The Metropolitan Museum of Art (March 19, 2023) – Go behind the scenes with artist Cecily Brown, who discusses the inspiration and making of Cecily Brown: Death and the Maid, the first full-fledged museum survey of Brown’s work in New York since she made the city her home.
Cecily Brown: Death and the Maid assembles a select group of some fifty paintings, drawings, sketchbooks, and monotypes from across her career to explore the intertwined themes of still life, memento mori, mirroring, and vanitas—symbolic depictions of human vanity or life’s brevity—that have propelled her dynamic and impactful practice for decades. On view April 4th, 2023 through December 3rd, 2023.
David Kordansky Gallery (March 18, 2023) is pleased to present Paths Crossed, an exhibition of new paintings by Hilary Pecis, on view in Los Angeles at 5130 W. Edgewood Pl. from March 18 through April 22, 2023.
Pecis creates drawings and paintings inspired by the interior, exterior, and inter-spaces that surround her daily life. For her first exhibition with David Kordansky Gallery, the artist presents a selection of lush, saturated landscapes reflecting the mountainous, desert, and urban landscapes commonly associated with Southern California.
Royal Academy of Art (December 14, 2022) – What would Modernism look like if you saw it through the eyes of women artists? How would it change your perception? What other stories might you find?
Watch Royal Academy curators Sarah Lea and Professor Dorothy Price discuss the pioneering work of four women making art on their own terms: Paula Modersohn-Becker, Kӓthe Kollwitz, Gabriele Münter and Marianne Werefkin.
Hilma af Klint dreamt of a spiral-shaped building to house her most important works. According to her notebooks, she wanted it to be built on an island in Sweden but the idea never materialized, and the temple remained an imaginary creation – until now.
More than a century later, af Klint’s vision has been translated into an immersive VR experience. It takes you on a cosmic journey from the Milky Way, through spirals in nature and into a few of the artist’s most important paintings, some of them even coming alive.
Hilma af Klint sometimes referred to her temple as a church for a new era and at other times called it a museum. The exact meaning remains open to interpretation. At the same time, her paintings were clearly intended to lead the viewer to levels of awareness beyond that of everyday life. Was it really a physical building she had in mind? Or was it a spiritual site – something existing in another dimension?
Perhaps her temple, simultaneously spiritual and physical, could not be realised because she did not have access to the right medium. She had no knowledge about the technological possibilities that were to come, and the idea remained on paper. Today things are different. Hilma af Klint’s temple, inspired by the teachings of Christian Rosenkreutz, has arrived with the help of VR. You are invited to enter another world.
Hilma af Klint The Temple was conceived by Daniel Birnbaum and Kurt Almqvist and directed by Marika Stolpe. The experience was produced by Acute Art and published by Stolpe Publishing. Creative Director – Rodrigo Marques. Music – Andrew Sheriff.
Among the great innovators of contemporary painting, with a lifelong commitment to drawing and printmaking, Pat Steir first came to prominence in the late 1970s and early 1980s for her iconographic canvases and immersive wall drawings.
By the late 1980s, her inventive approach to painting—the rigorous pouring technique seen in her Waterfall works, in which she harnessed the forces of gravity and gesture to achieve works of astonishing lyricism—attracted substantial critical acclaim. Informed by a deep engagement with art history and Eastern philosophy, and a passion for artistic advocacy in the both the visual and literary realms, Steir’s storied five-decade career continues to reach new heights through an intrepid commitment to material exploration and experimentation.
Join Jane Panetta, the Nancy and Fred Poses Curator and Director of the Collection, as she discusses key works from Jennifer Packer’s exhibition of paintings and drawings.
Jennifer Packer is an American painter living and working in New York City. In 2020, she won the Hermitage Greenfield Prize and the Rome Prize. Packer won the Rome Prize at the American Academy in Rome 2020-2021.
Jennifer Packer: The Eye Is Not Satisfied With Seeing was initiated by Serpentine and curated by Melissa Blanchflower, Curator, Exhibitions and Public Art with Natalia Grabowska, Assistant Curator. The presentation at the Whitney is organized by Rujeko Hockley, Arnhold Associate Curator, and Jane Panetta, Nancy and Fred Poses Curator and Director of the Collection, with Ambika Trasi, Curatorial Assistant.
Alex Roediger, MoMA’s senior information coordinator, looks at Helen Frankenthaler’s “Jacob’s Ladder” (1957) with a painter’s eye, and finds that “more paint” isn’t always the key to making a dramatic statement—even in Abstract Expressionism.
In this week’s “Cocktails with a Curator,” Deputy Director and Peter Jay Sharp Chief Curator Xavier F. Salomon celebrates Women’s History Month by examining two exquisite pastels by Rosalba Carriera that recently entered the collection through a bequest from Alexis Gregory and are on view for the first time on the third floor of Frick Madison. Celebrated for her technically innovative pastel portraits, Rosalba was one of the most famous artists of 18th-century Italy, particularly remarkable given the male-dominated society in which she lived. This week’s complementary cocktail is the Vesper Martini.
Berthe Marie Pauline Morisot was a French painter and a member of the circle of painters in Paris who became known as the Impressionists. In 1864, Morisot exhibited for the first time in the highly esteemed Salon de Paris.
Compelled to chronicle the life and world around her, Abigail Faye McBride paints with the heart of a poet. Her oil paintings and charcoal drawings bear witness to a time, person or passing glimmer of light. Abigail paints landscape, figure and still life working interchangeably with brush and palette knife. Collectors, nationally and internationally, appreciate the color, mood and elegance of her work.
A consummate Cape School colorist, the draftsmanship in her work is born of an academic interest in the portrait and figure. Her work blends traditional subject matter with modern design sensibilities. She is part of a new breed of perceptual painters working from direct observation be it plein air or in the studio. Though often free of narrative, her work is grounded in the present day as a contemporary interpretation of genre painting.