Tag : Roberta Smith

thumbnail Sep 8

Helping the Modern Get Over Itself

by Roberta Smith

The Museum of Modern Art has unveiled changes in its galleries which include the addition of a painting by Cuban Grandmaster Amelia Pelaez.

The permanent collection of any great museum is in a state of constant, usually subtle flux. Works go up, are shifted about and later removed from view, making way for others…..

…..And then there’s the small, wonderfully dense Gallery 4, loosely devoted to still life with works from 1915 to the early 1950s. My favorite on either floor right now, this selection juxtaposes paintings by Matisse, Braque and Giorgio Morandi with surprises by, among others, the American outsider Forrest Bess, Bernard Buffet (French), Gertrude Green (American), Emilio Pettoruti (Argentine) and Amelia Peláez Del Casal (Cuban). The Del Casal, “Fishes,” was painted in 1943 under the spell of Picasso (and acquired the following year), but it definitely has a mind of its own.

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thumbnail Jun 5

Bound for Glory: Cavorting Athletes and Oblique Politics at the Debut of Allora & Calzadilla’s U.S. Pavilion in Venice

By Andrew M. Goldstein

Art Info

June 2, 2011

VENICE—Allora & Calzadilla‘s show for the Venice Biennale‘s United States pavilion has generated a near-deafening amount of buzz since previews began at the international exhibition earlier this week, with its overturned tank-turned-treadmill sculpture outside its entrance emitting a clarion clackety-clack to draw in hundreds of people to wait in line to see what the fuss is all about. This morning, the show — featuring eight professional gymnasts doing routines on replicas of business-class airline seats, an organ/ATM hybrid, and a video filmed on the Puerto Rican island of Vieques — opened to the public with a bang worthy of the buildup: a performance on the tank’s treadmill by Dan O’Brien, the 1996 Summer Olympics decathlon gold medalist once heralded on the cover of Newsweek as “Mr. Olympics.”

More on the works by Allora & Calzadilla:

New York Magazine: Jerry Saltz on the Ugly American at the Venice Biennale

Art Info: “It’s an Art Project, Let’s Keep It at That”: A Q&A With American Diplomat David Mees on the Politics of the U.S. Pavilion

Los Angeles Times: At the Venice Biennale, national artists know no boundaries

The L Magazine: America’s Allora & Calzadilla Crushing Competition at Venice Biennale

Finextra: Musical ATM goes on display at Venice Biennale

The New York Times: Venice Biennale: An Installation Art Contest and Venice Biennale: Money Talks, Make That Sings

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