A Film By Soren Nielsen & Taylor Antisdel
Composer: Rowan Spencer
Sound Designer: Rafal Smolen
Director of Photography: Soren Nielsen
“A City, Paused” is a personal project that Taylor Antisdel and I have been working on throughout this quarantine. It’s our attempt to portray the feeling of being in New York City over the past two months.
In this episode of “Cocktails with a Curator,” Xavier F. Salomon, Peter Jay Sharp Chief Curator, discusses the French port city depicted in J. M. W. Turner’s painting “Harbor of Dieppe: Changement de Domicile,” and how the artist’s extensive travel throughout Europe helped to develop his affinity for harbors. The complementary cocktail is the Widow’s Kiss, a French drink traditionally given to women who had lost their husbands at sea.
To see this painting in detail, please visit our website: https://collections.frick.org/objects…
Peggy Cyphers has a persistent vision of nature that she translates into richly colored and textured quasi-abstract paintings. She pours and lightly brushes countless layers of paint and sand onto the canvas until she achieves luminous and sumptuous surface. Approaching each canvas as a kind of garden where organic and geometric elements intermingle with intense light, she nurtures elaborate hybrid forms. David Ebony, ArtNet Magazine
Peggy Cyphers (born 1954) is an American painter, printmaker, professor and art writer, who has shown her work in the U.S. and internationally since 1984. Since Cyphers’ move to New York City over 30 years ago, her inventive and combinatory approaches to the materials of paint, silkscreen and sand have developed into canvases that explore the “Politics of Progress” as it impacts culture and the natural world.
In this episode of “Cocktails with a Curator,” Xavier F. Salomon, Peter Jay Sharp Chief Curator, hosts us again for happy hour at his apartment. The subject of tonight’s presentation is the mysterious “Polish Rider ” by Rembrandt, and the complementary cocktail is the Szarlotka, a Polish drink made with Żubrówka (vodka infused with bison grass).
When Ieoh Ming Pei, one of the most lauded architects of the past 50 years, was first asked to renovate The Louvre in Paris, his reaction was unequivocal: ‘You cannot touch the Louvre, it’s sacrilege.’
His solution was both revolutionary and simple — he built a glass pyramid in the centre of the forecourt that concealed a subterranean entrance way. Scorned at the time as a modernist intrusion on the 16th- and 17th-century building, the Pyramid is today celebrated as a statement of bold, high-tech futurism, and indicative of an architect who made his reputation by creating buildings at the intersection of art, history and culture.
Fluent in French and Italian, Lee Bouvier Radziwill was able to navigate New York and European high society, and support her sister Jackie, who became the First 
Lady when her husband John F. Kennedy was elected President.
Fashion writer Hamish Bowles said Radziwill ‘defined dynamic American style for decades’. In fact it was Lee’s innate style that helped shape Jackie Kennedy’s wardrobe and transformed her into a fashion icon. Lee had a taste for the exotic and unexpected, and understood how clothes could be used to make a statement in the political arena.
She was one of Truman Capote’s ‘Swans’ — the beautiful socialites he doted on — and when he threw his spectacular Black and White masked ball at The Plaza in 1966, she was a guest of honor.
Lee was just as comfortable at the Factory, mingling with Gerard Malanga and Andy Warhol, or on the Rolling Stones’ tour bus with Mick Jagger and his wife Bianca, who holidayed with her in the Hamptons.
TEFAF’s Meet the Experts presents Howard Shaw from Hammer Gallery shares what Van Gogh would have most likely seen when he visited Paris in 1886. This period of Van Gogh’s life is pivotal to his works as an artist.
Enjoy this 360° video view of the Garden Court of The Frick Collection. Available through your phone with Google Cardboard or other viewer as a 360° VR video. Right click or control + click (on a Mac) to select loop and enjoy the soothing sounds of the fountain. Shot during the exhibition, Canova’s George Washington, on view at The Frick Collection from May 23, 2018 to September 23, 2018.
Born in Victoria, Australia, Martin Lewis was a printmaker who is known for his scenes of urban life in New York during the 1920s and 1930s. As a youth Lewis held a variety of jobs that ranged from working on cattle ranches in the Australian Outback, in logging and mining camps, to being a sailor. In 1898, he moved to Sydney for two years where he received his only formal art training. During this period he may have been introduced to printmaking; a local radical paper, The Bulletin, published two of his drawings.
Lewis left Australia in 1900 and first settled in San Francisco. He eventually worked his way eastward to New York. Little is known about his life during the following decade except that he made a living as a commercial artist and produced his first etching in 1915. Lewis’ skill as an etcher was noticed by Edward Hopper, who became a lifelong friend. In 1920, dissatisfied with his job, Lewis used his entire savings to study art and to sketch in Japan. He returned to New York after a two-year stay and resumed his commercial art career, but also pursued his own work as a painter and printmaker.
During the Depression, Lewis moved to Newtown, Connecticut, but later returned to Manhattan, where he helped establish a school for printmakers. From 1944-1952 Lewis taught a graphics course at the Art Students League in New York.
During his thirty-year career, Lewis made about 145 drypoints and etchings. His prints, like Shadow Dance and Stoops in Snow, were much admired during the 1930s for their realistic portrayal of daily life and sensitive rendering of texture. The artist’s skill in composition and his talent in the drypoint and etching media have received renewed attention in recent years. Lewis is one of the few printmakers of this era who specialized in nocturnal scenes. Some scholars consider his print Glow of the City his most significant work because of the subtlety of handling. A minute network of dots, lines, and flecks scratched onto the plate creates the illusion of transparent garments hanging in the foreground, while the Chanin Building, an art deco skyscraper, towers over the nearby tenements.
The British Galleries are reopening with almost 700 works of art on view, including a large number of new acquisitions, particularly works from the 19th century that were purchased with this project in mind. This is the first complete renovation of the galleries since they were established (Josephine Mercy Heathcote Gallery in 1986, Annie Laurie Aitken Galleries in 1989). A prominent new entrance provides direct access from the galleries for medieval European art, creating a seamless transition from the Middle Ages to the Renaissance.
A highlight of The Metropolitan Museum of Art’s 150th anniversary in 2020 is the opening, on March 2, of the Museum’s newly installed Annie Laurie Aitken Galleries and Josephine Mercy Heathcote Gallery—11,000 square feet devoted to British decorative arts, design, and sculpture created between 1500 and 1900. The reimagined suite of 10 galleries (including three superb 18th-century interiors) provides a fresh perspective on the period, focusing on its bold, entrepreneurial spirit and complex history. The new narrative offers a chronological exploration of the intense commercial drive among artists, manufacturers, and retailers that shaped British design over the course of 400 years. During this period, global trade and the growth of the British Empire fueled innovation, industry, and exploitation. Works on view illuminate the emergence of a new middle class—ready consumers for luxury goods—which inspired an age of exceptional creativity and invention during a time of harsh colonialism.
Boomers Daily 