Summary of ’69

In 1969, the artist Bruce Nauman made Pacing Upside Down, a 56-minute single-frame film of the artist crazily astride his California studio: a portrait of the artist as a convict in his cage. It was an extreme act of art that became foundational—inaugurating a shift in style from American abstract painting and Pop to post-Minimalism, Read More

Art and Design in the Lab

Given that the Museum of Modern Art has undergone a makeover and become rather indistinguishable from an amusement park, it may come as a shock that the current exhibition devoted to the Bauhaus will have none of that. Not at all a spectacle, with little deluxe glamour evident in the art objects or their installation, Read More

Hey, Are Those The Real Yogurt Caps?

Earlier this fall, Ann Temkin, the chief curator at the Museum of Modern Art’s department of painting and sculpture, was working on the checklist for the upcoming Gabriel Orozco retrospective (opening Dec. 13) when it occurred to her that one of the pieces she wanted to include in the exhibition might no longer exist.

MoMA Tower Sails Through Council, On to the Courts

To the courts!

The City Council approved the controversial MoMA tower yesterday afternoon by a vote of 44-3, which is supposed to be the last step in the approval process, but is really just the last step before the inevitable lawsuit challenging the approval process.

So it’s just barely even news that an opposition group Read More

MoMA Tower Opponents Target Quinn in TV Ads

It seems opponents of the Jean Nouvel-designed skyscraper planned to rise next to MoMA are well-funded.

The opponents, mostly neighbors of the 1,050-foot tower-to-be, are hitting the airwaves Monday with a television ad that directly targets Council Speaker Christine Quinn, urging her to oppose the development, planned to be built by the Read More

Ensor Unmasked

In Bosch and Breughel, the failings of humankind inspired great images; and following their example, the Belgian painter James Ensor (1860-1949) brought the human caricature up to date. Ensor paints as if to be human is to be grotesque; yet for all our extravagance, gluttony, greed, sloth, envy, wrath, pride, we humans remain compelling objects. Read More