“The Met unveiled four new sculptures by Nairy Baghramian (German citizen, born Iran 1971) for the Museum’s facade. This is the first public installation by the artist in New York City. Baghramian’s cast aluminum polychrome sculptures feature components that seem to have washed up like flotsam and jetsam in the voids of their respective niches. These abstract forms at the threshold of the Museum present a metaphor of the institution as a filter of historical fragments deemed representative or exemplary. The project’s title Scratching the Back—a distortion of the idiom ‘scratch the surface’—alludes to the need to move beyond superficially constructed cultural narratives.” — The Met
Nairy Baghramian (German, born Iran, 1971). Installation view of Scratching the Back: Drift (sans Tortillon), 2023, for The Facade Commission: Nairy Baghramian, Scratching the Back, 2023. Cast and powder-coated aluminum, painted aluminum. Courtesy the artist, kurimanzutto, and Marian Goodman Gallery. Image credit: The Metropolitan Museum of Art, Photo by Bruce Schwarz.Nairy Baghramian (German, born Iran, 1971) Installation view of Scratching the Back: Drift (Tortillon orange), 2023, for The Facade Commission: Nairy Baghramian, Scratching the Back, 2023. Cast and powder-coated aluminum, painted aluminum. Courtesy the artist, kurimanzutto, and Marian Goodman Gallery. Image credit: The Metropolitan Museum of Art, Photo by Bruce Schwarz.Nairy Baghramian (German, born Iran, 1971) Installation view of Scratching the Back: Drift (Tortillon rose), 2023, for The Facade Commission: Nairy Baghramian, Scratching the Back, 2023. Cast and powder-coated aluminum, painted aluminum. Courtesy the artist, kurimanzutto, and Marian Goodman Gallery. Image credit: The Metropolitan Museum of Art, Photo by Bruce Schwarz.Nairy Baghramian (German, born Iran, 1971) Installation view of Scratching the Back: Drift (Tortillon jaune), 2023, for The Facade Commission: Nairy Baghramian, Scratching the Back, 2023. Cast and powder-coated aluminum, painted aluminum. Courtesy the artist, kurimanzutto, and Marian Goodman Gallery. Image credit: The Metropolitan Museum of Art, Photo by Bruce Schwarz.
Max Hollein, The Met’s Marina Kellen French Director and CEO, said, “Nairy Baghramian creates expressive, daring, site-specific works that both deeply engage with and question their settings. Defying traditional conventions of sculpture, the artist’s colorful abstract forms appear to spill out from The Met’s sculpture niches—in stark contrast to the monochrome classical architecture of the facade. Her bold yet fragile structures manifest powerfully composed transformations of space, material, and physical relationships.”
“The Solomon R. Guggenheim Museum presents Only the Young: Experimental Art in Korea, 1960s–1970s, the first North American museum exhibition dedicated to Korean Experimental art (silheom misul) and its artists, whose radical approach to materials and process produced some of the most significant avant-garde practices of the twentieth century.
This historic presentation examines artistic production from an era of remarkable transformation in South Korea, when young artists who came of age in the decades immediately following the Korean War reflected and responded to the changing socioeconomic, political, and material conditions that accompanied the nation’s rapid urbanization and modernization. The exhibition centers on a network of key artists, including Ha Chong-Hyun, Kim Kulim, Jung Kangja, Lee Seung-taek, Lee Kang-So, Lee Kun-Yong, and Sung Neung Kyung, who, in addition to creating boundary-pushing works of art, pursued exhibitions, performances, publications, and public seminars, often under the rubric of self-organized collectives.” — Solomon R. Guggenheim Museum
Only the Young: Experimental Art in Korea, 1960s–1970s is co-organized by the Solomon R. Guggenheim Museum, New York, and the National Museum of Modern and Contemporary Art, Korea. The exhibition is cocurated by Kyung An, Associate Curator, Asian Art, Solomon R. Guggenheim Museum and Foundation, New York, and Kang Soojung, Senior Curator, National Museum of Modern and Contemporary Art, Korea. The exhibition will open at the National Museum of Modern and Contemporary Art, Korea, on May 26 and close on July 16, 2023. It will travel to the Hammer Museum, Los Angeles, from February 11 to May 12, 2024, following the Guggenheim presentation this fall.
“School of Visual Arts (SVA) presents ‘Underground Images: A History,’ a new exhibition of more than 200 posters from the College’s iconic Subway Posters collection, which have covered the walls of NYC transit stations for almost 75 years. In addition to the posters, the exhibition includes multimedia installations, progress sketches and paintings, a recreated NYC subway platform, and more. Presented by SVA Galleries in partnership with the SVA Archives, it is on view Tuesday, August 29, through Saturday, October 14, 2023, at the SVA Chelsea Gallery, 601 W 26th St., 15th floor, New York City.
Not long after its inception in 1947 as the Cartoonists & Illustrators School, SVA began commissioning these posters from some of its most esteemed faculty members as creative marketing for the College, then took them to the walls lining the NYC subway platforms. These advertising posters were both thought-provoking and eye-catching and have become an essential part of the fabric of the city’s transit system. Since 2006, the traveling iteration of ‘Underground Images’ has exhibited globally, including in Czech Republic, India, Jamaica, Ireland, Turkey, Argentina, Uruguay, Brazil, Italy, Serbia and many other countries and US cities.” — SVA
1949: Rough to Finish, Cartoonists & Illustrators School.
1958: Without Education, It Isn’t Possible For… Jack Wolfgang Beck (designer).
Installation view of “Underground Images: A History” at SVA Chelsea Gallery. Photo: Adam Cable, SVA Galleries.
1968: At 35, Paul Gauguin Worked In a Bank. It… Gene Case (art director and copywriter), Silas H. Rhodes (art director)
1974: Having a Talent Isn’t Worth Much Unless…, Marshall Arisman (illustrator), Richard Wilde (designer), Dee Ito (copywriter), Silas H. Rhodes (art director).
1978: To Be Good Is Not Enough When You Dream…, Paul Davis (illustrator and designer), Dee Ito (copywriter), Silas H. Rhodes (art director).
Installation view of “Underground Images: A History” at SVA Chelsea Gallery. Photo: Adam Cable, SVA Galleries.
1982: To Be Good Is Not Enough, When You Dream…, Marvin Mattelson (illustrator), William Kobasz (designer), Dee Ito (copywriter), Silas H. Rhodes (art director).
1987: To Be Good Is Not Enough When You Dream…, Paula Scher (designer), Silas H. Rhodes (art director).
Installation view of “Underground Images: A History” at SVA Chelsea Gallery. Photo: Adam Cable, SVA Galleries.
2001: I Love NY More Than Ever, Milton Glaser (designer), Silas H. Rhodes (creative director).
Installation view of “Underground Images: A History” at SVA Chelsea Gallery. Photo: Adam Cable, SVA Galleries.
2023: Think About Art…, Carol Fabricatore (illustrator), Dee Ito (copywriter), Anthony P. Rhodes (executive creative director), Gail Anderson (creative director), Brian E. Smith (art director).
“Since the earliest days of the College, the subway posters have done more than just generate interest in SVA. They’ve stirred the imaginations of New Yorkers and the countless aspiring and practicing artists who visit the city each year,” said SVA President David Rhodes. “Exhibiting them all over the world has been an adventure, but we are thrilled to present this collection and its fascinating history in the place where it all began.”
Title image: Installation view of “Underground Images: A History” at SVA Chelsea Gallery. Photo: Adam Cable, SVA Galleries.
Rockefeller Center in partnership with The Robert Indiana Legacy Initiative present an installation of works by American artist Robert Indiana (1928-2018). The public installation marks the return of Indiana’s iconic LOVE sculpture to New York City. Also on view will be the artist’s monumental sculptures ONE Through ZERO (The Ten Numbers) (1980-2001), each standing at eight feet tall and made of Cor-ten steel. Additionally, the 193 flags surrounding The Rink at Rockefeller Center all will feature images from Indiana’s Peace Paintings series.
“It is an honor to partner with the team at Rockefeller Center to bring the works of Robert Indiana to the people of New York, where we know Bob always wanted his art to be integrated into the vibrant streetscapes and made accessible to the public. Bob’s legacy is woven into the history of this great city, and we are particularly proud to have LOVE return to the place that so energized him as a young artist. I hope these works will inspire and move New Yorkers and visitors to Rockefeller Center anew,” said Simon Salama-Caro, founder of The Robert Indiana Legacy Initiative.
“We are thrilled to be thedestination for the return of Robert Indiana’s instantly recognizable LOVE sculpture, and to host a campus-wide exhibition of the late, great artist’s work. We expect this to be a huge draw for fans, both new and old, and we thank the Robert Indiana Legacy Initiative for being such great partners,” said EB Kelly, head of Rockefeller Center.
Images courtesy Rockefeller Center and The Robert Indiana Legacy Initiative.
“The first exhibition of its kind in the United States, A Greater Beauty: The Drawings of Kahlil Gibran features over one hundred drawings by the prolific Lebanese-American artist, poet and essayist, and coincides with the 100th anniversary of Gibran’s world-renowned publication, The Prophet. Though best known for his poetry and prose, Gibran viewed himself equally as a visual artist, producing paintings, watercolors, sketches, illustrations, book covers, and other material as a complement to his written work. A Greater Beauty presents an overview of Gibran’s drawings and sketches alongside manuscript pages, notebooks, correspondence, magazine illustrations and essays, and first editions, providing a glimpse into the artist’s production in the context of his work as a whole.” — The Drawing Center
Kahlil Gibran, A Woman with a Blue Veil, 1916. Watercolor, 8 1/2 x 10 inches (21.5 x 25.3 cm). Collection of the Gibran Khalil Gibran Museum, Courtesy of the Gibran National Committee.
Kahlil Gibran, The Waterfall, 1919. Watercolor, 12 3/4 x 8 1/2 inches (32.5 x 21.5 cm). Collection of the Gibran Khalil Gibran Museum, Courtesy of the Gibran National Committee.
Kahlil Gibran, Untitled, 1921. Watercolor and pencil on paper, 5 x 6 inches (12.7 x 15.2 cm) 16 × 20 inches (40.6 × 50.8 cm). Telfair Museum of Art, Savannah, Georgia, Gift of Mary Haskell Minis. Photography by Daniel L. Grantham, Jr., Graphic Communication.
Kahlil Gibran, The Triad-Being Descending Towards the Mother Sea, 1923. Watercolor, 11 x 8 1/2 inches (28 x 21.5 cm). Collection of the Gibran Khalil Gibran Museum, Courtesy of the Gibran National Committee.
Kahlil Gibran, The Divine World, 1923. Charcoal, 11 x 8 ½ inches (28 x 21.6 cm). Collection of the Gibran Khalil Gibran Museum, Courtesy of the Gibran National Committee.
Kahlil Gibran, The Summit, c. 1925. Watercolor and pencil on paper, 11 x 8 1/2 inches (27.9 x 21.6 cm). Telfair Museum of Art, Savannah, Georgia, Gift of Mary Haskell Minis. Photography by Erwin Gaspin.
A Greater Beauty: The Drawings of Kahlil Gibran is organized by Claire Gilman, Chief Curator, with Isabella Kapur, Curatorial Associate, and Anneka Lenssen, Associate Professor of Global Modern Art, University of California, Berkeley.
“The Guggenheim Museum presents Young Picasso in Paris, an intimate exhibition comprising a total of ten paintings and works on paper executed during Pablo Picasso’s introduction to the French capital. Created over the course of one pivotal year, these works explore a critical juncture in his artistic development, as Picasso encountered novel contemporary subjects and styles.
Picasso (b. 1881, Málaga, Spain; d. 1973, Mougins, France) arrived in Paris from Barcelona in autumn 1900, during the final weeks of the Exposition Universelle that included his 1898 painting Last Moments in the Spanish pavilion. The ville lumière, or city of lights, captivated, and ultimately transformed, the nineteen-year-old Spaniard. He absorbed much of what Paris had to offer over his initial two-month stay and during his return the following May through the end of 1901. Picasso patronized not only the art galleries, but also the bohemian cafés, raucous nightclubs, and sensational dance halls in the hilltop neighborhood of Montmartre.
Coinciding with the fiftieth anniversary of Picasso’s death, Young Picasso in Paris highlights a significant work, Le Moulin de la Galette (ca. November 1900), from the Guggenheim collection. The famous dance hall—formerly a mill engaged in the production of a brown bread, or galette—had also been depicted by such avant-gardists as Ramón Casas, Pierre-Auguste Renoir, Henri de Toulouse-Lautrec, and Vincent van Gogh. In his titillating version, Picasso rendered a vibrant cross section of Paris society mingling under the dance hall’s lights.” — Guggenheim Museum
Young Picasso in Paris is organized by Megan Fontanella, Curator, Modern Art and Provenance. Conservation research and treatment of Picasso’s Le Moulin de la Galette were conducted by Julie Barten, Senior Painting Conservator and Associate Director of Conservation Affairs.
“Pistoletto’s presence in the Olnick Spanu Collection and his significant contributions to the history of Magazzino resonate throughout the galleries of the museum. For the inaugural opening of Magazzino, the museum unveiled Stracci italiani (Italian Rags, 2007), a work that was commissioned to commemorate the anniversary of Italy’s unification. The tricolor Italian flag made of discarded fabric greets visitors upon entering the lobby. In 2017, Magazzino acquired Sfera di giornali (Newspaper Sphere), a sculpture composed during a reinvention of Pistoletto’s performance Scultura da passeggio (Walking Sculpture) staged throughout the entire Cold Spring community.
Welcome to New York (1979) is displayed for the first time in Gallery 8, alongside seven representative mirror works spanning from the 1960s to the 2000s. This immersive experience offers visitors a unique opportunity to explore the evolution of the artist’s visionary works. Welcome to New York draws inspiration from the Statue of Liberty with its metal crown and multicolored rags cascading towards the ground—encapsulating and embracing the concept of multiculturalism and diversity. These elements symbolize the possibilities of growth and evolution, embodying the values of welcome and inclusivity associated with the United States.” — Magazzino Italian Art
Installation views of Welcome to New York! at Magazzino Italian Art, Cold Spring, NY. Photos by Marco Anelli / Tommaso Sacconi. Courtesy Magazzino Italian Art.
“Opening at The Metropolitan Museum of Art on July 21, 2023, the exhibition Tree and Serpent: Early Buddhist Art in India, 200 BCE–400 CEwill illuminate how the religious landscape of ancient India was transformed by the Buddhist presence. Featuring more than 125 objects, including major loans from India, the exhibition will consist of stone sculptures associated with the adornment of the stupa—the monumental dome structures that housed the Buddha relics—as well as metalwork, ivory, ceramics, paintings, and jewelry. It will present a series of evocative and interlocking themes to reveal both the pre-Buddhist origins of figurative sculpture in India and the early narrative tradition that was central to this formative moment in early Indian art.” — The Met
Max Hollein, Marina Kellen French Director of The Met, said: “Buddhism inspired an extraordinarily innovative and beautiful flowering of art in ancient India. It is a tremendous honor to present this stunning exhibition—and to introduce new discoveries from this pivotal moment in the history of art—to our global audience. We express a special thanks to the Government of India and the six state governments in India, who have all been generous lenders to this pioneering exhibition, along with institutions in Europe and the United States.”
Installation views of Tree & Serpent: Early Buddhist Art in India, 200 BCE– 400 CE, on view July 21–November 13, 2023 at The Metropolitan Museum of Art. Photos by Anna-Marie Kellen, courtesy of The Met.
John Guy, Florence and Herbert Irving Curator of South and Southeast Asian Art at The Met, said: “This exhibition presents the story of the origins of Buddhist art through the lens of newly discovered masterpieces from early India. It showcases the beginnings of Buddhist art in southern India and presents it in a wider landscape of early Buddhist devotional practice, centered on honoring the Buddha and his relics. Buddhist monasteries were places for meditation but were also, on occasions, places for noisy festivals, the air heavy with the fragrance of fresh flowers and perfumes. The lived traditions of early Buddhism are foregrounded here, along with the role of beautiful stories that found expression in the art adorning the stupa. This is an exhibition that celebrates the senses, just as Buddhist worship does.”
Tree and Serpent: Early Buddhist Art in India, 200 BCE–400 CE is organized by John Guy, Florence and Herbert Irving Curator of South and Southeast Asian Art at The Met, in cooperation with the Ministry of Culture, Government of India.
“Pepón Osorio: My Beating Heart/ Mi corazón latiente”
“‘My Beating Heart/ Mi corazón latiente‘ is the most comprehensive exhibition to date by Pepón Osorio (b. 1955, San Juan, Puerto Rico; lives and works in Philadelphia, PA), featuring selected works from the 1990s to today. Known for his provocative, sweeping, multimedia installations, Osorio creates fantastical scenes inspired by everyday environments—from home interiors to barbershops to classrooms—that advance critical discussions on topics such as identity, race, gender, and social justice. Informed by his background in theater and performance as well as his experiences as a child services case worker and professor, Osorio’s richly textured sculptures and installations are deeply invested in political, social, and cultural issues affecting Latinx and working class communities in the United States. Installed on the New Museum’s Second Floor, the exhibition focuses on the elaborate environments that Osorio has been creating since the early 1990s, often developed through long-term collaborations with the individuals in the neighborhoods where they were first shown. ‘My Beating Heart/ Mi corazón latiente‘ will also premiere a new work, Convalescence (2023), which focuses on the difficulties of navigating the US healthcare system and the multiplicity of pathways toward healing.” — New Museum
“Pepón Osorio: My Beating Heart/ Mi corazón latiente” is curated by Margot Norton, Chief Curator, Berkeley Art Museum and Pacific Film Archive, and former Allen and Lola Goldring Senior Curator, and Bernardo Mosqueira, ISLAA Curatorial Fellow.
“Tuan Andrew Nguyen: Radiant Remembrance”
“Developing projects through collaborative community engagement and extensive archival research, Tuan Andrew Nguyen (b. 1976, Saigon, Vietnam; lives and works in Ho Chi Minh City) utilizes strategies of remembrance to highlight unofficial and suppressed histories. Interweaving the factual and the speculative and often employing mythologies of otherworldly realms, Nguyen re-works dominant narratives into stories that propose creative forms of healing the intergenerational traumas of colonialism, war, and displacement.
Nguyen’s New Museum presentation is the artist’s first U.S. solo museum exhibition, following several international presentations at the Berlin Biennale, Dakar Biennale, Aichi Triennale, Manifesta 14 (all 2022) and the 2019 Sharjah Biennial, among others. Installed in the New Museum’s Third Floor galleries, ‘Tuan Andrew Nguyen: Radiant Remembrance’ showcases a new film and two recent video projects, The Unburied Sounds of a Troubled Horizon (2022) and The Specter of Ancestors Becoming (2019), alongside works from the artist’s broader practice.” — New Museum
“Tuan Andrew Nguyen: Radiant Remembrance” is curated by Vivian Crockett, Curator, with Ian Wallace, Curatorial Assistant.
“Mire Lee: Black Sun”
“The New Museum presents the first American solo museum exhibition of the work of Mire Lee (b. 1988, Seoul, South Korea; lives and works between Seoul and Amsterdam, Netherlands). Installed in the New Museum’s Fourth Floor gallery, the exhibition debuts a site-specific installation featuring a variety of new sculptures. Composed of materials including low-tech motors, pumping systems, steel rods, and PVC hoses filled with grease, glycerin, silicone, clay slip, and oil, Lee’s animatronic sculptures operate both like living organisms and biological machines. Drawing references from architecture, horror, pornography, and cybernetics, and evoking bodily functions and environmental decay, Lee offers an intuitive means to describe properties that exist between the realms of the technological and the corporeal: tenderness, desire, abjection, anxiety, and revulsion, among other states. Titled after the Bulgarian-French feminist and semiotician Julia Kristeva’s 1987 book Black Sun—a study of depression and melancholia—Lee’s installation debuts a new body of kinetic sculptures housed in an architectural environment specially designed for the New Museum.” — New Museum
This exhibition is curated by Gary Carrion-Murayari, Kraus Family Senior Curator, and Madeline Weisburg, Curatorial Assistant.
“Wynnie Mynerva: The Original Riot”
“For their first solo museum exhibition in the United States, Wynnie Mynerva developed a site-specific installation for the New Museum’s Lobby Gallery. Through a gallery-spanning painting— the largest ever exhibited at the New Museum—alongside a sculptural element created from the artist’s own body, Mynerva reimagines the Biblical origin story of Eve to envision a gender expansive future.
Born in 1992 in Villa El Salvador on the outskirts of Lima, Peru, Mynerva grew up in an environment where violence based on gender, sexuality, race, and social class was extremely prevalent. Responding to both their traumas and desires, Mynerva creates cathartic visions of revenge and emancipation—representations of a world in which sexual dissidence would be praised as powerful political action. Their large-scale, colorful paintings depict bodies that hover on the edge of abstraction, refusing to be categorized, consumed, or controlled, and their radical performances and body modifications posit sexual transgression as a path to social transformation.” — New Museum
“Wynnie Mynerva: The Original Riot” is curated by Bernardo Mosqueira, ISLAA Curatorial Fellow.
Installation views of Pepón Osorio, Tuan Andrew Nguyen, Mire Lee and Wynnie Mynerva at New Museum. Photos by Corrado Serra.
“Celebrating the outstanding creativity, ingenuity, and global impact of African fashions from the start of the independence era to today, Africa Fashion is the largest-ever presentation of this subject in North America. Through works by iconic designers and artists from the mid-twentieth century to the present, the exhibition illuminates how fashion, alongside the visual arts and music, played a pivotal role in Africa’s cultural renaissance during its liberation years, and how those elements laid the foundation for today’s fashion revolution. The exhibition is organized by the V&A and has been adapted for the Brooklyn Museum by Ernestine White-Mifetu, Sills Foundation Curator of African Art, and Annissa Malvoisin, Bard Graduate Center / Brooklyn Museum Postdoctoral Fellow in the Arts of Africa. The Brooklyn presentation is supplemented by works from several of the Museum’s collections: Arts of Africa, Photography, Arts of the Islamic World, Contemporary Art, and Egyptian, Classical, and Ancient Near Eastern Art. Home to one of the country’s most dynamic African diasporic communities, Brooklyn provides the perfect setting to explore the richness and diversity of the continent’s many histories and cultures.” — Brooklyn Museum
Installation views of Africa Fashion at Brooklyn Musem. Photos by Corrado Serra.
“This exhibition is an important presentation of African creativity that highlights not only fashion but also the dynamic diversity of talent coming from the continent,” says White- Mifetu. “I am excited that the Brooklyn Museum will be able to host Africa Fashion, and I am elated that our New York visitors will have the opportunity to engage with the creative production of Africa in new ways.”
“Fashion is both multidimensional and a fabulous creative statement. Africa Fashion encapsulates this with beautifully vivid and interlocking perspectives. Music, art, cultural identity, and material culture are emphasized to create a rich sensorial experience,” says Malvoisin.
“The Frick Collection has unveiled a large pastel mural commissioned from the Swiss-born artist Nicolas Party (b. 1980) at the museum’s temporary home, Frick Madison. This site-specific work was created in response to Rosalba Carriera’s Portrait of a Man in Pilgrim’s Costume—one of two eighteenth-century pastels by Rosalba bequeathed to the Frick by Alexis Gregory in 2020. The installation features Rosalba’s superb portrait at the center of a three-wall mural designed by Party, as well as two new related works specially created by Party for this presentation.” — Frick Madison
The project, which also marks the 350th anniversary of Rosalba’s birth, is organized by Xavier F. Salomon, the Frick’s Deputy Director and Peter Jay Sharp Chief Curator. Salomon comments, “It has been a particular pleasure to work with Nicolas Party. I met Nicolas in April 2021 and since then have enjoyed an ongoing and enlightening conversation on pastels. Nicolas’s installation at Frick Madison is the result of our exchanges, and I am delighted with the result.” Party adds, “When I first fell in love with pastels, some ten years ago, my research quickly led me to the queen of pastel, Rosalba. Her practice and love for the powdery sticks increased the popularity of the medium and were crucial to the development of the art form. I felt a powerful attraction to her pastels. Today, I like to think our approaches might not be all that different.”
Closeup of Nicolas Party’s Drapery (Maurice Quentin de La Tour, Full-Length Portrait of the Marquise de Pompadour), with Rosalba Carriera’s Portrait of a Man in Pilgrim’s Costume from The Frick Collection Photo: Joseph Coscia Jr.Installation view of Nicolas Party and Rosalba Carriera at Frick Madison Photo: Joseph Coscia Jr.Nicolas Party’s Drapery (Jean-Étienne Liotard, La sultane lisant, A Lady in Turkish Costume Reading on a Divan), with Portrait. Left wall of installation at Frick Madison. Photo: Joseph Coscia Jr.Installation view of Nicolas Party and Rosalba Carriera at Frick Madison Photo: Joseph Coscia Jr.Nicolas Party’s Drapery (Jean-Étienne Liotard, The Chocolate Girl), with Portrait. Right wall of installation at Frick Madison. Photo: Joseph Coscia Jr.
“The Morgan Library & Museumis pleased to present Blaise Cendrars (1887–1961): Poetry Is Everything, the first American exhibition to explore Cendrars’s achievements as a radical poet, publisher, and instigator at the heart of European modernism. Opening May 26 and on view through September 24, 2023, the exhibition is anchored in La prose du Transsibérien et de la petite Jehanne de France (1913), Cendrars’s monumental collaboration with the Ukrainian-born painter Sonia Delaunay-Terk (1885–1979). The focused installation traces Cendrars’s subsequent collaborations with figures in the visual arts, music, ballet, film, and graphic design, in his attempts to articulate what was at stake for poetry in the context of new media and the profound transformations of modern life in the years surrounding the First World War.” — The Morgan Library & Museum
Colin B. Bailey, Director of the Morgan Library & Museum, said, “Gail Levin’s gift to the Morgan of the tour-de-force livre d’artiste, La prose du Transsibérien, strengthens the Morgan’s mission to illuminate the interplay of visual and textual creativity across time. The exhibition Blaise Cendrars (1887–1961): Poetry Is Everything allows us to consider a figure at the center of a revolutionary moment in the arts much like our own, when artists were challenged to rethink creativity in a period shaped by technology, new media, and conflict.”
Blaise Cendrars (1887–1961) and Sonia Delaunay-Terk (1885-1979). La prose du Transsibérien et de la petite Jehanne de France. Paris: Éditions des hommes nouveaux, 1913. Open: 78 3/8 × 14 in. (199.1 × 35.5 cm). Closed: 7 1/16 × 3 3/4 in. (18 × 9.5 cm). Gift of Dr. Gail Levin, 2021Blaise Cendrars (1887–1961) and Sonia Delaunay-Terk (1885-1979). La prose du Transsibérien et de la petite Jehanne de France. Paris: Éditions des hommes nouveaux, 1913. Open: 78 3/8 × 14 in. (199.1 × 35.5 cm). Closed: 7 1/16 × 3 3/4 in. (18 × 9.5 cm). Gift of Dr. Gail Levin, 2021Blaise Cendrars (1887–1961) and Sonia Delaunay-Terk (1885-1979). La prose du Transsibérien et de la petite Jehanne de France. Paris: Éditions des hommes nouveaux, 1913. Open: 78 3/8 × 14 in. (199.1 × 35.5 cm). Closed: 7 1/16 × 3 3/4 in. (18 × 9.5 cm). Gift of Dr. Gail Levin, 2021Blaise Cendrars (1887-1961). “Chagall,” in Expressionismus, die Kunstwende. Berlin: Verlag der Sturm, [1918]. 13 × 9 7/8 in. (33 × 25.1 cm). Purchased on the Gordon N. Ray Fund, 2022Guillaume Apollinaire (1880 – 1918). 6 poèmes [Keepsake for a Lyre et Palette poetry reading, Paris, 26 November 1916]. [Paris: s.n.,1916]. Sheet: 13 × 19 11/16 in. (33 × 50 cm). Houghton Library, Harvard UniversityBlaise Cendrars (1887-1961). J’ai tué. Illustrations by Fernand Léger (1881-1955). À Paris: Se trouve à la Belle édition, 71, rue des Saint-Pères, [1918]. 7 1/2 × 7 5/16 in. (19 × 18.57 cm). Purchased on the Gordon N. Ray Fund, 2015Blaise Cendrars (1887-1961.) La guerre au Luxembourg. Illustrations by Moïse Kisling (1891-1953). Paris: Dan. Niestlé, éditeur, 36, rue Mathurin-Régnier, 36, MCMXVI [1916]. 12 3/16 × 10 1/16 in. (31 × 25.5 cm). Purchased on the Gordon N. Ray Fund, 2022Fernand Léger (1881 – 1955). Mise-en-scène for La Création du monde (The Creation of the World), 1922. 8 1/4 × 10 5/8 in. (21 × 27 cm). The Museum of Modern Art, New York, gift of John Pratt
The exhibition is curated by Sheelagh Bevan, Andrew W. Mellon Associate Curator, Department of Printed Books & Bindings, at the Morgan Library & Museum.
You must be logged in to post a comment.