Pierre T Metropolitan Museum of Art Pierre Rmey Metropolitan Museum of Art
Within Fine art
Coming to the Met's Rooftop: A Pierre Huyghe Installation
The French conceptual artist Pierre Huyghe frequently plunges viewers into his own, fantastical universe. It can take a surprising number of forms. His creations can include moving picture, functioning, sculpture, magic, biology, even nature like insects. So when Sheena Wagstaff, the chairwoman of the Metropolitan Museum'due south modernistic and contemporary art department, and Ian Alteveer, a Met associate curator, saw the beguiling surround Mr. Huyghe created at Documenta 13 in 2012 and the retrospective first at the Pompidou Center in Paris and at present on view at the Los Angeles Canton Museum of Fine art, they asked him to create a site-specific installation for the roof of the Met next spring. "His piece of work is so captivating, and the way he thinks about the layers of a site, taking into account history, surroundings and scientific discipline is and then compelling, we idea he'd create something especially interesting," Mr. Alteveer said.
While the dates are set at the Met — his installation is to exist on view from April 28 through Nov. i — the projection itself is a mystery. "He's nevertheless working on it," Mr. Alteveer said, revealing only that "it volition be an installation with a picture show component."
The contemporary art world is already familiar with Mr. Huyghe's work. At the Venice Biennale in 2001, he created three rooms about music, audio and light. One independent an eight-infinitesimal film of 2 tower blocks typical of the French housing projects that sprang upward in the 1970s. Confronting a groundwork of fog, windows light upwards and go night in interludes marked by changes in the atmosphere. At the Wollman skating rink in Cardinal Park in 2005, he made a glacial mural that was the setting for "A Journey That Wasn't," a musical film based on a trip to Antarctica. More recently, he has created a fog-filled arboretum in Sydney and an e'er-blooming garden in a crystal palace in Madrid. Perhaps i hint about his project at the Met that Mr. Alteveer let sideslip: "Pierre loves the fact that the park is full of animals."
ALBERTO BURRI AT THE GUGGENHEIM
For the last two years, the Guggenheim Museum has been focusing on aspects of post-World State of war Ii fine art. In 2013, there was "Gutai: Splendid Playground," devoted to the work of the Japanese collective; followed by "Zero: Countdown to Tomorrow, 1950s-60s," which closed this calendar month and explored the avant-garde German artists' grouping.
Now the museum is moving its focus to Italy with the exhibition "Alberto Burri: The Trauma of Painting." The first major retrospective of the Italian artist'due south piece of work in 35 years, it will explore how Burri, who died in 1995, became a major pioneer of postwar European art. (A traveling Burri retrospective fabricated a cease at the Guggenheim in 1978.)
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"Burri'due south piece of work symbolizes how you reconstruct fine art in the wake of catastrophe," said Richard Armstrong, director of the Guggenheim Museum and Foundation. "Are these wounds ever healed? And every bit a former surgeon and an army doctor, Burri'southward wounds are quite literal."
The show, which will occupy the museum's landmark Frank Lloyd Wright rotunda from October. 9, 2015, through Jan. 6, 2016, is existence organized by Emily Braun, an expert in 20th-century Italian art and a professor at Hunter Higher and the Graduate Heart of the City University of New York.
Burri, notwithstanding, was originally better known in the U.s.a.. "There is a historical irony here." Ms. Braun explained. "He first reached international fame starting in 1953, when he had several shows, including i at the Allan Frumkin Gallery in Chicago and the Stable Gallery in New York." James Johnson Sweeney, a former Guggenheim director, included his piece of work in a testify of European paintings in 1953 and wrote the get-go monograph on Burri 2 years after. Burri also married an American dancer, Minsa Craig, and in 1963 began spending his winters in Los Angeles and the remainder of the twelvemonth in Italy.
His work could never be classified as either painting or sculpture. Nor was information technology installation. Rather than using the traditional canvas, he worked with found materials, like burlap sacks, discarded bed linens, woods veneer, industrial plastics and rolled sheet metallic, which he would stitch, staple, glue, melt or solder. He likewise tended to piece of work in series — among them were "Sacks," his stitched and patched bits of torn burlap bags often with gashes of red pigment or touches of gold; "Whites," fashioned from old linens and white pigments; and Plastic Combustions," burned or scorched sheets of industrial plastics. The exhibition will include examples of all of them.
"Although long recognized for his use of materials, what the show volition likewise illustrate how he was a key effigy of the monochrome in white, black and red," Ms. Braun said. "Burri was often wrongly categorized as a gestural painter," she added, referring to artists who used bold, concrete gestures like dripping or smearing. "But his range and his manual dexterity was boggling."
The prove's title, "The Trauma of Painting," she said, refers both to the physical trauma of the artwork as well every bit the psychological trauma of Europe later on Globe War Two.
ANDREA DEL SARTO DRAWINGS
The Frick Collection and the J. Paul Getty Museum in Los Angeles have joined forces to organize "Andrea del Sarto: The Renaissance Workshop in Action," an exhibition of near 50 drawings by this Italian master on loan from museums including the Louvre in Paris, the Uffizi in Florence and the British Museum in London. The show, officials at the Frick say, is the first major monographic exhibition on this artist ever presented in the United States.
In recent years, drawing shows of more than famous Renaissance masters similar Leonardo and Bronzino have been hugely popular. But as an creative person, del Sarto has been "sort of left out of the pic," said Ian Wardropper, the Frick'southward manager. "Withal he'southward been hiding in apparently sight." The show's mission, he explained, was to explore how his drawings — reddish and black chalk figures, intricate heads and compositional studies — were crucial to the artist'due south paintings.
The evidence, which will be at the Getty from June 23 through Sept. thirteen and at the Frick from Oct. 7 through January. 10, will also include three paintings, 2 from the Pitti Palace in Florence and 1 from the National Gallery in London. At the Frick they will be displayed in the Oval Gallery alongside corresponding drawings and technical studies.
Source: https://www.nytimes.com/2015/01/16/arts/design/coming-to-the-mets-rooftop-a-pierre-huyghe-installation.html
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