim Museum.

October 30, 2023

Shary Boyle: Outside the Palace of Me at Museum of Arts and Design (MAD), September 23, 2023 – February 25, 2024

“The Museum of Arts and Design (MAD) presents the New York museum debut of Canadian visual artist and performer Shary Boyle. On view from September 23, 2023–February 25, 2024, Shary Boyle: Outside the Palace of Me explores the forces that create our inner and outer selves, both individual and collective. The multisensory solo exhibition of new works by the artist includes exquisitely sculpted ceramics, life-sized automatons, two-way mirrors, a coin-operated sculpture, and an interactive soundtrack. To help realize her creative vision for the exhibition, Boyle enlisted a team of collaborators, including a scenic designer, costume artist, robotics engineer, amusement park innovator, and acrylic nail artist. Each work in the exhibition is a testament to slow, skilled, passionate handcraft.

The exhibition’s title, Outside the Palace of Me, references a lyric from ‘Europe is Lost,’ written by UK poet and singer Kae Tempest in 2016. In this visceral protest song, Tempest catalogs society’s ills, including the commodification of the self through reality TV, social media, and the influencer economy.” — MAD

Installation views of Shary Boyle: Outside the Palace of Me at the Museum of Arts and Design, New York (September 23, 2023–February 25, 2024). Photos by Jenna Bascom; courtesy the Museum of Arts and Design.

“Shary Boyle has been galvanized by the global turmoil over the last decade to create extraordinary works of art, ambitious in their breadth of scope and the depth of discourse concerning the essential challenges facing our society, such as racism, misogyny, and environmental destruction,” said Elissa Auther, MAD’s Deputy Director of Curatorial Affairs and William and Lasdon Chief Curator.

“Boyle sees the artist as a risk-taker and wants her art to start conversations, ask questions with no right answers, and change thought. To achieve this, she has called on all her powers as a multimedia artist and enlisted a team of collaborators to create a deceptively nostalgic space for play—and provocation. Her work addresses heavy histories but is also hopeful about our ability to creatively reimagine and collectively enact a better future,” Auther added.

Outside the Palace of Me is organized by the Gardiner Museum, Toronto.

Title image: Shary Boyle. The Sculptor, 2019. Terra cotta, porcelain, china paint. Courtesy of the artist and Patel Brown Gallery. Photo credit: John Jones.

October 19, 2023

Marcel Duchamp and the Lure of the Copy, Peggy Guggenheim Collection, October 14, 2023 – March 18, 2024

“From October 14, 2023 to March 18, 2024, the Peggy Guggenheim Collection presents Marcel Duchamp and the Lure of the Copy, curated by Paul B. Franklin, a Paris-based art historian and an internationally acclaimed expert on the life and work of Marcel Duchamp (1887–1968). This is the very first exhibition at the Peggy Guggenheim Collection devoted exclusively to Duchamp, among the most influential and innovative artists of the twentieth century and a longtime friend and adviser to the American patron Peggy Guggenheim.

Marcel Duchamp and the Lure of the Copy features some sixty artworks dating from 1911 to 1968. These include iconic objects from the permanent collection of the Peggy Guggenheim Collection, such as Nude (Sketch), Sad Young Man in a Train (1911) and the de ou par Marcel Duchamp ou Rrose Sélavy (Boîte-en-valise) (1935–41), as well as from other Italian and American institutions, including the Galleria Nazionale d’Arte Moderna e Contemporanea in Rome, the Philadelphia Museum of Art, the Museum of Modern Art in New York, and the Solomon R. Guggenheim Museum in New York. The exhibition also presents several lesser-known artworks in private hands, including the artist’s estate. Furthermore, fully half of the pieces on display come from the distinguished Venetian collection of Attilio Codognato, who first took an interest in Duchamp’s work in the early 1970s.” — Peggy Guggenheim Collection

*de ou par Marcel Duchamp ou Rrose Sélavy (Boîte-en-valise) (from or by Marcel Duchamp or Rrose Sélavy [Box in a Valise]), 1935–41*. Calfskin-covered valise containing paperboard, wood, buckram, oilcloth, velvet, ceramic, glass, cellophane, plaster, iron wire, iron and brass elements; reproductions in collotype, letterpress, and lithography on paper, cellulose acetate, paperboard, and canvas with tempera, watercolor, pochoir, ink, graphite, vegetable resins, and natural gums. 40.9 x 37.7 x 10.4 cm (maximum dimensions, container closed) Deluxe edition I of XX Peggy Guggenheim Collection, Venice (Solomon R. Guggenheim Foundation, New York)

*À propos de jeune sœur (Apropos of Little Sister)*, October 1911. Oil on canvas. 73 × 60 cm. Solomon R. Guggenheim Museum, New York © Association Marcel Duchamp, by SIAE 2023

*Nu (esquisse) / Jeune homme triste dans un train (Nude [Sketch] / Sad Young Man in a Train)*, December 1911 (dated 1912). Oil on canvas panel, mounted to pressboard, and nailed to stretcher. 100 × 73 cm. Peggy Guggenheim Collection, Venice (Solomon R. Guggenheim Foundation, New York) © Association Marcel Duchamp, by SIAE 2023

*Le Roi et la reine entourés de nus vites (The King and Queen Surrounded by Swift Nudes)*, May 1912. Oil on canvas. 114.6 × 128.9 cm. Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950 © Association Marcel Duchamp, by SIAE 2023

*L.H.O.O.Q.*, September 1964. Readymade: Color offset-lithographic print with graphite and gouache additions. Image: 27 × 18 cm. Sheet: 33 × 25 cm. Edition 28 of 35. Attilio Codognato Collection, Venice © Association Marcel Duchamp, by SIAE 2023

*Peigne (Comb)*, 1964 replica of 1916 original. Readymade: Steel comb with painted inscription. 16.5 × 3 × 0.2 cm. Box: 18.5 × 5.7 × 1.8 cm. Edition 1 of 8 .Attilio Codognato Collection, Venice © Association Marcel Duchamp, by SIAE 2023

Marcel Duchamp with an incomplete example of the *from or by Marcel Duchamp or Rrose Sélavy (Box in a Valise)*, 1935–41, at Peggy Guggenheim’s town house, 440 East Fifty-first Street, New York, August 1942. Photograph originally published in Time magazine, September 7, 1942.

“As for distinguishing the real from the fake, the imitation from the copy, those are totally idiotic technical questions,” he said in 1967 in an interview. On another occasion, he argued: “A duplicate or a mechanical repetition has the same value as the original.”

Images courtesy Peggy Guggenheim Collection.

October 16, 2023

Mood of the moment: Gaby Aghion and the house of Chloé at Jewish Museum, October 13, 2023 – February 18, 2024

“The Jewish Museum presents Mood of the moment: Gaby Aghion and the house of Chloé, the first museum exhibition honoring the visionary Jewish entrepreneur Gaby Aghion (1921-2014) and her legacy as the founder of the French fashion house Chloé. Casting a new light on the label’s 70-year history with nearly 150 garments as well as never-before-exhibited sketches and documents from the Chloé Archive, this exhibition highlights Aghion’s vision of effortless, luxurious fashion, and the work of iconic designers who began their careers with the brand, including Karl Lagerfeld, Stella McCartney, and Phoebe Philo. The exhibition showcases Aghion as a leader whose work altered the course of the global fashion industry in liberating women’s bodies from the restrictive attitudes and styles of time, as well as pioneering the emergence of luxury ready-to-wear. Mood of the moment: Gaby Aghion and the house of Chloé is on view at the Jewish Museum from October 13, 2023, through February 18, 2024.” — Jewish Museum

I started Chloé because I loved the idea of couture, but found the concept a little out of date — a little artificial. A thing of beauty and quality should be seen on women in the streets. — Gaby Aghion

Installation views of Mood of the moment: Gaby Aghion and the house of Chloé at Jewish Museum. Photos by Corrado Serra.

Mood of the moment: Gaby Aghion and the house of Chloé is organized by the Jewish Museum: Claudia Gould, Director Emerita and Exhibition Project Director; Choghakate Kazarian, Guest Curator; and Kristina Parsons, Leon Levy Assistant Curator. Exhibition design is by Elliott Barnes.

October 15, 2023

Vertigo of Color: Matisse, Derain, and the Origins of Fauvism at The Met Fifth Avenue, October 13, 2023 – January 21, 2024

“Henri Matisse (1869–1954) and André Derain (1880–1954) embarked on a creative partnership in the summer of 1905 that would change the course of French painting. The two painters daringly experimented with energetic bursts of color, form, and structure, the outcome of which led to a bold, new artistic language known as Fauvism (from the French fauve, or “wild beast”). Opening at The Met on October 13, 2023, Vertigo of Color: Matisse, Derain, and the Origins of Fauvism will present, for the first time in the United States, the legacy of that legendary summer through 65 paintings, drawings, and watercolors by Matisse and Derain on loan from national and international museums and private collections.” — The Met

A color for me is a force. My paintings consist of four or five colors which clash with one another expressively. When I apply green, that does not mean grass. When I apply blue, that does not mean sky. — Henri Matisse

Color became sticks of dynamite. They were primed to discharge light. — André Derain

André Derain (French, 1880–1954). *Woman with a Shawl, Madame Matisse in a Kimono*, 1905. Oil on canvas. 31 11/16 x 25 9/16 in. (80.5 x 65 cm). Private collection, courtesy of Nevill Keating Pictures, London © 2023 Artists Rights Society (ARS), New York / ADAGP, Paris

Henri Matisse. Promenade among the Olive Trees *(Olive Trees at Collioure)*, 1906. Oil on canvas. 17 1/2 x 21 3/4 in. (44.5 x 55.2 cm). The Metropolitan Museum of Art, Robert Lehman Collection, 1975. (1975.1.194) © 2023 Artists Rights Society (ARS), New York / ADAGP, Paris

André Derain. *Fishing Boats, Collioure*, 1905. Oil on canvas. 31 7/8 x 39 1/2 in. (81 x 100.3 cm). The Metropolitan Museum of Art, Gift of Raymond Paul, in memory of her brother, C. Michael Paul and Purchase, Lila Acheson Wallace Gift, New York 1982.179.29 © 2023 Artists Rights Society (ARS), New York / ADAGP, Paris

Henri Matisse. *La Japonaise: Woman beside the Water*, 1905. Oil and graphite on canvas. 13 7/8 × 11 1/8 in. (35.2 × 28.2 cm). The Museum of Modern Art. Purchase and anonymous gift, 1983 (709.1983) © 2023 Artists Rights Society (ARS), New York / ADAGP, Paris

André Derain. *Sailboats at Collioure*, 1905. Oil on canvas. 25 3/16 × 31 1/2 in. (64 × 80 cm). Private Collection © 2023 Artists Rights Society (ARS), New York / ADAGP, Paris

Henri Matisse. *Open Window, Collioure*, 1905. Oil on canvas. 21 3/4 × 18 1/8 in. (55.3 × 46 cm). National Gallery of Art, Washington, D.C., Collection of Mrs. John Hay Whitney (1998.74.7) © 2023 Artists Rights Society (ARS), New York / ADAGP, Paris

Henri Matisse. *Landscape: Broom*, 1906. Oil on panel. 12 × 15 5/8 in. (30.5 × 39.7 cm). San Francisco Museum of Modern Art, Bequest of Elise S. Haas (91.164) © 2023 Artists Rights Society (ARS), New York / ADAGP, Paris

“This captivating exhibition not only speaks to the transformative partnership of Matisse and Derain, but it also provides a highly focused and engaging view of their groundbreaking artistic practices,” said Max Hollein, The Met’s Marina Kellen French Director and CEO. “Vertigo of Color is remarkable in that the works are largely experimental, giving us the opportunity to understand their process and look back at a singular moment that has so powerfully resonated with generations of artists and audiences.”

“As the story of a rewarding partnership, this exhibition is the first to focus intently on the paintings, drawings, and watercolors that laid the groundwork for Fauvism,” said Dita Amory, Robert Lehman Curator in Charge of the Robert Lehman Collection. “In just nine weeks, Matisse and Derain revolutionized color and liberated brushwork, paving the way for modernism.”

Vertigo of Color: Matisse, Derain, and the Origins of Fauvism is co-organized by The Metropolitan Museum of Art and the Museum of Fine Arts, Houston. It is curated at The Met by Dita Amory, Robert Lehman Curator in Charge, Robert Lehman Collection, and at the Museum of Fine Arts, Houston, by Ann Dumas, Consulting Curator of European Art.

Images courtesy The Metropolitan Museum of Art.

October 12, 2023

Meiji Modern: Fifty Years of New Japan at Asia Society Museum, October 3, 2023 – January 7, 2024

“Asia Society presents a fresh look at the art of Japan’s Meiji era (1868-1912), a period of unprecedented cultural and technological transition, in the landmark exhibition Meiji Modern: Fifty Years of New Japan. During these four remarkable decades, the country experienced radical social and political shifts, which propelled the once inward-facing society into a new modern, global era.

Following two centuries of limited international trade, new connections with foreign cultures inspired dynamic new forms of artistic expression. The profound cross-cultural impact of the country’s developing relationships with the wider world is evident in over 80 extraordinary objects comprising Meiji Modern, on view at Asia Society Museum in New York from October 3, 2023 through January 7, 2024.” — Asia Society

Hashio Kiyoshi (Kajimoto Seizaburō) (1888–1964). *Morning Sea*, 1915. Silk embroidery on silk ground set in lacquered wood frame with silk braid hinges. Allentown Museum of Art, Gift of Mr. and Mrs. Van Santvoord, 2008.7

Unidentified Artist. Tide-Changing Jewel with Dragonca. 1900. Silver, shakudō (copper and gold alloy), and crystal. The Cleveland Museum of Art, Bequest of Cornelia Blakemore Warner, 1947.682

Kishi Chikudō (1826–1897). Verso of *Tigers by Mountain Streams*, ca. 1892–5. Pair of six-panel folding screens. Minneapolis Institute of Art, Gift of Harriet and Ed Spencer, 2012.1.2.1–2

Ganho (active 1900s). *Catch of the Day*, ca. 1900. Two-panel folding screen; ink, mica, and mineral pigments on silk. Ackland Art Museum, University of North Carolina. Gift of Mrs. Joseph Palmer Knapp, by exchange, 2016.16.1

Tsukioka Yoshitoshi (1839–1892). Detail of *A Brief History of Japan: Susanoo no Mikoto Kills the Eight-Headed Serpent at Hirokawa in Izumo Province*, 1887. Polychrome woodblock print (nishiki-e) triptych. Collection of Richard and Linda Greene

Aoki Tomonobu (Ichiryū) (active Meiji era), Censer in the Form of a Hawk, ca.1895. Silver, shibuichi, shakudō, black-and gold lacquer, and silk cord. The Museum of Fine Arts, Houston, Museum purchase funded by Nidhika and Pershant Mehta, Dr. Ellen R. Gritz and Mr. Milton D. Rosenau Jr., Dr. David Y. Graham, Drew and Laura Tingleaf, Manmeet and Paul Likhari, and Friends of Asian Art, 2018.641.A–E

Watanabe Nobukazu (1872–1944). Bronze Statue of Saigō Takamori in Ueno Park, Tokyo, 1899. Ukiyo-e woodblock-printed vertical ōban triptych, ink and color on paper. Jordan Schnitzer Museum of Art, University of Oregon, Eugene, Gift of Irwin Lavenberg, the Lavenberg Collction of Japanese Prints, 2021:36.453a–c

Attributed to Kōzan I (Miyagawa Toranosuke) (1842–1916). *Benjamin Franklin in Japanese Costume*, 1880–83. Glazed earthenware, 8 7/8 x 8 1/2 in. (22.5 x 21.6 cm). Lent by The Metropolitan Museum of Art, Gift of William H. Huntington, 83.2.275

Utagawa (Baidō) Kokunimasa (1874–1944). *The Life of President Grant in Japanese (Gurando-shi den Yamato bunshō)*, 1879. Woodblock printed book; ink and color on paper. The Metropolitan Museum of Art, Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015, 2015.300.228

Meiji Modern: Fifty Years of New Japan is organized by the Japanese Art Society of America, or JASA, in celebration of its 50th anniversary. The exhibition co-curators are Bradley Bailey, the Ting Tsung and Wei Fong Chao Curator of Asian Art, The Museum of Fine Arts, Houston; and Chelsea Foxwell, Associate Professor of Art History, University of Chicago.

Images courtesy Asia Society.

October 8, 2023

Spike Lee: Creative Sources at Brooklyn Museum, October 7, 2023 – February 4, 2024

“The Brooklyn Museum is proud to present Spike Lee: Creative Sources, a rare glimpse into the world of Spike Lee (born Atlanta, Georgia, 1957; raised in Brooklyn, New York), one of the most influential and prolific American directors, who has transformed the landscape of contemporary cinema and the art of filmmaking. Through an immersive installation of objects that have been touchpoints in his creative process, visitors will discover the sources of inspiration that have fueled Lee’s work. Organized around themes of Black American history and culture, Brooklyn, sports, music, cinema history, and family, the exhibition draws connections between the people, places, and ideas behind his creative endeavors. It also marks Brooklyn’s first major exhibition on Lee, an artist whose persona is synonymous with the borough.” — Brooklyn Museum

“Spike Lee: Creative Sources offers a fresh perspective on a cultural icon, focusing on the individuals and influences that have shaped Spike Lee’s body of work, which is so well known today,” says Gant. “By making Lee’s collection accessible to the public, this showcase celebrates his legacy while honoring his deep connection to Brooklyn, a place that has been an integral part of his storytelling.”

Installation view of “Spike Lee: Creative Sources” at Brooklyn Museum. Photo by Danny Perez.

Installation view of “Spike Lee: Creative Sources” at the Brooklyn Museum | Photo by Paula Abreu Pita.

Spike Lee: Creative Sources is organized by Kimberli Gant, Curator, Modern and Contemporary Art, with Indira A. Abiskaroon, Curatorial Assistant, Modern and Contemporary Art, Brooklyn Museum.

Title image: Spike Lee as Mars Blackmon from She’s Gotta Have It (Spike Lee, 1986, 84 min.). (Photo: © David C. Lee).

Images courtesy Brooklyn Museum.

October 6, 2023

Fragments of a Faith Forgotten: The Art of Harry Smith at Whitney Museum of American Art, October 4 – January 28, 2024

“Fragments of a Faith Forgotten: The Art of Harry Smith, on view at the Whitney Museum of American Art from October 4, 2023, through January 28, 2024, is the first solo exhibition of artist, filmmaker, musicologist, collector, and radical nonconformist Harry Smith (1923–1991). Best known for his compendium of song recordings, the Anthology of American Folk Music, Smith helped establish the popularization of folk music in the 1960s. This major exhibition introduces Smith’s life and work within a museum setting for the first time through paintings, drawings, designs, experimental films, sound recordings, and examples of Smith’s collecting. Designed in partnership with artist Carol Bove, Fragments of a Faith Forgotten proposes new ways of experiencing twentieth-century American cultural histories.” — Whitney Museum of American Art

Installation views of Fragments of a Faith Forgotten: The Art of Harry Smith at Whitney Museum of American Art, October 4, 2023 – January 28, 2024. Photos by Corrado Serra.

“At the Whitney, we strive to create exhibitions that are as innovative as the artists they present,” said Scott Rothkopf, Nancy and Steve Crown Family Chief Curator and incoming Alice Pratt Brown Director of the Whitney Museum. “Fragments of a Faith Forgotten is one such show, bringing to life the visionary world of Harry Smith as a total installation brilliantly conceived by the artist Carol Bove.”

“Vitally, Harry Smith brought to light and wrestled with—sometimes imperfectly—facets of America’s rich histories, tracing and sharing underappreciated veins of culture often invisible to mainstream society,” said Elisabeth Sussman, Curator at the Whitney Museum of American Art. “Smith followed his own path through American culture, revealing more about this country, its arts, and its diverse creative communities than nearly any other artist of his time.”

October 6, 2023

Henry Taylor: B Side at Whitney Museum of American Art, October 4, 2023 – January 28, 2024

“The Whitney Museum of American Art presents the landmark retrospective, Henry Taylor: B Side. As the first large-scale New York survey of leading contemporary artist Henry Taylor (b. 1958, based in Los Angeles), the exhibition celebrates the artist’s unique aesthetic, social vision, and freewheeling experimentation. Through paintings, rarely seen drawings, sculpture, and a newly conceived installation, Henry Taylor: B Side captures an over thirty-year career and features many of the artist’s most recognizable works, including paintings of family, fellow artists, legends, and public figures including Barack and Michelle Obama, JAY-Z, Martin Luther King, Jr., and more. Informed by the artist’s life experience and immediate environment, his work conveys urgency and fundamental empathy through close examination and sharp social critique.” — Whitney Museum of American Art

Installation views of Henry Taylor: B Side at Whitney Museum of American Art, October 4, 2023 – January 28, 2024. Photos by Corrado Serra.

“We are honored to welcome Henry Taylor back to the Whitney after his significant appearances in our Biennial and collection galleries,” said Scott Rothkopf, Senior Deputy Director and Nancy and Steve Crown Family Chief Curator. “His paintings brilliantly balance a sense of tenderness, care, and community with keen wit, pointed critique, and a sense of broad social awareness.”

“Henry Taylor is guided by his deep-seated empathy for people and their histories,” says Haskell. “Painted with kinetic intensity from memory, newspaper clippings, snapshots, and in-person sittings, his portraits capture the humanity, social milieu, and mood of his subjects. They combine flat planes of vibrant, saturated color with areas of rich, intimate detail and loose brushstrokes to create paintings that really feel alive.”

This exhibition was originally organized by the Museum of Contemporary Art (MOCA) in Los Angeles, and curated by Bennett Simpson, Senior Curator, with Anastasia Kahn, Curatorial Assistant, at MOCA. The presentation at the Whitney Museum of Art is organized by Barbara Haskell, Curator at the Whitney, with Colton Klein and Caroline Webb, Whitney Curatorial Assistants.

October 4, 2023

Picasso: A Cubist Commission in Brooklyn at The Met Fifth Avenue, through January 14, 2024

“On September 14, 2023, The Met opened Picasso: A Cubist Commission in Brooklyn, the first exhibition dedicated to a captivating but lesser-known chapter in the Cubist period of Pablo Picasso (1881–1973). In 1910, while making radical formal experiments with the human figure that brought him to the brink of abstraction, the artist embarked on a decorative commission for the Brooklyn residence of artist, collector, and critic Hamilton Easter Field (1873–1922). While the commission ultimately went unrealized, it served as a catalyst for Picasso’s exploration of Cubism, as he worked, abandoned, and reworked the panels in various studios in France. In this focused exhibition, six paintings linked to the commission—a group of figure and still life compositions—will be brought together for the first time, along with related works and archival material. It provides a unique opportunity to view these canvases together in the same gallery and to consider them in relation to the architectural space for which they were originally intended.” — The Met

Installation views of Picasso: A Cubist Commission in Brooklyn, on view September 14, 2023–January 14, 2024 at The Metropolitan Museum of Art. Photos by Anna-Marie Kellen, courtesy of The Met

Installation view of *Picasso: A Cubist Commission in Brooklyn*, on view September 14, 2023–January 14, 2024 at The Metropolitan Museum of Art. Photo by Anna-Marie Kellen, courtesy of The Met

Pablo Picasso (Spanish, 1881–1973) *Man with a Guitar*, 1911, reworked in 1913 Oil on canvas 60 5/8 × 30 1/2 in. (154 × 77.5 cm) Musée National Picasso-Paris, Gift of Pablo Picasso Estate, 1979 (MP34) © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

Pablo Picasso (Spanish, 1881–1973) *Man with a Mandolin*, 1911 Oil on canvas 63 3/4 × 27 15/16 in. (162 × 71 cm) Musée National Picasso-Paris, Gift of Pablo Picasso Estate, 1979 (MP35) © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

Pablo Picasso (Spanish, 1881–1973) *Pipe Rack and Still Life on a Table*, summer 1911 Oil and charcoal on canvas 19 1/2 × 50 in. (49.5 × 127 cm), irregular 20 × 50 1∕4 in. (50.8 × 127.6 cm), mounted The Metropolitan Museum of Art, New York, The Mr. and Mrs. Klaus G. Perls Collection, 1997 (1997.149.6) © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

Pablo Picasso (Spanish, 1881–1973) *Still Life on a Piano*, 1911-1912 Oil and charcoal on canvas 19 11/16 × 51 3/16 in. (50 × 130 cm) Staatliche Museen zu Berlin, Nationalgalerie, Museum Berggruen © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

Pablo Picasso (Spanish, 1881–1973) *Nude Woman*, 1910 Oil on canvas 73 3/4 × 24 in. (187.3 × 61 cm) National Gallery of Art, Washington, D.C., Ailsa Mellon Bruce Fund, 1972.46.1 © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

Pablo Picasso (Spanish, 1881–1973) *Reclining Woman on a Sofa*, 1910 Oil on canvas 19 15∕16 × 51 in. (49 × 129.5 cm) Private Collection © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

“As the first-ever exhibition to focus on Picasso’s commission for Hamilton Easter Field, this show will uncover an important chapter in Picasso’s radical Cubist idiom and afford us a fresh angle on the artist’s transcendent work,” said Max Hollein, the Museum’s Marina Kellen French Director and CEO. “The Met is uniquely positioned to present revelatory projects such as this because of the innovative research produced at the Leonard A. Lauder Research Center for Modern Art, our vibrant hub for scholarship on modern art in general and Cubism in particular, now in its 10th year of existence.”

The exhibition is organized by Anna Jozefacka, guest curator, with Lauren Rosati, Associate Curator in the Department of Modern and Contemporary Art and Research Projects Manager in the Leonard A. Lauder Research Center for Modern Art at The Met.

Images courtesy The Metropolitan Museum of Art.

September 28, 2023

Wes Anderson – Asteroid City: Exhibition at Fondazione Prada, Milan, September 23, 2023 – January 7, 2024

“Fondazione Prada presents ‘Wes Anderson – Asteroid City: Exhibition’ in Milan from September 23, 2023 to January 7, 2024, in collaboration with Universal Pictures International Italy. The show anticipates the Italian theatrical release on September 28, 2023 of Asteroid City, the latest film by Wes Anderson. On view at Fondazione Prada’s Nord gallery, the project includes a selection of original sets, props, miniatures, costumes, and artworks featured in this movie, which premiered in the 2023 Cannes Film Festival. These immersive installations transport audiences into the creative universe of Anderson’s eleventh feature film. Asteroid City takes place in 1955 in a fictional American desert town famous for its meteor crater and celestial observatory. It narrates a convention of young astronomers and space cadets, bringing together students and parents from across the country and spectacularly disrupted by mysterious events that will change the world.” — Fondazione Prada

As commented by Wes Anderson, “My personal wish might be to have every prop and costume we ever made for all our movies transferred into the Fondazione Prada to live there indefinitely for all time (if they could spare us the space). Rem Koolhaas also designed one of my very favorite cinemas in the world right in the middle of it.”

Exhibition views of “Wes Anderson – Asteroid City: Exhibition” at Fondazione Prada, Milan. Photos: Delfino Sisto Legnani – DSL Studio. Courtesy: Fondazione Prada.

“Asteroid City was filmed in Spain, on the outskirts of Chinchón, a small centre in the Community of Madrid. The sets were designed by longtime Anderson collaborator Adam Stockhausen (Oscar® winner for The Grand Budapest Hotel, 2014). For Anderson and Stockhausen, a significant inspiration for the look of the landscape and the urban spaces was Bad Day at Black Rock, the 1955 film directed by John Sturges and starring Spencer Tracy. Other key design references included Billy Wilder’s Ace in the Hole (1951) and Kiss Me, Stupid (1964), as well as Frank Capra’s classic It Happened One Night (1934). The buildings and their interiors, all landscape elements —including mountains, boulders, and rocks— which spectators see on the screen, were all physically constructed on a big scale and laid out in a way that gave the actors and crew the sense of living in a real, perfectly functioning town.” — Fondazione Prada

Title image: Wes Anderson on the set of Asteroid City. Courtesy of Roger Do Minh/Pop. 87 Productions/Focus Features. Courtesy Fondazione Prada.

September 27, 2023

The Robert Olnick Pavilion and Exhibitions of Mario Schifano, Ettore Spalletti and Carlo Scarpa at Magazzino Italian Art

“The Robert Olnick Pavilion at Magazzino Italian Art is now open to the public, greatly expanding the offerings on the landscaped campus in Cold Spring, New York with special exhibitions in this new, freestanding 13,000-square-foot building. While the original, 20,000-square-foot building from 2017 will remain dedicated to the Arte Povera movement, which is central to the museum’s renowned Olnick Spanu Collection, the pavilion provides space for Magazzino to range more widely through modern and contemporary Italian art and present significant works on loan. Offering Magazzino an additional two floors of gallery and education space, as well as a café and museum store, the Robert Olnick Pavilion is designed by Alberto Campo Baeza and Miguel Quismondo, the latter being the architect for Magazzino’s original building.

Visitors to the pavilion will be welcomed by a trio of inaugural special exhibitions: a rare survey of trailblazing work from the 1960s and ‘70s by painter Mario Schifano (1934–1998), a focused installation of paintings and sculpture by Ettore Spalletti (1940–2019), and a selection of masterpieces of Murano glass by Carlo Scarpa (1906–1978) from the Olnick Spanu collection.” — Magazzino Italian Art

Robert Olnick Pavilion, Magazzino Italian Art, Cold Spring, NY. Photo by Marco Anelli. Courtesy Magazzino Italian Art.

Mario Schifano: The Rise of the ‘60s is the first major survey of work from the 1960s and ‘70s. On view are eighty works, the great majority on loan from international collections. The exhition was organized by Magazzino Italian Art in collaboration with the Archivio Mario Schifano and curated by Alberto Salvadori, through January 8, 2024.

Installation view of *Mario Schifano: The Rise of the ‘60s*, curated by Alberto Salvadori, at the Robert Olnick Pavilion at Magazzino Italian Art, Cold Spring, NY. Photo by Marco Anelli and Tommaso Sacconi. Courtesy Magazzino Italian Art.

Ettore Spalletti: Parole di colore is specially conceived for the new pavilion by Fondazione Ettore Spalletti and Alberto Salvadori in collaboration with architect Alberto Campo Baeza. Featuring five works by Spalletti, the project is installed in Gallery 2, an isotropic room built as a perfect cube, in which each wall is punctured by a single square window, through January 8, 2024.

Installation view of *Ettore Spalletti: Parole di colore*, conceived by Fondazione Ettore Spalletti and Alberto Salvadori in collaboration with the architect Alberto Campo Baeza, at the Robert Olnick Pavilion at Magazzino Italian Art, Cold Spring, NY. Photo by Marco Anelli and Tommaso Sacconi. Courtesy Magazzino Italian Art.

Carlo Scarpa: Timeless Masterpieces, a selection of fifty-six Murano glassworks from the Olnick Spanu Collection. Curated by Marino Barovier, the exhibition reconstructs the creative journey of the architect from 1926 to 1947, a period during which he collaborated with the two most prominent Murano glassmakers of the time: M.V.M. Cappellin & Co. and Venini, through March 31, 2025.

Installation view of *Carlo Scarpa: Timeless Masterpieces*, curated by Marino Barovier, at the Robert Olnick Pavilion at Magazzino Italian Art, Cold Spring, NY. Photo by Marco Anelli and Tommaso Sacconi. Courtesy Magazzino Italian Art.

Title image: Robert Olnick Pavilion, Magazzino Italian Art, Cold Spring, NY. Photo by William Mulvihill. Courtesy MQ Architecture.