Watch Episode 1, “Looking back to look forward,” in which Met image archivist Stephanie Post, educator and former-Project Runway host Tim Gunn, and New York City Ballet dancer Silas Farley share how their encounters with history and the Museum inform their sense of self and their creative practices.
As part of The Met’s 150th anniversary, Met Stories is a new video series and year-long social media initiative that shares unexpected and compelling stories gathered from the many people who visit The Met, whether artists, teachers, curators, actors, museum staff, designers, thought-leaders, or public figures.
The science center is an adolescent among museum types, one whose main growth spurt was in recent memory. Over the past 40 years, they went from a sparse to a ubiquitous presence, now found in almost every major city. Their emergence stretched the ontological essence of the museum: They present not objects, but concepts. Many science centers define themselves explicitly this way and possess slim to no permanent collections.
“Turman, Nichols and I related to The Graduate in exactly the same way,” Henry told Vanity Fair. “We all thought we were [the book’s protagonist] Benjamin Braddock. Plus, it’s an absolutely first-class novel, with great characters, great dialogue, a terrific theme. Who could resist it? I read it and I said, ‘Yes, let’s go.'”
Berggruen Gallery is proud to present John Alexander: Landscape and Memory, an exhibition of recent paintings and drawings by Texas-born, New York-based artist John Alexander. This show marks Alexander’s second solo exhibition with the gallery and will be on view January 9 through February 15, 2020. The gallery will host an opening reception for the artist on Thursday, January 16 from 5:00 to 7:00pm.
The introspective nature of Alexander’s work is revealed through the artist’s keen observations of his surrounding environment and the vivid way in which he paints it. Employing bold, painterly strokes, Alexander maintains an acute sensibility of his subject matter – whether it be the detailed rendering of the spiny lobster, an expressive portrayal of grackles and ibises perched in branches, or more expansive, floating florals. The artist also injects elements of whimsy; the playful monkeys he paints peer out of their canvases to almost directly engage the viewer. And thus each work is imbued with an authentic, raggedly pristine, emotional sense of the earth we all inhabit. In this way, Alexander creates scenes that are deeply personal, yet also shared…nostalgic yet ongoing…exotic yet familiar…of the world yet otherworldly. Saturating his landscapes with humor, sentimentality, and veneration, Alexander reveals as much about himself as he does about nature.
You have navigated with raging soul far from the paternal home, passing beyond the sea’s double rocks, and you now inhabit a foreign land.
of the artist’s expansive and materials-focused practice from the 1970s to the present.
Charles Arnoldi was a young man from Dayton, Ohio who had seen little of the world when he arrived in Southern California in the mid 1960s. Following stints at a local community college and Chouinard Art Institute, Arnoldi won LACMA’s New or Young Talent Award in 1969 and thus began his ever-evolving career which continues to this day in his sprawling Venice studio.
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