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Search resuls for: "Karen Rosenberg"


4 mentions found


☆ Renaissance Portraits That Played Hide and Seek
  + stars: | 2024-04-11 | by ( Karen Rosenberg | ) www.nytimes.com   time to read: +1 min
The Met’s delightful show “Hidden Faces: Covered Portraits of the Renaissance” illuminates a curious trend in 15th- and 16th-century painting: the slow reveal. The works on view, originally concealed in special cases and behind sliding or reversible panels, gamify the experience of looking at portraiture; they have to be moved, before they can move us. But we can peer at them from double-sided glass cases and watch animations of faces emerging from sliding panels. The covers are marvelous works in their own right, with elaborate emblems and allegories that are themselves a form of representation. The interactions between the different components can be quite playful, with a literary and theatrical flair.
Persons: Ridolfo Ghirlandaio Organizations: Met, Courtauld Locations: London, Florence, Florentine
☆ Her Art Is at Odds With Museums, and Museums Can’t Get Enough
  + stars: | 2024-04-05 | by ( Karen Rosenberg | ) www.nytimes.com   time to read: +1 min
Inside the Museum of Contemporary Art in Denver, little pieces of Antarctica were melting: cross-sections of an ice core from the continent’s Newall Glacier, each one about the size of a beverage coaster and encased in a vacuum-sealed plastic bag. The artist Gala Porras-Kim watched approvingly during a visit in March, pointing out the air pockets that had started to form. “The ice cores are an archive of ancient air, because the air gets stuck in the layers of ice,” she said, pointing at the display during an interview at the museum. This particular core, which Porras-Kim had obtained from the National Science Foundation’s Ice Core Facility in nearby Lakewood, Colo., contained ice that had formed some 10,000 years ago, around the beginning of the Holocene period, in geological terms. “The ancient air will get released into this room — a reunion of this old air with the new air, mixing together,” she said, describing it as an “organic de-accession process.”
Persons: Porras, Kim, ” Organizations: of Contemporary Art, National Science Locations: Denver, Antarctica, Lakewood, Colo
☆ Sumptuous Attire Shines in John Singer Sargent’s Portraits from the Gilded Age
  + stars: | 2023-11-14 | by ( Karen Rosenberg | ) www.nytimes.com   time to read: +1 min
The painter John Singer Sargent has sometimes been dismissed as an artist of flattery and frivolity — a portraitist-for-hire who catered to the vanities of his elite subjects, whether they were British aristocrats or Boston Brahmins. Often, these criticisms have centered on fashion: The writer D.H. Lawrence once ridiculed Sargent’s works as “nothing but yards and yards of satin from the most expensive shops, with some pretty head propped up on the top.”The exhibition “Fashioned by Sargent,” at the Museum of Fine Arts, Boston, which travels to Tate Britain early next year, skillfully parries these jabs with some 50 canvases in which style and substance are deeply intertwined. This is a show to win over even the most hard-boiled Sargent skeptics, turning a purported weakness — the artist’s obsessive attention to his subjects’ attire, expressed through both of-the-moment outfit choices and fabric-flaunting brushwork — into a strength. And yes, there are clothes — magnificent examples of couture and costuming, including some of the exact pieces worn in the paintings. Anyone partial to Julian Fellowes dramas will find, in time for the second season of “The Gilded Age,” ballroom-hushing silk and velvet dresses by the House of Worth and requisite accessories from Chantilly lace fans to the feathery swoosh of a hat ornament known as an aigrette.
Persons: John Singer Sargent, D.H, Lawrence, Sargent’s, Sargent, ”, Julian Fellowes Organizations: Boston Brahmins, Museum of Fine Arts, Tate Britain, House Locations: Boston, Chantilly
☆ Berenice Abbott Captured Manhattan in the Throes of Heady Change
  + stars: | 2023-08-16 | by ( Karen Rosenberg | ) www.nytimes.com   time to read: +1 min
If you were an American artist or writer in the 1920s, Paris was where you wanted to be. She had lived in New York once, just eight years before, but in her absence the city had been scaled up: new skyscrapers were rising, the population was exploding, and every block, it seemed, was abuzz with commerce and construction. (The market crash of October 1929 was still many months away). Suddenly, Paris was passé. The exhibition’s focus is a disbound scrapbook with seven to nine photographs per page, all taken over the course of that year, as Abbott paced the streets (and piers, bridges and train platforms) with a hand-held camera and a compulsion to capture New York’s unruly, cutthroat modernity.
Persons: Berenice Abbott, —, Man Ray, James Joyce, Djuna Barnes, “ Bernice ”, Berenice, ”, Abbott, “, Berenice Abbott’s Organizations: Metropolitan Museum Locations: American, Paris, Springfield , Ohio, New York, “, Lower Manhattan, United States
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