Art In Manhattan, 2017- And Then There Were Five

It was a year of discovery. A year where I discovered some great Artists I previously hadn’t known, finally caught up with some I knew about but hadn’t gotten to see much of their work, and got lost exploring some remarkable Retrospectives- for Raymond Pettibon and Robert Rauschenberg, both accompanied by memorable satellite shows. Most of these are represented in my monthly NoteWorthy Show selections throughout the year. But? There was more! So, I’m going to take this moment to pause and look back at the revelations of 2017, look at some memorable shows I didn’t write about at the time, and finally, highlight a pair of men who, I feel, had an exceptional 2017 in Manhattan Art.

No doubt about it- the biggest discovery this year was a long overdue deep dive into the world of Contemporary Photography. From seeing well over 100 Photography shows, to spending five long days at “AIPAD: The Photography Show” (with well over 200 galleries from all over the world showing work), to going through hundreds of PhotoBooks, and meeting many Photographers, legendary, famous, or not quite yet, along with the staffs of two of the world’s leading Photography organizations- Aperture and Magnum, both celebrating major anniversaries this year. Rarely did a week pass when Photography wasn’t in the the picture. Of course, in a world were there are now more cameras than people it’s impossible to get to see everyone who’s doing great work. As happens each year, NO matter WHAT I do to prevent it, this year too, there were shows I didn’t find out about until they closed. UGGGH!!!! Along the way, there were quite a few revelations, and a good many other things solidified…at least for the moment.

First, the revelations. In Photography, particularly by those younger than 50 (I say 50 because I seem to know/have heard of many of those over) and unknown to me, Gregory Halpern was the biggest revelation I had this year. His book “Zzyzx” won the prestigious Aperture Best Book Award for 2016, but I didn’t know that when I discovered his work at Aperture’s booth at AIPAD. I had never heard of him.

Gregory Halpern, “Untitled,” 2016, from his “Buffalo” series. Click any Photo for full size.

The work, “Untitled,” was a Photograph Aperture had run in the Spring, 2017 issues of it’s excellent quarterly magazine, in a pictorial by Mr. Halpern, titled “Buffalo.” I didn’t know that then, either. I simply saw the work, and then couldn’t get it out of my mind. It now hangs a few feet away. Out of everything I saw at AIPAD, particularly by those younger than 50 and unknown to me, this work grabbed me and didn’t let go. I went home that night with one thought on my mind- “WHO is Gregory Halpern?” After researching him most of the night, (including finding his incredibly honest and insightful answer to one very important question), serendipitously, I got to meet him the next day, and spoke to him about his book. It turned out to be a classic case where some things are better left unexamined. Gregory was so forthcoming in his answers about specific images I came too close for comfort to losing some of their mystery.

Gregory Halpern standing next “Untitled,” at Aperture’s Booth at AIPAD, March 31st.

In addition to being, in my eyes, one of the most talented Photographers of his generation, he is, also, one of it’s best writers. He’s the co-author of one of the most popular and respected Photography Manuals of 2017, “The Photographer’s Playbook,” and his occasionally published articles always enlighten and leave me wanting more. A Harvard grad, he’s now a professor in the College of Imaging Arts and Sciences at Rochester Institute of Technology for some very lucky students. As if all of that isn’t enough, his wife, Ahndraya Parlato is, also, one of the revelations of the year as a Photographer. Her Photographs “glow”- in one way or another. Her most recent book, “A Spectacle and Nothing Strange,” is ethereal…mesmerizing…magical.

Leaving aside age or era, the work of Fred Herzog was, also, unknown to me. Early pioneers of color Photography have taken decades coming to the attention they deserve, such was the disdain color held among the Photographic cognoscenti for color Photography. With the publication of “Fred Herzog: Modern Color,” in February, 2017, an Artist who was fairly well-known, and appreciated, in his native Canada finally began becoming wider known in the USA. His work was memorably shown by Equinox Gallery of Vancouver at AIPAD this spring, where, I felt, it stood out.

Fred Herzog, “Main Barber,” 1968, seen at Equinox Gallery’s AIPAD booth.

Fred Herzog considers Saul Leiter THE master of early color Photography, and even with a giant like William Eggleston to consider (who’s 1976 MoMA show, “Photographs by William Eggleston,” which can be “visited” here, is widely credited with making color Photography “acceptable” in the world of “Fine Art”), it’s hard to argue with him. No Photographer new to me, regardless of age or period, had a bigger impact on me this year than Saul Leiter.

Saul Leiter, “Through Boards,” Circa 1957. This image appears (cropped) on the cover of the now classic book, “Saul Leiter: Early Color,” 2006, which launched the “Saul Leiter Renaissance.” It’s, perhaps, my very favorite Photobook. Sadly, now out of print, it would take real diligence to find a very good copy for less than $100. But, there are many worse uses of time. Photo by the Saul Leiter Foundation.

It took until 2006 for Saul Leiter to be recognized- FIFTY EIGHT years after he started taking color photographs. As with William Eggleston, Mr. Leiter was, also, a devoted Painter. I can see it in both of their work, and I believe it’s part of the reason their work speaks to me, perhaps, more than the work of any other Photographer of any period. It was his friend, no less than the great Artist Richard Pousette-Dart (who’s also an under appreciated Photographer), to encouraged him to pursue Photography.

“Walk with Soames,” 1958, This was 20 YEARS before William Eggleston’s ground breaking MoMA show “legitimized” color Photography in the Art world! Photo by Howard Greenberg Gallery.

Mr. Leiter saw and used color in his Photography in ways no one else has, achieving effects that today’s finest digital manipulators can only dream of. As very good as his Black & White work is, like Turner or Van Gogh, Saul Leiter was a true Poet of color, perhaps the greatest Master of Color in Photography, though it’s, of course, impossible and pointless to qualitatively compare.

“T,” Circa 1950(!).Photo by the Saul Leiter Foundation. Daring. Gorgeous.

Saul Leiter didn’t need Photoshop to get his results. He just stood there with his camera, and click…Art.

A number of established Photographers had terrific shows in NYC in 2017 that I didn’t get to write about here. Among them are Mark Steinmetz, Mike Mandel, Raghubir Singh (though marked by controversy), Richard Avedon, Herman Leonard, Michael Kenna, and Edward Burtynsky. But, I’m going to address one I simply can’t let pass, because I continue to think about it.

Richard Misrach’s Photo, “Effigy #3, near Jacumba, California,” 2009, Pigment print mounted to Dibond, right rear, with Guillermo Galindo’s Musical Instrumet/Sculpure “Effigy,” 2014, center2014. Barely visible are two strings between the forearms. The grey rectangle on the lower left side of the pedestal is where a speaker is mounted.

“Richard Misrach: Border Cantos,” (at Pace, 510 West 25th Street), was an utterly remarkable and serendipitous collaboration between renowned Photographer Richard Misrach & Composer/Sculptor Guillermo Galindo on the subject of our southern border, those protecting it, and those trying to cross it. To accompany Mr. Misrach’s large, atmospheric Photographs, Mr. Galindo created a whole orchestra of Musical Instruments out of objects found along the border, and proceeded to compose and record a 4 hour score that was looped in the show’s back room to meditative effect, ingeniously installed so that the music being played was coming from speakers mounted inside the display of the specific instruments that were playing at any given moment. (The Artists have an excellent website for this show where you can, also, hear these remarkable instruments.)

Instruments, like this. Guillermo Galindo, “Tortillafono/Wall Vibraphone,” 2014, Metal. The discarded metal cap of an electrical box from the failed SBInet (Secure Border Initiative) surveillance program was turned into a mallet and string instrument sits in front of Richard Misrach’s “Artifacts fround from California to Texas between 2013 and 2015,” 2013-5, 86 x 57 inches, Pigment prints mounted to Dibond. Photos of items found along the border.

And this- Guillermo Galindo, “Teclata,” His description- “On this keyboard, empty cans, bottles, and a plastic cup act as piano strings. The surface of the instrument is decorated with Border Patrol ammunition boxes.”

The surround sound effect was like sitting in the middle of a small chamber music group. The instruments, themselves, were beautiful as sculpture, and the music, which sounded to me like a cross between Harry Partch (who, also, made his own instruments) and John Cage, on instruments that looked like Rauschenbergs, had me asking if it had been released on CD. Why not?

Richard Misrach, “Playas de Tijuana #1, San Diego,” 2013, Pigment print mounted to Dibond, 42 x 160 inches.

Mr. Misrach, who has spent forty years working in the American Desert on his renown “Desert Cantos” project, showed a remarkable selection of images taken since 2004, but more intensely since 2009 (the collaboration with Mr. Galindo dates back to 2012), that told the story in slices. The effect of the music, the images and the sculptures (musical and non) was hypnotic, and ultimately meditative on the situation, the people protecting the border, and the refugees, while at the same time, even for those directly untouched by this story, the show spoke to a larger sense of walls, borders and refugees, and resilience. The Artists found, or created, beauty in this situation, reflecting the very perseverance that is at the essence of survival.

Richard Misrach, “Wall, east of Nogales, Arizona,” 2014, 68 x 84 inches, Pigment print mounted to Dibond

On the Painting & Drawing front, the most important Painting/Drawing gallery show I haven’t addressed was Kara Walker (at Sikkema Jenkins and Co.). Before it opened the buildup was downright intense. First, these posters began appearing, which certainly raised eyebrows until you notice (along the lower left side) that the text was written by the Artist. The show was also featured in a cover article in one of the last print issues of the Village Voice. I can’t remember the last time an Art show made the Voice’s cover, but this was the last time one did.

 Kara Walker sounds a bit weary in the poster, and particularly in the “Artist’s Statement” that appears on the show’s page on the Sikkema website.

“Dredging the Quagmire (Bottomless Pit),” 2017 Oil stick and Sumi ink on paper collaged on linen, 18 feet long, seen in the show’s first room. A “bottomless quagmire” is what the history of and current state of race and gender relations does feel like at this moment in time.

In the lower right side, this almost submerged head seemed to echo Ms. Walker’s weariness in her Artist’s Statement. “But frankly I am tired, tired of standing up, being counted, tired of ‘having a voice’ or worse ‘being a role model.'”

After all the anticipation and buildup, at the packed opening, Ms. Walker, herself, was only to be seen for a little while, at least while I was there.

Kara Walker at the opening, September 7, 2017, with part of  “U.S.A. Idioms,” 2017, Sumi ink and collage on paper, almost 15 by 12 feet, in the background.

While she continues to create her signature Silhouettes, showing a gorgeous 2017 work titled “Slaughter of the Innocents (They Might be Guilty of Something),” that’s almost 18 1/2 feet long, the bulk of the show consists on her ink and collage works, that have increasingly come to the forefront of her shows as time has gone on, most recently in her Cleveland Museum show, “The Ecstasy of St. Kara,” 2016, and at MoMA’s “Unfinished Conversations: New Work from the Collection,” which closed on July 30, 2017, where her “40 Acres of Mules,” a Charcoal Drawing on 3 sheets totaling almost 18 feet long that was acquired by the Museum the year before, was on view in what was something of a one-work preview for her Sikkema show.

“Slaughter of the Innocents (They Might be Guilty of Something),” 2017, Cut paper on canvas. For me, one thing Ms. Walker’s Silhouettes all seem to ask is “Why do you see, what you see?”

Whereas it’s hard for me to imagine the care, patience and deliberation it must take for Ms. Walker to create one of her silhouettes, her Drawing & Collages look like they are done in bursts of raw energy and passion. At times the images approach the quality of a caricature of an event. No matter the differences in creation, when you see her Silhouettes and Drawings side by side they’re unmistakably by the same Artist.

While the Silhouettes, mostly, seem to leave quite a bit to the imagination, including the race of each character, her Drawings & Collages do not, especially when it comes to violence. Nothing is held back, hinted at or hidden. In the Drawings and collages, she has taken away the curtain inherent in Silhouettes in depicting racism and gender crimes. We see the faces, skin color, eyes, and what each one is involved in doing.  You can choose to look away, but otherwise, it’s pretty hard to “miss” what’s going on. The results are shocking, though they have precedent going back to Goya’s “Los Caprichos,” and “The Disasters of War,” and Daumier through Warhol, as well as in the work of Photojournalists and “Conflict Photographers” from all over the world. In Kara Walker’s work, though, the time is centered between 1788, when slavery was legalized in the US, through post Civil War “Reconstruction.”  Where the Silhouettes present a shadow of the figure, and the actions, the Drawings shine direct light. In fact, there are almost no shadows in her drawings- there’s no where for the perpetrators to hide.

“The Pool Party of Sardanapalus (after Delacroix, Kienholz,” 2017, Sumi ink and collage on paper, Almost 12 feet long.

Eugene Delacroix, “The Death of Sardanapalus,” 1844, Oil on canvas, Louvre, Paris. Kara Walker is, also, an astute student of Art History. In her work, Sardanapalus lies horizontally near the upper left corner, apparently, taking no interest in the orgy of death going on, as he does, lying arm on elbow on a huge red bed in Delacroix’. Her Ed Kienholz reference is a bit harder to track down, but it might be this one.

In “Christ’s Entry into Journalism,” 2017, the ground is, also, gone. The figures hang in the space of the paper, though some sense of perspective remains- as you get closer to the top of the sheet, they get smaller.

“Christ’s Entry into Journalism,” 2017, Sumi ink and collage on paper, 140 x 196 inches.

In this work, Ms. Walker’s figures cut across time, with some appearing to be contemporary. To the right of center, a figure “rocks the mic.” In the lower center is a figure that appears to be a modern riot trooper, in a helmet with face shield and body armor. He appears to have clubs in each hand. Right next to his left hand is what appears to be a black head, in a hoodie, on a platter, being carried by a woman, who looks away, while others nearby watch, some with shock on their face, some pointing to the scene. Just behind them, an extended arm holds and American flag, while above them a figure gives a Nazi salute with one hand while holding a Rebel flag with the other. Up top, a lynched figure hangs from a tree branch while women on either side of him perform acrobatics, with Klansmen standing next to them. In front of that naked black women are attacked by a group of men, while, again, others see what is going on. In the center of the work, the decapitated hoodied head looks straight across at a Civil War soldier pointing a gun at him, across time. Is this 1863? Or 2016?

“Storm Ryder (You Must Hate Black People as Much as You Hate Yourself),” 2017, Oil stick and Sumi ink on paper collaged on linen.

The primacy of Drawing in her work was reinforced with the recent release of one of Ms Walker’s Sketchbooks from 1999, when the Artist was 29, as a book appropriately titled, “MCMXCIX.” It contains Drawings that, in style and subject, visitors to the Sikkema show will immediatley recognize. Interestingly, as Raymond Pettibon does in his shows (the latest concluding on June 24th, shortly before Ms. Walker’s opened), she prefers her larger works be tacked to the walls.

“Future Looks Bright,” 2017, Oil stick and Sumi ink on paper collaged on linen.

Kara Walker may be growing tired of being a “role model,” of being “a featured member of my racial group and/or my gender niche,” (as she says in her Artist’s Statement referenced above). Of course, I can’t imagine being Kara Walker, but I can understand that it gets to be “too much.” I’m not sure, however, what her other choice is. I mean, I’m sure she COULD do something else if she REALLY wanted to. After seeing all the work and passion she put into this show? I guess I’m just not convinced that she really DOES want to do something else. Yet.

Finally…Looking back on 2017… Last year I wrote that I felt Sheena Wagstaff had the best year in NYC Art. She’s had a very good 2017, too. But, this year, I think that The New Museum’s Massimiliano Gioni & Gary Carrion-Murayari. had special years, highlighted by the truly exemplary, and revolutionary, “Raymond Pettibon: A Pen of All Work” retrospective, which they then remounted simultaneously in Maastricht and Moscow. I feel it was “revolutionary” because totaling an unheard of 800 works, including brand new works created by the Artist for this show (some on the very walls of the New Museum), they gave an exhaustive look at Pettibon’s career, yet the show never slowed, never failed to keep and even raise interest. It even included work Pettibon did as a small child that he has now ammended in his own, unique style. Word has recently come that Gary Carrion-Murayari, who kindly answered my questions on the Pettibon Moscow show he co-curated, has also been named as a co-curator for the New Museum’s 2018 Triennial, so he could be ready to have another “big” year. Stay tuned!

The end result is that Massimiliano Gioni, Gary Carrion-Murayari, and the New Museum have served to put the “Big Four”1 Manhattan Museums on notice that, on their 40th anniversary, we are going to have to get used to saying the “Big Five.”

———————————–
A Special “Thank You!” to all the Artists who gave me their time and shared their thoughts with me in 2017, and to David White & Gina Guy of the Robert Rauschenberg Foundation and Gary Carrion-Murayari and Paul Jackson of the New Museum.
“Thank you!” to the Hattan Group and Kitty for research assistance, and to The Strand Bookstore for being open until 10:30pm seven nights a week. R.I.P. Owner, Fred Bass this week.

*- Soundtrack for this Post is “Heroic Elegy, Op. 36,” (1918), by Ernest Farrar, in honor of the 100th Anniversary of WW1, which was featured in another memorable show, “World War 1 & The Visual Arts” at The Met this year, as a way of honoring it, and all the Artists, and Musicians, lost during it. Shortly after “Heroic Elegy’s” premiere, Second Lieutenant Farrar was ordered to the Western Front. Two days after he arrived there, he was killed at the Battle of Epehy. He was 33. I first heard it while I was driving in Florida on September 11, 2002. The classical station there played it in honor of the first anniversary of 9/11. So taken with it was I that I pulled over and listened to it with my eyes closed, then immediately set about researching it’s composer. Though he wrote other fine works, “Heroic Elegy,” is special. It’s lightning in an 8 minute bottle. As beautiful as it is, there’s a quality, a confidence, in it that seems to promise so much more to come that he, tragically, never got the chance to give us, like the other Artists & Musicians lost far too early in this most senseless of wars.

On The Fence, #17, The Good Riddance” Edition.

This Post was created by Kenn Sava for nighthawknyc.com
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  1. With all due respect to The Frick Collection, who the powers that be that came up with “the Big Four” left out.

NoteWorthy Shows: March Through May, 2017

Catching up from my March computer meltdown. To recap, AIPAD-The Photography Show, was my NoteWorthy Show for March, “Raymond Pettibon: A Pen of All Work” at the New Museum for April, “Rod Penner” at Ameringer McEnery Yohe for May. Here are some other “NoteWorthy Shows” I saw from March through May (in no particular order). Better late than never…especially where these fine shows are concerned. 

“Elliott Hundley: Dust Over Everything” (@ Andrea Rosen Gallery)- According to Siri there were 41 days between January 1 and February 10, during which Elliott Hundley must have been THE busiest man on the planet creating the 22 works for this show, which opened on February 10. He must not have eaten, slept, or gone to the food store, saving every second of every day to create what are the most intricate works I’ve seen in years, each one of which is dated “2017.”

“the song dissolves,” Paper, oil, pins, fabric, foam and linen over panel, 11 3/8 x 14 3/8 x 2 3/4 inches. Click any image to enlarge.

Side view.

Theatrical…Intimate…Grand…Microscopic…Bombastic…Quotidian…There are as many styles as there are works, and almost as many materials listed having been used on them. Ok. He probably had (some) help creating these. Practically? I get that. But, you can’t see it. Every single detail seems to spring from the same source- a seemingly boundless imagination that shows us a different side of it in each piece.

“Dust Over Everything,” Paper, oil, plastic, fabric, pins, foam and linen over panel. 36 1/4 x 24 1/4 x 6.

And the pins! I feel for whoever has to count them when these works wind up in Museums. “Countless” is how I’d describe them. It must have taken an army of acupuncturists a week to do even one of these works, because they are so extraordinarily well placed I found myself continually looking at the works from a 45 degree angle so I could appreciate them all. They’re such a tour de force as to be, a bit, distracting. I wondered what order they were placed in, which took away valuable moments I should have spent pondering the work as a whole (before getting to the details.) They are a bit like veil on a stage that you have to look through (after you’re done appreciating them) to ponder all that’s under them. But, they are not present in every work here. What’s under them struck me as being a whole life told in episodes, glimpses, memories and relics.

“Gallows Bird,” Oil and paper on linen, 80 1/8 x 96 1/4 x 1 7/8

Suffice it to say there’s, also, a life time’s worth of looking ahead for whoever buys these obsessive works- some of the freshest work I’ve seen in the first 65 days of this year, and among the densest work I’ve ever seen.

“Until the end,” Paper, oil, pins, glass, lotus, plastic, foam and linen over panel, 96 1/2 x 80 1/4 x 8 1/2

Detail of the right side. Mr. Hundley features friends & family in his work, giving them a personal depth he feels comes across to the viewer.

“Seurat’s Circus Sideshow” (@ The Met)- From the first time prehistoric man made a mark on a surface, countless billions of people down through the intervening millennia have drawn. Where is the OTHER one among them who draws, or drew, like Georges Seurat? Seurat only lived 31 years, so he didn’t get the chance to create either a lot of drawings, or a lot of paintings, so this was a very rare chance to see (mostly) his drawings, along with 2 paintings, and works by others, all more or less related to the theme of the circus, with Seurat’s “Circus Sideshow,” from The Met’s collection, as the centerpiece. How fascinating it must have been to watch him make one of these unique Drawings, let alone one of his even more remarkable paintings? So, even the otherworldly presence of Rembrandt’s “Christ Presented to the People” wasn’t enough to distract from focusing on the extremely rare opportunity to see a number of Seurat’s drawings in one place.

Looking down at the entrance for “Seurat’s Circus Sideshow”. Exactly one year ago this Robert Lehman Wing Courtyard was full of scaffolding for the false floor of the “Ghost Cathedral” of the Manus X Machina Fashion Show sat at the level of the upper floor here- a few hundred feet in diameter! Amazing.

“Seurat’s Circus Sideshow” entrance, features the titular work.

“Trombonist,” 1887-88, Conte crayon with white chalk

“At the Gaiete Rochechouart,” 1877-78, Conte crayon with gouache

“Lygia Pape: A Multitude of Forms,” & “Marsden Hartley’s Maine” (@ The Met Breuer)-

Meanwhile, across town, Sheena Wagstaff , The Met’s Modern & Contemporary Art Chairwoman, continues to give us unexpected shows of M&C Art at TMB, this time focusing on the late Brazilian female Artist, Lygia Pape (1927-2004), and American Painter Marsden Hartley (1877-1943)- two Artists who have almost nothing in common, except, perhaps, Ms. Wagstaff as a champion, and that neither has had a substantial show in NYC, for at least anytime in the recent past (as far as I know). I couldn’t escape the feeling that Ms. Pape has a style not all that unlike the great Nasreen Mohamedi, who Ms. Wagstaff chose to be the very first show of M&C Art at TMB. Mr Hartley, however, does not. “The Painter from Maine” has a strong, muscular style that is worlds away from the from the geometric abstraction Ms. Pape’s and Ms. Mohamedi’s works may seem to be at casual view. His in another part of the story of American 20th Century Art, one that is often, unfortuatley, overlooked, perhaps because it’s rare to see more than one of his works at a time. His place in the long line of important Maine Artists that runs from Thomas Cole to Winslow Homer (a key influence on Hartley) through Edward Hopper to the Wyeths and Richard Estes is assured. While the opportunity to see more of these interesting Artists was most welcome, for me, these shows were equally interesting for what “more” they might reveal of Ms. Wagstaff’s direction, which, given the state of flux The Met is in at the moment, I believe in supporting.

Lygia Pape’s vision extended from paintings to sculpture to people, as seen on the screen on the left,”Divisor (Divider), 1968, performed in 1990,, which seems to mimic the effect of the wall sculpture, “Livro dos caminhos (Book of paths),” 1963-76, paint on wood,  on the right.

Lygia Pape, “Tteia, 1, C,” 1976-2004, Gold thread, light and a few staples create a haunting, shimmering vision.

Lygia Pape, “Liver do tempo (Book of time),”1961-63, A tour de force of almost endless creativity & variety in 365 tempera and acrylic on wood pieces in relief.

I particularly admire these 3 early Landscapes by Marsden Hartley done between 1907-09, with their unique, almost “Pointilistic” technique, (26 years after the Seurat’s death), which is much “softer” than his “muscular,” later landscapes, like the next one.

“The Lighthouse,” 1940-41, Oil on masonite

Perhaps the most “muscular” painting since the Mannerists.

“Romare Bearden: Bayou Fever and Related Works” (@ DC Moore Gallery)- Highlighted by 21 collages from 1979 Romare Bearden (1911-88) created for a ballet entitled “Bayou Fever” that he hoped Alvin Ailey would choreograph, they confirm Mr. Bearden’s place as a master of collage who was ahead of his time. While some works have an overt Matissean influence, everything here is uniquely Bearden, an Artist who is not seen nearly often enough and never seems to fail to impress when he is seen. I mentioned him in in my Post on his friend, Stuart Davis, and my Post on Kerry James Marshall, who selected a piece by Bearden for his “KJM Selects” section of his excellent TMB Retrospective.

Installation view. The 21 collages from “Bayou Fever,” 1979, are seen to the right.

2 works from “Bayou Fever”- “Untitled (The Conjur Woman),” left and “Untitled (The Swamp Witch, Blue-Green Lights and Conjur Woman), both Collages from 1979

“Feast,” 1969 21 x 25,” Collage

“Noah Means A New Day,” No date, Collage

“Prevalance of Ritual/Tidings,” 1964, Gelatin silver print

“Rat Bastard Protective Association” (@ Susan Inglett Gallery)- Who? The RBPA was “an inflammatory, close-knit community of Artists and Poets who lived and worked together in a building they dubbed ‘Painterland,'” in San Francisco, to quote the press release. As I wrote about last year, Bruce Conner was, somehow, new to me when I first walked through the black curtain at the entrance of the utterly amazing “Bruce Conner: It’s All True” at MoMA last year but, Susan Inglett had a long history with Bruce Conner, as I learned in speaking with her briefly, earlier this year. So, her (always excellent) gallery’s show of works by “The Rat Bastard Protection Association,” a group of San Fran Artists that included Mr. Coner was something special, and quite rare. In addition to the chance to see amazing work by Bruce Conner I’d never seen before, the show marked my first chance to see work by his Artist wife, Jean Conner, an important Artist in her own right. Add Jay DeFeo, Wallace Berman, Michael McClue to the roster and this was a small show that packed a punch, and pointed out, once again, that the East Coast needs to become much more familiar with this whole group of San Francisco based Artists, who were associated in the Rat Bastard Protection Association from the late 1950’s to early 1960’s. Up from April 27 to June 3, it anticipated the Robert Rauschenberg show now at MoMA and provides a reminder that these Artists were working strikingly similar veins at the same time, 2570 miles, as the crow flies, apart1.

Bruce Conner, “THE EGG,” 1959, Mixed media assemblage in a convex brass frame. Even his extraordinarily wide-ranging MoMA Retrospective didn’t prepare me to see this.

Bruce Conner “MARY, MOTHER OF GOD,” 1960, Charcoal on paper. Almost “conventional,” it shows little sign of the revolutionary drawings to come.

Two collages from 1960 by the overlooked Jean Conner, both titled “(ARE YOU A SPRINGMAID)

Two assemblages by Bruce Conner, “UNTITLED (DO NOT REMOVE),” 1960 and “FLOATING HEAD,” 1958-59

“Alice Neel, Uptown” (@ David Zwirner Gallery)- An increasingly beloved and respected New York Artist (she settled here at age 27, and lived here for over 50 years), her star continues to rise, though it’s taken a long time (she passed in 1984, at age 84). She always leads with her humanity, and it seems to me that that’s something that makes New York proud of her. Though one of her works was the featured/poster image for The Met Breuer’s 2016 blockbuster “Untitled: Thoughts Left Unfinished,” a perfect choice, IMHO, there hasn’t been an Alice Neel show all that recently, as far as I can recall. This one would still prove itself different even if there had been a few. For one thing it focused on work Ms. Neel did while she was living “Uptown,” in East Harlem (aka Spanish Harlem), from 1938 to 1962, and, as the press release says, it focuses on portraits of her family, friends and neighbors. The results are classic Alice Neel. Though not everything here is a major work, the breath of fresh air it provided only hints at how much pent-up longing I think there is to see more of her work.

The time has come!

The show has moved to Victoria Miro, London, where it can be seen through July 29.

Shown in two adjoining David Zwirner locations, this is one of the two entrances.

“Building in Harlem,” 1945, Oil on canvas. Ms. Neel lived in East (Spanish) Harlem from 1938-62.

“Alice Childress,” 1950, Oil on canvas. An actor who became a playwright and novelist when she found “little dramatic material that represented the lives of black women she knew,” per the show’s curator, Hilton Als.

“Two Girls,” 1954, Ink and gouache on paper.

Georgie Acre, a young Puerto Rican boy who often ran errands for Ms. Neel, seen in 4 Drawings and a Painting from 1950-58. In 1974, Mr. Arce was convicted of murder. He’s shown praying in the second Drawing from left.

“Ron Kajiwara,” 1971, Oil on canvas. A son of Japanese immigrants, he was detained in a California internment camp during WW2. He later became a design director for Vogue before dying of AIDS in 1990.

And finally, Kevin Francis Gray (@Pace, West 24th Street)- I can’t recall encountering anyone who’s doing what Mr. Gray is with “figurative” sculpture.

“Reclining Nude 1,” 2016, All works are Carrara Marble

Does he use a secret laser ray? Has he discovered how to melt marble, then work it in it’s molten state? Somehow, he’s able to make Carrara marble attain the properties of clay!

“Salamander,” 2017

Ummmm…Yes, I had to remind myself continually, after tying my hands behind my back so I wouldn’t touch them to appease my wonder… These are MARBLE!

“Reclining Nude 1,” 2016, front, and “The Aristocrat,” 2017

I find it daring, exciting, and revolutionary. Along the way, he blurs the lines between the representational and the abstract, while adding all sorts of new levels of appearance, meaning, and possibilities to “portraiture.”

Detail of “Reclining Nude II,” 2017

While some of his past works, especially his “Twelve Chambers,” 2013, group of 12 life-sized figures vaguely reminded me of Rodin’s “Burghers of Calais“, these recent works appear, to me, to be a breakthrough. Is Kevin Francis Gray the successor to Rodin? He’s only 45. We’ll see where his new developments lead him. Stay tuned…he said, with bated breath.

“Heavenly bodies…”

*-Soundtrack for this Post is “It’s Quiet Uptown,” by Lin-Manuel Miranda, from “Hamilton.”

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  1. My fine feathered friends (aka “The Birdies”) just smirked when I said that, again, and said they stand by their prior comment on the matter, here.

Thomas Campbell Resigns

I was as surprised as anyone to learn that Thomas Campbell has resigned as Director & Chief Executive of The Met Tuesday. Given the challenging financial situation the Museum is in, I can’t say it was a complete shock. The tenor of his his letter to members, which I received at 1pm today and appears below, announcing his decision, indicates it might not have been his plan to leave at this point.

———————————————

The Met
Dear Member,

I write to share the news that I have decided to step down from my role as Director and CEO of The Metropolitan Museum of Art. It is not an easy choice to step away, especially at such a transitional moment. That said, the Museum’s current vitality is what makes it the right moment to do so. For the next stage of my career I look forward to new challenges beyond The Met, always in service of art, scholarship, and understanding.

I couldn’t be more proud of The Met’s accomplishments during my tenure. Our exhibitions, publications, and acquisitions continue to be celebrated across the entire art world. The Met’s curatorial and conservation programs have grown and flourished in areas of traditional strength, but also in new directions where The Met has previously been less active. Our education and live-arts programs have also evolved in exciting and innovative directions.

The resulting impact has been spectacular. We have enjoyed ever-larger audiences—this year we exceeded seven million visitors for the first time. The Museum has made significant gains in expanding its outreach, and was voted two years running as the world’s best museum by TripAdvisor users. And while the external digital revolution of the past eight years brought about seismic changes to every aspect of our culture, The Met has emerged as a global leader in both its digital practices and its reach.

Change is, by nature, never easy, especially for an institution as august as The Met. But it is necessary. Through a series of thoughtful analyses—of infrastructure needs, of elective ambitions, and of audience engagement—we have laid the foundations for our future growth. Some of these are already part of our current Five Year Strategy, others are exciting projects for the future.

The Met’s President, Dan Weiss, will be the interim CEO. His presence is a further reason this is an opportune moment to step away. We have worked closely together since 2015, and I am confident that his vision, level-headedness, and experience are precisely what the Museum needs to continue on its positive trajectory.

In conclusion, let me say that the successes the Museum has achieved during my tenure are entirely the result of the commitment of the brilliant staff, Board, Members, and supporters of this great institution. Thank you all; it has been an honor to fulfill this role over these past eight years.

Sincerely,

Thomas P. Campbell
Director and CEO

——————————

My immediate thoughts are- Where to for the directions and initiatives he began? Particularly, I wonder about Sheena Wagstaff, who I recently wrote having an especially memorable 2016, and the “Modern & Contemporary Initiative” she is the departmental head of1. Plans for expanding the 1000 Fifth Avenue building to accommodate new M&C galleries have, already, been indefinitely postponed. Though some of Mr. Campbell’s other changes have been rolled back, specifically his digital department, I wonder what the future holds for Ms. Wagstaff, (who was not chosen to lead the Tate in January), and the Museum as a whole.

Right now? All bets are off as to where The Met will go next.

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  1. Coincidentally, or not, a number of Englishmen have joined their compatriot Mr. Campbell at The Met during his tenure, including Luke Syson who curated the once in a lifetime Leonardo show at the National Gallery, London in 2011-12. Will this move effect them as well as Ms. Wagstaff, who is also English.

Kerry James Marshall: The Revolution Was NOT Televised

“The revolution will not be televised, will not be televised
The revolution will be no re-run, brothers;
The revolution will be live.”*

Gil Scott-Heron was right. The revolution wasn’t televised. It was painted. Well, one revolution…so far, was.

Kerry James Marshall: Mastry,” was live, on the walls of the 3rd and 4th Floors of The Met Breuer (TMB), where it was nothing less than a revolution, bringing black figures to Art in Museums, for the first time, in the form of a Retrospective of 35 years of Marshall’s work. While that might be the lead, in my book, it also established it’s subject, KJM for short, as a modern Master, and proves his work belongs in our greatest Museums, and well, any Museum.

Life, and Remembrance. Mastry’s opening gallery @TMB presents two of his major themes. In “De Style,” 1993, right, one of his most iconic works, KJM’s barbershop is full of life, culture, individuality and invention- painted and coiffed. On the left, his “The Lost Boys,” also 1993, a title borrowed from Peter Pan, is an homage to two children lost to gun violence, and all the boys who were “lost” to a variety of causes.

The revolution takes place…in a barbershop. “De Style’s” title seems a coy play on the name of the Dutch Art Movement “De Stijl,” brought to “Percy’s House of Style,” though the painted style of this work is purely his own. A very wise purchase by the L.A. Museum of Contemporary Art in 1993, the year it was completed, 22 years before The Met acquired one.

In bringing the black figure to Museum(s), KJM seems determined to fill as many of the “slots” they’ve been overlooked in heretofore as he can. We see boy scouts, girl scouts, lovers, monsters (“Frankenstein,” and his “Bride,”), models, Self Portraits, murderers, (imagined) Self Portraits of other Artists, portraits of historical figures, as well as scenes from family life, in the suburbs, the inner city and in recreation, as well as daily life, and home life, in the Artist’s studio, at the barber shop & hair salon, which are becoming his most famous works. Along with these, we see memorials to slain children and cultural leaders, the questioning of the aesthetics of beauty & desirability, and the Artist’s own graphic novel, “Rythm Mastr,” (which left me longing to see much more of it). And, yes, there are even revolutionaries.

Early works. “Portrait of the Artist & A Vacuum Cleaner,” 1981, age 26. Cleaning up Art History.

“So This Is What You Want?,” 1992, tells a story in a different way that would soon coalesce and lose the “collage” feel. The image of the uterus (left of center) appears in a number of his works, including “De Style.”

Art History runs strong in the work of KJM. While many Artists study the past, copy the great Masters, and “borrow,” even steal some of their styles, etc., it’s unusual to see an Artist who is as familiar with the range and breath of Art History as KJM is. Charles Wilbert White, in particular, was an early idol, then a teacher and friend, so it’s not surprising that something of his style does seem to have echoes in KJM’s, especially in his portraits, Marshall’s fluency with Art History is something that reveals the long hours of study he spent in Museums and studying Art Books. The way he will use bits of a style, seemingly out of nowhere is thrilling,  makes the old “modern,” while seamlessly making it a part of his own style, often to the end of adding mystery. Abstract Expressionism seems to be a particular favorite, given how often passages of it occur in the works here. Then, there is the anamorphosis portrait of “Sleeping Beauty,” painted oblong right smack dab in the center in “School of Beauty, School of Culture,” 2012 (below), who can only be properly seen from the side. An homage to Hans Holbein the Younger, who used this technique in his masterpiece, “The Ambassadors,” 479 years earlier in 1533, where a skull appears that’s visible only looking at it from the painting’s side. In both works, it’s an optical tour de force, the sheer brilliance of it lies both in the audacity of using it in this work, as much as it appears directly under a coy “Self Portrait” of the Painter, himself, shown behind the flash of his camera. That this was hanging in The Met Breuer, part of a Museum that owns no less than 5 Hans Holbein the Younger’s paintings (though not “The Ambassadors”), was as much of a statement as anything else in this show.

“School of Beauty, School of Culture,” 2012, 13 feet long, pays homage to Art History, and Hans Holbein in the center, in a work that is wholly unique, fresh, exciting and endless fun to look at.

A child looks at Sleeping Beauty, while the Artist takes a step back to shoot the whole scene (in the rear, with flash).

Elsewhere there are echoes of Winslow Homer, Breughel, and, there is also a spectacular homage to Edward Hopper’s “Early Sunday Morning.” Marshall’s is, like Hopper’s, a tale of urban reality, and like the original, it finds it’s own way to make magic with the early morning sunlight.

“7am Sunday Morning,” 2003, 18 feet long. KJM’s take on Edward Hopper’s “Early Sunday Morning,” 1930, an urban work that reflects the Great Depression, Marshall’s features Chicago’s South Side, with one remaining high rise from the Robert Taylor Homes, the rest having been raised, with music coming from it, and includes a painted interpretation of a camera’s lens flare, in the right half.

As work after work goes by, it becomes plain that more than paying homage to Art History, KJM has added his name to the list of Masters- Old, and “New,” and, in the process, he brings the Art of Painting kicking and screaming into the 21st Century, along with him.

“Rythm Mastr,” 1999-on, is his endlessly inventive graphic novel. Sometimes broadsheet handouts, sometimes lightboxes, as here. I traveled to a satellite show at IPCNY just to see more of it. I’ve never seen anything like it. Publish it all, please!

Along with all of this, 1/3 of the way through, there is, also, a large gallery full of works chosen from The Met’s permanent collection by the Artist, for a “show within a show,” called “Kerry James Marshall Selects.” Which reminds me, that though The Met has had a “tempestuous” past when it comes to the work of Modern & Contemporary Art & Artists, as the world’s greatest depository of 5,000 years of man’s creativity, it is uniquely suited to “highlight Mashall’s deep connection to history,” as Met Director Thomas P. Campbell said in their October press release, and dialogue with it, as the show within a show does.

“Kerry James Marshall Selects,” Installation view. In my dream, I get to do this…Of course, in the same dream, I’m also a genius painter, so The Met will let me.

Charles Wilbert White, “John Brown,” 1949, idol of, later teacher and friend of KJM.

Among the pieces chosen by KJM were works by Ingres, Batlhus, Ad Reinhardt, Gerhard Richter, Durer, Paul Cadmus, DeKooning, Bonnard, Seurat, the aforementioned Charles Wilbert White, Toulouse-Lautrec, Yoshitoshi, Utagawa, Andrew Wyeth, the Bamana and Senufo Peoples, Jacob Lawrence, Horace Pippin, George Tooker, Matisse, John Graham, Romare Bearden, Roy DeCarava, Walker Evans, Aaron Douglas, and yes, Holbein The Younger. I list them here for those interested because the only place they appear in on page 265 of the show’s excellent exhibition catalog, which quickly went out of print, halfway through it’s run at TMB, and before it even opens at LA’s MOCA in March!1 KJM lived in LA, and works remembering those days are some of the most complex in the show. He currently lives in Chicago, where the show originated in April, 2016 at the MCA.

“Untitled,” 2009, an imaginary portrait of a female Artist that deftly melds a number of styles, including Abstract Expressionism and “paint by numbers” that leave you wondering what the imaginary Artist’s work looks like.

An analysis of Marshall’s mastery of At History, as seen in the works in “Mastry,” alone, would be a book of it’s own. I don’t know if he anticipated that the end result of his study would be his carrying on dialogues with his influences for the rest of time on the very same walls. But? That is most likely what will happen now.

Mastr-piece. “Untitled (Studio),” 2014. The only work in the show that belongs to an NYC Museum. The Met acquired this in 2015. They started late, but very well.

In October, the New York Times called him, and I quote, “an immortal man,” in a profile in their “The Greats” issue. That click you heard was the sound of a very deserving Artist “making it.”

“Untitled (Blot),” 2015, the most recent work in the show, ends it. Bruce Conner was famous for these, but in ink.

Welcome to forever, Kerry James Marshall.

*-Soundtrack for this Post is “The Revolution Will Not Be Televised,” by Gil Scott-Heron, from the classic live album of the same name. Published by Carlin America Inc.

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  1. If you want one, don’t pay the 200-300. being asked online for the few copies for sale there. I’d say wait. There MUST be a 2nd printing coming…right? In the meantime, The Met has an excellent website for the show that features images of the pieces and it’s audio guide, here. That there were no copies for the hundreds of people who wanted one during the second half of the show’s run at TMB astounds me. This cost The Met thousands of much needed dollars in revenue. Also, during it’s run at TMB, limited edition signed & numbered prints by KJM went from 2,700.00 each at the show’s opening to 4,000.00 each at The Met’s store currently. A 50% increase.

NYC Art Shows 2016- Sheena Wagstaff Rules The Waves

This year past, Manhattan Art was largely dominated by two themes. There was a seemingly continual string of shows by many of the bigger names in Abstract Expressionism (i.e. AbEx), one after the other, and I wrote about every one of them, beginning with Jackson Pollock @MoMA, Lee Krasner, Philip Guston (two- here and here), Richard Pousette-Dart, Joan Mitchell and Mark Rothko, along with a few excellent satellite compilation shows, each in a different venue, which, apparently is continuing into 2017 with Jackson Pollock set to open at the Guggenheim, completing the circle, for now. It was also a year of Women Artists getting important shows. Patti Smith, Nasreen Mohamedi, Diane Arbus, Cindy Sherman, Marilyn Minter1, June Leaf, Carmen Herrera, Nan Goldin, Mary Bauermeister, Carrie Mae Weems, Latoya Ruby Frazier, Krasner and Mitchell were only some of the highlights. Still? Artists weren’t the only women making a big impact on the NYC Art Scene in 2016. In fact, for my money, the biggest impact of all was made by another woman, The Met’s Chairwoman of Modern & Contemporary (M&C) Art, Sheena Wagstaff.

As far as I’m concerned, no other single person had the impact on NYC Art, all year long, that Ms. Wagstaff and her department did.

Sheena Wagstaff was named Chairwoman of TM’s M&C Department on January 20, 2012. Four years later, her 2016 began with putting finishing touches on TM’s new “branch Museum,” The Met Breuer (TMB), the first “branch” The Met has opened since The Cloisters in 1926! No pressure there. As it was about to open, ostensibly as the showcase for The Met’s “new” M&C Art iniatative, The Times’ Roberta Smith put the situation perfectly into perspective, speaking about the task Ms. Wagstaff faced/faces-

“But the Met is huge and old, with a history of treating contemporary art as an afterthought. Getting it to change is like turning around an ocean liner.” Roberta Smith, NYT, March 3, 2016.

It sailed into it’s mid- March opening with 2 shows- “Unifnished: Thoughts Left Visible,” a veritable Museum in itself covering 2 full floors (the third and fourth), and, easy to overlook, tucked away on the second floor, “Nasreen Mohamedi,” the first American Retrospective of the Indian woman artist who passed away in 1990, aged 53. Wait…Who? Yeah. Me, too.

Met Breuer, Opening Lineup, March 8, 2016. 11 months on? The 5th Floor is now gallery space, the 1st Floor Gallery is now the Gift Shop. Those 2 shows? They live on, indelibly. Notice that for all of Art History that’s represented in “Unfinished,” the signature image chosen is by Alice Neel, a woman, of “James Hunter Black Draftee”

Vijay Iyer (piano, left) performs with his trio. Met Breuer, Member’s Opening Day, March 8, 2016.

The first members of the public get to see “Unfinished” on March 8, 2016. That tiny drawing on the far opposite wall is by Michelangelo.

After over 15 visits later, to my eyes, “Nasreen Mohamedi” was nothing less than 1) an epiphany. Here was an Artist who was a Major figure in Art in the 20th Century who’s name exists in not one Art History survey that I know of.

I now haunt these galleries, in my memory.

2) Therefore, it was easily one of the best shows of the year, and 3) the more I think about it, for many reasons, it was one of the best shows I’ve seen in years.

Most Memorable Art Work of the Year. Nasreen Mohamedi “Untitled,” circa 1970. When I first saw it, I thought it was a piece of fabric. Nope. This is a DRAWING.

Detail (about 10″ x 6″). Two amazing things about this- 1- The superhuman focus & manual skill on display. 2- The disease that would kill her would take these incomparable motor skills first, and shortly.

The subtlety, uniqueness and micro/macro impact of Nasreen Mohamedi’s drawings is seemingly without precedent. They speak to the “grand design” of the universe, while also giving the feeling that they are somehow familiar, though they are not.

 

Some call this work “The Seven Planes of Existence.” All her works were left untitled and undated, only 5 here were signed. Many were given to friends as gifts. She created most while dealing with an illness that would kill her family members, then rob her of her skills, and eventually kill her, as well.

Also an accomplished photographer, I find her photos every bit as wondrous as her work in other mediums. Each “Untitled,” ca. 1970

Closeup of the photo on the right. What exactly are we looking at?

I spent an hour sitting right next to Sheena Wagstaff at a “Nasreen Mohamedi Symposium,” at The Met 5th Avenue in June. After it was over, I had the chance to speak to her. All I could say to her was “Thank you,” for Nasreen Mohamedi, which gave me the chance to discover her. Then, I told her she had made “the perfect choice” to begin M&C Art at TMB.

Sheena Wagstaff, right, Met curator Brinda Kumar, center, and an Artist who’s name I didn’t get, left, at the Nasreen Mohamedi Symposium, June 3 at The Met. Ms. Wagstaff then sat down immediately to my right.

Six month later, I stand by those words.

Think about how much guts it took to make that call. How daring it was. TMB famously costs The Met 15 million dollars a year to operate. The Met, reportedly, ran a deficiet in 2016, costing jobs.  To say “a lot” was, and is, riding on the success of TMB would be an understatement. Not to mention TM’s world leading prestige. “Nasreen Mohamedi” was followed by “diane arbus: in the beginning.” Perhaps it would have been “safer” to have run Diane Arbus first. Maybe. Probably. I’m glad it was Sheena Wagstaff’s call (along with the rest of TM’s powers that be), and they chose Nasreen Mohamedi.

A page from one of her diaries. She blotted out much of what she had written. I wonder why. They left these patterns, reminiscent of her drawings.

The show was, apparently, a labor of love for Ms. Wagstaff. Hidden away in the very last gallery, in an iPad on the tables where visitors could peruse the now out of print and rare catalog, were some of the few extant photos from Ms. Mohamedi’s life. One of the last photos was a photo of Nasreen Mohamedi’s unmarked grave. I marvelled that someone had found it and photographed it. I looked for the credit to see who the photographer was. Sheena Wagstaff.

“Nasreen Mohamedi” was more than a terrific show. It was a statement. What was as easy to miss as the show itself was, as visitors made a bee line to see the copious treasures upstairs, it was more. It was the “answer” to the question about where Ms. Wagstaff was likely to steer The Met’s “new M&C initiative” going forward. As such, it was a shot over the bow of the future.

The future of M&C Art at The Met, and The Met Breuer, appears to be international, and inclusive. I expect more of the unexpected, more of the unknown and under-known. Bring it on. MoMA is running on all cylinders, putting on shows that are spectacular. It’s good for them, the Whitney, The Guggenhim, et al, to have some competition in M&C Art from The Met, and for us.

While “Nasreen Mohamedi” was blowing my mind on the 2nd floor, upstairs on 3 & 4, “Unfinished” was blowing everyone’s who saw it. Right off the elevator on 3, you make a right and in a small gallery you’re confronted by Leonardo da Vinci AND Michelangelo (all too rarely seen together in this hemisphere), AND Jan Van Eyck, and a few other works I can’t even remember because my mind was already overloaded. Oh yeah, some guy named Durer did one. This was TM “showing off,” as I read Ms. Wagstaff say in an interview. Boy, did they. The rest of the show had a roster that would make 90% of all other whole Museums in the USA jealous.

For a New York Minute, Michelangelo, left, and two Leonardos were on display in “Unfinished,” as the show opened. The triumvirate was soon broken up, no doubt due to the fragility of the works.

So? Ok. This was a “fail safe” show. Ms. Wagstaff was by no means finished.

Rembrandt & Velazquez- the two greatest Painters who ever lived, according to many, very rarely seen side by side.

After Nasreen closed, “diane arbus: in the beginning” came in on 2, with an installation unique in art & photography shows in my experience. Every piece got it’s own wall. Yup. You read that right. Over 100 pieces. Over 100 walls. Amazing. No beginning. No ending. The point being that it was all her beginning.

A rare shot of Tatsuo Miyajima’s “Arrow of Time,” on view in TMB’s first floor gallery. The only show to take place there before it became the gift shop.

After “Unfinished,” the year at TMB ended with another blockbuster success- “Kerry James Marshall: Mastry.” This is the kind of show that makes you wonder WHY it took so long for Mr. Marshall to be so recognized. He’s been creating at a very high level for a long time. It was only 3 years ago that he was showing at the always excellent Jack Shainman Gallery in Chelsea. But? Not everyone was sleeping on KJM. Walking through this show it’s a sad feeling for a New Yorker to read the tags and see great work after great work that belongs to Chicago or Los Angeles. Not even MoMA has stepped up to a large degree with Kerry James Marshall. TM FINALLY got a major work of his last year.

The beginning of “Kerry James Marshall: Mastry.” In many ways, this was the show of the year.

Now? It’s probably too late.

This, unfortunately, highlights one area where much work remains to be done. The Met’s collection is sorely lacking the work of M&C Masters. As I recently pointed out, as far as I know, they own no work by Ai Weiwei. no work by Nasreen Mohamedi, and only one work (albeit a very, very good one) by Kerry James Marshall (and this was only acquired in 2015), to name but 3 cases. Frankly? I find this shameful. TM recently elected three new trustees, two of which are M&C specialists, so hope springs eternal for a little more wind to be added to those sails.

New York had until January 29 to enjoy seeing a lot of KJM in one place. (My piece is coming soon.) Now? It’s going to be a long wait. Los Angeles? You get your chance beginning March 12.

So? By my scorecard, that’s 4 shows in 9 months that will be remembered and talked about for a very long time, including no less than TWO that were major breakthroughs for the Artists- Nasreen Mohamedi and Kerry James Marshall2, putting both in the pantheon of the Artists who belong in our greatest Museums.

But? Ms. Wagstaff, who struck me as having so much energy, downtown NYC could have used her during the Hurricane Sandy Blackout, still wasn’t finished. Over at 1000 Fifth Avenue…(remember The Met’s Main Building?), she and her staff have also rehung TM’s M&C Galleries there, and done an amazing job.

While at sea, mind the lighthouse! Edward Hopper’s iconic “The Lighthouse at Two Lights,” 1929, receives pride of place in TM’s newly rehung M&C Galleries. Which reminds me- Sheena Wagstaff edited the Tate’s 2004 Edward Hopper Show catalog.

Works have come out of storage that haven’t been seen there in…?, and some, thankfully, have gone there in their stead. The arrangements are new, too. Themes take the place of chronological arrangements in many rooms, while the AbEx Galleries still remain largely together, but subtly ammended. We get to see, what I consider to be, a major work by Philip Guston that I never knew TM owned! Other works are given new prominence, notably Edward Hopper’s famous “The Lighthouse at Two Lights,” and Richard Pousette- Dart’s “Symphony No. 1- The Transcendental,” (photo, here, further down the page.)

In this one gallery, I was shocked to discover works by Pousette-Dart (“Path of the Hero,” 1950, right) and Philip Guston (left, and below) that I didn’t even know The Met owned because they haven’t shown them!

Philip Guston, “Performers,” 1947. WHERE has this been? With one foot in his past, and one in his future, for my money, this is one of the most important periods of Guston’s career, and very few works from it exist, after he destroyed most. A major Guston.

The result is a veritable breath, no, wind of fresh air throughout. More wind for the sails of that S.S. Met Roberta Smith wrote about.

Sheena Wagstaff had a great year, in my book. Here’s to her. May the wind be at her back. That sound you heard in January was my giving a major sigh of relief at the news that we didn’t lose her when the Tate Museums chose a new Director (Ms. Wagstaff was Chief Curator at Tate Modern before she joined The Met).

P H E W…

Elsewhere, in the big City…

Other Museums and Galleries, of course, put on shows that linger in the memory, and I would be remiss in not including them. In addition to Nasreen Mohamedi’s, another Retrospective tried to make the case for it’s Artist’s place in the canon on 20th Century Art History, and wildly succeeded, in my opinion- “Bruce Conner: It’s All True” @ MoMA  Though he spent some time early in his career in NYC3, he, and his work, were rarely seen here after, and as a result, seeing this broad & in-depth look at his accomplishment over a mind-bending number of mediums was nothing less than a bombshell in it’s impact on myself, and I suspect many other New Yorkers. The depth, the staggering detail in the work (most famously in his films, but we see here it was carried over in most of his other work in other genres.), the mediums he probably invented, (like the music video), techniques he created or mastered, and on and on. This show was a capstone on a great year for shows at MoMA. “Picasso Sculpture,” “Edgar Degas: A Strange New Beauty,” were must see/won’t soon forget in their own right. Bravo, MoMA. Now? About that building and the new one on the way…

Picasso, “Owl,” seen in “Picasso Sculpture.” One sure way to make this list? Include an Owl in your show. ; – )

In the galleries, what lingers with me were Ai Weiwei’s return to NYC at long last with 4 concurrent shows, “Mark Rothko: Dark Passage,” “Patti Smith: 18 Stations,“Philip Guston: Laughter in the Dark,” “Stuart Davis: In Full Swing,” at the Whitney, and “William Eggleston: The Democratic Forest” (mostly for the chance to study his work at length, which only made me want to look again). And, I always enjoy the chance to be captivated by someone I previously didn’t know, like the amazing Sydney Cash at Heller Gallery, or the up and coming Robert Currie at Bryce Walkowitz- both of who share a fascinating ability to make you see things that aren’t really there.

Sydney Cash’s “Split Selfie,” 2016, oversees two of his other works that no photo can “capture,” at Heller Gallery. See them better here. When you watch, remember all that’s happening is the viewer moves slightly side to side.

And finally, personally, the chance to meet Patti Smith and Sheena Wagstaff, or run into Chuck Close, were things that remain rich, as much for the opportunity to speak with them as for what I learned from each encounter.

All of these experiences reminds me that in the final analysis? Art is personal. For every one of us.

*-Soundtrack for this Post is “Andy Warhol” by David Bowie (who we lost this year, and who is Ms. Wagstaff’s fellow countryman, and an Art collector), from his classic album “Hunky Dory.”

Please send comments, thoughts, feedback or propositions to denizen at nighthawknyc.com.
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This Post was created by Kenn Sava for www.nighthawknyc.com

  1. in 3 shows- 2 in Manhattan, 1 at the Brooklyn Museum, as part of their “Reimagining Feminism” Series
  2. It must be noted that “KJM: Mastry” is a show organized by The Museum of Contemporary Art, L.A. the Museum of Contemporary Art, Chicago, and The Met.
  3. when legend has it he was denied entrance to MoMA for the opening of a show that included one of his works.