MoMA Signs Off with Brancusi

Brancusi’s 1930s marble Fish

MoMA is taking a four-month break while it reinstalls its collection in its expanded 53rd Street home. For nearly a year before it closed its doors, MoMA provided a beautiful gathering space devoted to a much-loved modern master in a beautiful show Constantin Brancusi Sculpture.

Always packed with admirers, you could frequently hear visitors exclaim upon turning the corner and entering the sculpture gallery exclaim, “Wow!”

There they all were – Brancusi’s marble The Fish sculpture that seemed to be swimming, the soaring Bird in Space, and the primal tall oak Endless Column.

1910 marble Maiastra, a mythical Romanian bird with a pedestal created from another sculpture

Everything was drawn from MoMA’s expansive collection. Every viewpoint joyfully represented what contemporary audiences love about Brancusi’s work. View it in our Flickr album.

Hard to believe that the epic Maiastra was created in 1910 or that this innovator grew up as a woodworker in the rural Romanian countryside and walked across the continent to relocate to Paris to be where the early modernist practice and philosophy were percolating.

For a fun look at how it all began for Mr. Brancusi, watch the film that MoMA created using footage shot by his buddy, Man Ray here and also listen to a jazzy playlist of Brancusi’s favorite songs and atonal orchestral hits of the day.

Brancusi’s work is the epitome of Modern to the contemporary eye, but it wasn’t always that way. One of the most beloved pieces in the room was initially considered a blasphemy to art when it was first exhibited in the 1913 Armory Show in New York.

Listen to MoMA tell the story:

MoMA on 53rd Street reopens on October 21. MoMA PS1 in Long Island City remains open.

New York Says Good-bye to Basquiat

Grid of 1982 works on the second floor

The toughest ticket in town for several months has been the free admission ticket to view the superb Jean-Michel Basquiat exhibition at the new Brant Foundation art study center in the East Village, on view through May 15.

Since few have been lucky enough to get in the door, we’re giving you a peek inside through our Flickr album, featuring some of our favorite works on all four floors of the renovated space along East Sixth Street.

The show features over sixty of Basquiat’s works, primarily from 1981-1982. The paintings, drawings, and sculptures were created just after Basquiat stopped spray-painting building surfaces and doorways. It was a rough-and-ready time in the East Village, nearly a decade before the neighborhood became immortalized in the first draft of Rent.

1982 acrylic Boy and Dog in a Johnnypump

Basquiat became known to downtown New Yorkers by signing his ubiquitous graffiti with “SAMO”.  Although he dropped that signature in 1979, he never truly put away his spray can, shifting instead a more gestural mix of spray paint, crayons, and acrylics on wood panels and canvases that display his painterly genius, urban smarts, and social commentary.

The wide galleries and large, airy windows of the gallery space contrast to the voice and vision screaming out from every large work on the wall.

Section of 1981 oilstick and acrylic Per Capita

Many skulls, spirits, pop references, classical allusions, punky lettering, and gestural color are from 1981, the same year Basquiat had his first solo show in Modena, Italy. Per Capita brilliantly mixes sports, race, and economics with messy, riotous references to a deified African-American Olympic boxing legend and scratchy, handwritten national income statistics.

Basquiat’s 1982 work continues in the same vein – the year he was included in a prestigious solo show in glamorous Soho back home. The exhibition includes – but does not identify – the famous 1982 Basquiat skull painting acquired in 2017 by Yusaku Maezawa for $110 million, which was the subject of a one-painting show last year by the Brooklyn Museum.

1982 Dos Cabezas from a private collection.

The second floor displays a high-rise grid of Basquiat’s work from 1982, including a double portrait of himself and Andy.

Witnessing the scale and scope of this output by this 21-year-old genius is astonishing…just a fraction of the thousands of works he created before expiring just six years later.

Several later works are included. Two spectacular works from 1984 are Gold Griot, a magical man-spirit painted on a massive slatted wood panel, and Grillo, an elaborate three-dimensional installation on loan from the Louis Vuitton Foundation, which co-sponsored this exhibition.

Detail from 1987 Unbreakable, loaned from a private collection.

Unbreakable from 1987 finishes up the show just before you exit through the back door beyond the gift shop, walk between the ancient buildings, and emerge onto East Seventh Street.

Enjoy walking through the show here.

Photo-Science Pioneer Atkins Debuts Work in New York

Plate from Anna Atkins’ 1849-1850 Photographs of British Algae: Cyanotype Impressions.

The New York literary and art world have spoken: nearly 150 years after photography pioneer Anna Atkins faded into obscurity, her work is receiving the tribute it deserves in the NYPL’s Wachenheim Gallery off Fifth Avenue – gorgeous, hand-crafted compositions of ephemeral marine flora in hand-stitched volumes, using a untested, new technology.

Volumes of Anna Atkins’ Photographs of British Algae: Cyanotype Impressions, 1849-1850

Blue Prints: The Pioneering Photographs of Anna Atkins, on display through February 17, is a show that has it all – an artistic first, a publishing breakthrough, Victorian time travel back to Darwin’s day, and a resurrection story of a visionary woman rescued from history’s dustbin. Although this innovator was born in 1799, it’s the first full full-blown retrospective of her work.

The show centers on the achievements of a female amateur botanist, who came up with an ingenious method to use one of the latest technology breakthroughs to transform her specimen collection of British algae into the world’s first book illustrated entirely through photographs. It’s also the first scientific book illustrated that way.

In a day where smartphones have made image taking (and making) ubiquitous, Anna’s show takes you back to the time before photographs, where meticulously observed drawings, sketches, and a watercolor box were the only means available to record the floral wonders of the world.

Anna’s 1823 spondylus shell illustrations

As a talented young artist, her scientist father commissioned her to illustrate his translations of Lamarck.

In 1842, Anna heard about a family friend’s accidental discovery of cyanotypes – basically blueprint technique – and she had a brainstorm. Instead of making drawings of plants that would require tedious hours of replications by hand, maybe the new technique could let the sun do the work.

She treated paper with a mix of chemicals, arranged her botanical specimens on top, and exposed it to the sun.

1860s printing frame with prepared cyanotype paper and specimen

The photographic impressions were incredible – detailed and beautiful. The task of documenting her collection of complex, seaside plants now didn’t seem so overwhelming.

Although this is a tiny show, the gallery experience delivers quite an aesthetic impact  – rows of rare prints in blazing blue, delicate images of marine plants that compel close study, and exquisite hand-stitched bindings on multiple volumes, lovingly created for family and friends. It’s a maker tour de force.

In her day, Photographs of British Algae: Cyanotype Impressions was considered a triumph of technology, art, and science.

From an artistic perspective, you simply can’t stop admiring Anna’s work. Seaside stuff simply never looked this good. Take a look at our Flickr album.

Volume III of Anna Atkins’ 1853 publication

Most of the gorgeous books and artworks in the show have been acquired by NYPL. The curators have added a range of other items to put Anna’s achievement in context – early herbariums, Anna’s own watercolors, a frame used for making cyanotypes, and Henry Talbot Fox’s first book promoting all the ways that his “photographic drawing” invention could be applied.

To drive the last point home, the curators included a 1839 magazine that wrote about Talbot’s invention. But upon closer inspection, there’s something quite curious: No one had yet figured out how to use photographs as publication illustrations, so the magazine commissioned a woodcut to replicate what a “photographic drawing” looked like!!

Album of 74 artistic cyanotypes created in 1861 by Anna Atkins and her friend, Anne Dixon

Anna’s cyanotype techniques allow her pages to still dazzle 175 years after they were made, compared to other early photo techniques whose images have faded and remain barely visible to the modern eye.

Later in life, Anna collaborated with her childhood friend on artistic arrangements of botanical specimens that went way beyond algae.

The show is dazzling and should serve as an inspiration to anyone with a passion, a collection, and the creativity and drive to take a personal project and see it through to the end.

Walk through the show with our Flickr album.

City Dreams by Bodys Isek Kingelez

Visionary Dorothea model created from cut paper and found objects in 2007 welcomes visitors to the show.

You can see what dreams are made of on MoMA’s upper floor when you walk into a world created by a self-taught artist from Zaire who saw all the possibilities of a new nation as his country transitioned from Belgian colonization.

Closeup of 1996 Ville Fantôme, a large utopian cityscape of cut paper, packaging, collage, and paint.

Bodys Isek Kingelez: City Dreams is a retrospective of visionary cities, skyscrapers, public buildings, stadiums, and monuments created from paper, cardboard, packaging, paint, ink, bottle caps, and other stuff over his lifetime. Experience the sheer genius of it all – and a virtual-reality tour – through January 1.

Three of his eight fully realized city models are featured at MoMA – examples of work that was eventually shown in (and collected by) art museums throughout the world.

Kingelez (1948-2015), who came from a small colonial village in the Congo, was taught by missionaries early on and went on to teach secondary school. But when political change came to the Belgian Congo in the Sixties, Kingelez became determined to contribute his vision to what his country could become.  And he used the materials at hand to create models of buildings that symbolized harmony, peace, and understanding.

After his work was shown in Paris, the international art world came calling, and Kingelez had the opportunity to work full time as an artists, creating ever more elaborate cities and models. Although he never traveled out of Zaire until 1989, Kingelez always imbued an international vision to his creations.

Detail of 1992 Reveillion Federal, a temple to democracy.

The models are precise, clean-cut visions of the future.  MoMA has created a VR-headset experience where you can walk through one of the cities, fly to the top of skyscrapers, and cross bridges to the future.  It’s a great way to enter 2019.

Take a look at our Flickr album of some of the work in this amazing show.

Enjoy this video of the artist himself showing how nature and lofty ideas can be put to work in architecture, engineering, and design:

 

For more on Kingelez and his life, click here. For a soundtrack, MoMA’s assembled a great one from Zaire here.

How Cakes and Pies Got into the Museum

Thiebaud’s 1964 watercolor, Nine Jelly Apples

Treat yourself to a non-fattening way to enjoy all the cakes, pies, and goodies packed into the Morgan’s show, Wayne Thiebaud: Draftsman, on display a through September 23.

As soon as you enter, you’ll see a wall of masterful drawings of the desserts that made Thiebaud famous – luscious candy apples, cupcakes, and candy lightly sketched and drawn in watercolor in a way that makes them shimmer and glow.

The Morgan’s show is the first to turn a spotlight on Thiebuad’s works on paper, where he experimented and played.

Lunch Table, Thiebuad’s 1964 watercolor

Each section of the show illuminates how he mixed commercial art, popular culture, Old Masters techniques, and abstraction to create a unique, colorful, and joyful body of work.

Taking leave of sunny California in the Sixties, Thiebaud took his sketchbook to New York and embedded himself among New York abstractionists who were just starting to claim their place on the world stage.

Thiebuad’s 1964 pastel

He always loved pop culture, storefronts, and cartooning the lighter side of life. When confronted with the grit and angst of the New York abstractionists, he tried giving an AE spin to the storefront windows and rows of food that entertained him as he walked the streets of New York.

But with advice from the most passionate painters at The Cedar Tavern, he was encouraged to paint what he loved and what he knew.

 1964 cross-hatch drawing

Taking that advice, he used traditional techniques and a deft hand to create works that people wanted the minute they saw them. His first New York City exhibition catapulted him to instant recognition. Every painting sold.

During the Seventies, he began to teach, using old masters drawing techniques as a grounding for his students – an approach that he himself used every time he embarked upon a new subject.

The show has side-by-side examples of an ice-cream cone meticulously rendered in cross-hatch technique with more gestural pen-and-ink and watercolors of the same.

1970s Cityscape drawing

The show also includes an impressive wall of streetscape drawings inspired by the up-and-down streets of San Francisco.  The cityscape resembles tectonic plates shifting beneath finely rendered blocks of architecture.

Take a look at our Flickr album here and see more of the pieces from the show here.

Listen to a recollection on how Franz Kline’s admonishment to a young artist turned into a legacy:

Statues Converse in “Like Life” at Met Breuer

Two “ballerinas” — a costumed 1880 Degas bronze and a clothed 2007 mannequin by Yinka Shonibare. Collection: The Met and private.

Can statues talk to one another? If you visit the Met Breuer’s exhibition, Like Life: Sculpture, Color, and the Body (1300 – Now) before July 22, you’ll find out. The 120 sculptures on display across two floors are having some pretty major conversations among themselves.

For starters, just witness the dialog between everyone’s favorite, the dressed bronze Degas ballerina, and Yinka Shonibare’s little girl statue who mimics the ballerina’s pose with a gun hidden behind her back.

Or the “conversation” between modern installations, such as the hyper-real day-in-the-life illusions by Duane Hanson, and the Renaissance statues evoking a more classical human “ideal”.

Is “white” better than color? Does one statue appear more “noble” than other? Do you “like” one better than another? The questions in your head keep flowing as you make your way around corners and bump into other provocative pairings.

Duane Hanson’s 1984 bronze, “Housepainter II.” Private collection

In the galleries devoted to the “presumption of white” theme, you will see and experience what happens when classicists decided apply colored wax to otherwise “white” statues’ to create a more “real” illusion. Does it work?

Witness John Gibson’s 1850s “Tinted Venus.” Victorian audiences were shocked that it looked like a “naked lady” and not like the popular, idealized goddess.

Will this show be the first time you encounter the contemporary life-size Jeff Koons porcelain of Michael Jackson and his pet primate, Bubbles? If so, it will probably stop you in your tracks. It’s right next to an 18th-century painted plaster experiment by Canova. Just what is it about this pairing that seems so “off”?

1894 marble sculpture of Louise Gould by Saint-Gaudens with wax version commissioned to “bring her back to life”. Private collection.

The show pulls from a wide range of collections within the Met – contemporary, European, and the Cloisters – and beyond. It’s all designed to pull art out of its historical context, ask questions, and encourage you to look at historical sculpture in a new way.

What happens when Medieval sculptures of the saints become overtly muscle-bound? How do artists incorporate clothes, hair, and real human teeth to give their creations a different form of life? How to contemporary artists riff on ancient forms to start a new conversation?

1989 reproduction of 1765 mechanized “Sleeping Beauty”. From Madame Tussaud’s, London.

Look at some intriguing selections from the show in our Flickr album.

The Met has convinced other museums to contributed show-stoppers that normally don’t travel – a costumed 18th-century bullfighter from Spain, an eerie 16th-century Florentine “Saracen” mannequin used for jousting, and a highly disturbing life-sized sculpture of 19th-century UK philosopher Jeremy Bentham, which contains his actual body.

The other floor explores “proxies” for the human body, such as life-size mannequins and sometimes creepy artist “dolls.” Sculpting in wax is a tried and true artist technique that gives the appearance of flesh.

Examine the light-breathing mechanized wax beauty from Madame Tussaud’s of London, and the bust of Mrs. Gould that Saint-Gaudens crafted for her bereaved husband so that he could pretend that she was still there.

The journey through the show evokes a range of genuine emotion, strange attraction, and shock, just as the artists intended.

Listen as the curators provide a brief tour of the exhibition:

Grant Wood Puts Sophisticate Spin on American Myths

1930 American Gothic, which Grant Wood modeled on his sister and dentist – an “invented” couple. Collection: Art Institute

Travel the world, but paint what you know.

It seems to be the philosophy that guided the artistic development of our homegrown American painting virtuoso, as told in the Whitney’s revealing exhibition, Grant Wood: American Gothic and Other Fables, on view through June 10.

Although the Art Institute never lets American Gothic leave the Windy City, the famous couple has been having quite a time on the High Line, surrounded by a wealth of beautiful paintings, crafts, furniture, magazine covers, book illustrations, drawings, and lithographs. See our favorites in our Flickr album.

Since Wood’s iconic masterwork burst upon the scene at the Chicago Art Institute in 1930, it’s surprising to know that this is only the third time that Wood has had a one-man show in New York. Whitney curator Barbara Haskell and her staff decided to give Wood the props he deserved by assembling this satisfying and revealing tour of his life’s work.

1930 Arnold Comes of Age, a European-inspired birthday portrait of his studio assistant froom Lincoln’s Sheldon Museum

It’s clear from the start (after you pass the corn chandelier) that Cedar Rapids, Iowa treasured their native son, handing him design and ad commissions galore. Although he always lived close to his mom and sister (the model for the mysterious “Gothic” gal), his artistic direction was solidified fairly early on by trips to Paris and Germany as a young man.

Forget impressionism and expressionism. Wood was captivated seeing the works of Durer and Memling, whose style matched his own precise painterly tendencies.

Returning home, he embarked upon a series of portraits that were completely local (e.g. his mom, art students, neighbors), but harkened back to the centuries-old European style – precisely rendered central figures and metaphorical symbols scattered across shrunken landscapes. Straight out of the 1400s.

1931 folk-inspired The Midnight Ride of Paul Revere from The Met’s collection

When Gothic appeared on the cover of the Chicago Evening Post in 1930, his fate as the quintessential “American” painter was sealed. And he committed himself to staying in the Midwest, painting what surrounded him.

The show takes us through his journey from there: interpreting and busting American myths, celebrating the hometown and ordinary, and sometimes veering into the visual language of folk art to create a feeling of a simplified time.

Cover illustration for Time magazine commemorating famed aviator Wiley Post, September 23, 1940.

When World War II began to brew, Woods was even more convinced that the power of his images could be harnessed to engender a call for action among everyday Americans. Deceptive simplicity on the canvas only underscores his highly sophisticated understanding of the power of symbols, craft, and art history.

Woods embraced many types of WPA and commercial commissions, while keeping up his fine-art output, including selling lithographs (“affordable art”) by mail order. Although one of a naked farmworker got him in hot water with the United States Postal Service, the accusation of “porn in the mail” really didn’t hurt his reputation.

The final two galleries of the show assemble his highly precise, fully modern farm landscapes from a ten-year period – rich, colorful, and geometric until they aren’t. The curators have interspersed gorgeous but melancholy graphite drawings of barren, snow-covered fields. Their presence captures the melancholy of Grant Wood’s final years – grappling with illness and life in Iowa as a closeted man, who died far too young.

1940 charcoal drawing March from Museum of Fine Arts, Houston

Even with the somewhat sobering feel, it’s a glorious gallery to end the show – one that leaves visitors marveling about the skill, talent, and magic wrought by an artist whose they feel as if they are discovering for the first time.

The Whitney persuaded lots of other Iowa museums to contribute to the show, too. They shipped everything but the WPA building mural (click here to see a silent video) at the University of Iowa Ames library.

Take a virtual walk through the show with the audio guide and see photos of the different work as the curators talk.

Listen to the brilliant curator Barbara Haskell, as she puts this man’s work into context:

The Skies Have It: Thomas Cole Paints to Protect Nature

Cole’s 1936 panoramic masterpiece The Oxbow – a call to preserve the rapidly disappearing American wilderness. Collection: The Met

Awestruck by the magnificence of nature, romantic painter Thomas Cole set out to create visions so powerful that they would convince development-obsessed American to preserve landscapes and vistas for future generations.

Although the Metropolitan Museum of Art’s exhibition chronicles his artistic journey, Thomas Cole’s Journey: Atlantic Crossings, on view through May 13, the subtext of the show is how he leveraged the romantic thrill of nature for a higher purpose.

Cole was battling pro-development sensibilities back then, in the same way environmentalists are fighting eco-battles today — 200 years after Cole started sketching upstate New York.

Detail from Turner’s 1829 Ulysses Deriding Polyphemus that Cole sketched in London. Collection: National Gallery

The exhibition sums up how British painters in the early 1800s were rebelling against the horrors of the Industrial Revolution, how Cole romanticized the drama views of nature, and then took the techniques that he learned on his trip to Europe to turn his painting into a call to action.

The most famous Cole works showcased at the Met – The Oxbow and The Course of Empire – are from New York City collections, but the curators have placed Cole’s artistic development into a global context by showing us the powerful Turners and Constables that actually inspired Cole on his Grand Tour of Europe in the 1820s and 1830s. Visitors get to experience them as he did.

Constable’s 1824-28 expressive oil sketch Rainstorm Over the Sea. Collection: Royal Academy

The presence of these landscape giants is exquisite – enormous masterworks with overpowering skies, majestic vistas, mythological allegories, and poignant ruins. The show also includes ethereal and dramatic cloud studies that Constable did out in the open air – works that inspired Cole to do the same.

Back in America, he founded the Hudson River school of painting – the first great art movement of the United States — and encouraged students to learn from nature. They certainly did, as shown by the dramatic landscape paintings by Chuch and Durand.

Take a look at all 76 paintings and studies in the exhibition on the Met’s website and see closeups of our favorite Cole, Turner, and Constable paintings in our Flickr album.

Cole’s 1832-1841 paint box used when he worked outdoors. Collection: Bronck Museum

The Met has given The Oxbow and The Course of Empire series positions of honor at the center of the show. To prepare these six paintings for their showcase, the conservation team did investigative work that uncovered some insights to Cole’s thinking (the video below shows what’s beneath the painted surface).

In the concluding section of the show, the curators point out that Cole’s students and followers didn’t always see eye-to-eye with the preservationist instincts of their teacher.

Cole’s romantic vision of nature fell out of fashion (for a while), replaced by big-sky and big-vista landscapes that elevated the “beauty” of building roads, harnessing nature, and seeding new towns and industries.

Industrial progress in 19th-century America was inevitable, but the experience of seeing Cole’s unspoiled vision of wilderness still shows visitors that there is value in keeping up the fight.

Take a look at the Met’s insightful film about Cole, his inspirations, and what it was like to paint in the Age of Jackson:

And for a glimpse into what the Met’s curatorial team found, watch this silent movie about about Cole’s thought process as he created his masterpiece:

If you miss this magnificent show, you can visit the room where it happened at Thomas Cole National Historic Site in Catskill, New York. More about that trip here.

Church’s 1849 Above the Clouds at Sunrise, a tribute to Cole

How William Wegman Turned His Dog Into a Conceptual Artist

Still from 1972 video “Man Ray, Do You Want To…” featuring Man Ray’s reaction to various questions

Sometimes losing a job is a good thing. Or at least that seems to be what happened to William Wegman, when his contract to teach in the art department didn’t get renewed by the University of Wisconsin – Madison back in 1970.

Like so many others Midwesterners, he packed up and moved to sunny Los Angeles, where the contemporary art scene was just starting to take off.

It ended up being a career-making move that he didn’t see coming.

Photo of 1971 performance-art piece by California artist John Baldassari, “Hands Framing New York Harbor, from Pier 18”

The Metropolitan Museum of Art’s exhibition, “Before/On/After: William Wegman and California Conceptualism”, on view through July 15, harkens back to the three years that Wegman lived in SoCal, populated by other up-and-comers like Ed Ruscha, John Baldassari, David Salle, and Vija Celmins.

The Seventies-era Chicago, Madison, and California art scenes generally had more wit, whimsy, and lightheartedness than the super-serious East Coast art scene, which was showcasing droves of red-hot Conceptual and series artists from New York and Europe, such as Hanne Darboven, Lawence Weiner,  and the Belchers.

William Wegman recollecting his early California years in January 2018

At the time, New York gallery walls were full of framed mathematical series and formulas, endlessly rigorous permutations, semiotic variations, deconstructed analyses, and meticulously documented minimalist photo series. California was the antithesis, with artists poking gentle fun and creating works that were more pop-culture-oriented head-fakes.

By 1970, artists were experimenting with video for the first time, courtesy of Sony’s invention of the Portapak. It was grainy, but you could monitor what you were shooting as you were doing it.

When Wegman arrived in LA, he planned to continue his work, including making short, witty performance videos involving props and sets. But he had an unexpected problem: his wife’s insistence on getting a large dog in LA saddled him with babysitting Man Ray, a big, busy Weimaraner that continuously investigated the props in the studio and gave him spooky, soulful looks as he performed.

Wegman’s 1972 photo series where he tries to teach Man Ray about Conceptual Art practice

When Wegman decided to involve Man Ray in the set-ups and teach him about the serial nature of East-Coast conceptual art, the short videos became insightful and engaging. The first canine art-world star was born.

Although Wegman and Man Ray left California to move back East a few years later, the collaboration was a watershed moment in Wegman’s career.  Every New York and European gallery clamored to include works with Man Ray alongside Wegman’s other photos and performance videos.

1972 Wegman photo “Dull Knife/Sharp Knife”, referring both to the object and the viewer’s own mental acuity in deciphering art

The Met’s show, near the second-floor photography galleries, is a tribute to the fun, inquisitive nature of the Southern California art scene at this turning point in Wegman’s life and was created to honor a special gift: Wegman and Christine Burgin, his wife, donated 174 of these short videos to the Met, along with some of the California photographs and drawings.

To honor this bequest, the Met has created a small black-box theater inside the gallery, where everyone can delight to 99 minutes of less-than-two-minute videos featuring Man Ray and his owner, mostly from the early years.

It’s a chance to see what everyone saw at The Kitchen and Sonnebend when Soho was still an industrial neighborhood.

Still from 1972 video of Man Ray methodically investigating a biscuit trapped inside a glass bottle

The videos are all rough low-resolution snippets that seem to have several layers of meaning. In one, Man Ray propels a glass bottle around the floor of the studio in an effort to extract a biscuit that is trapped inside. In another, the camera stays tight on Man Ray’s face to record the subtle changes in expression as he silently responds to a series of Wegman’s questions, which all begin with “Man Ray, do you want to….?”

East Coast audiences for painstaking methodological investigation and serial word-art never had it so good! Man Ray was everyone’s favorite canine conceptual artist.

The rest of the show features books and photographs from the Met’s collection by Ed Ruscha, Baldessari, and other artists that Wegman knew when he was just starting out.

Still from 1972 video featuring William Wegman in his LA studio, where Man Ray became an art star

Take a look at all of the work in the exhibition on the Met’s website, which also includes stills from many of the videos in the show. Check out the photos on our Flickr site.

But spend some time on the second floor of the Met, enjoying the early work of a witty, shaggy, out-of-the-box artist and his clever, not-so-shaggy dog.

The Met — and Wegman’s black-box cinema — is open 7 days a week and until 9pm Friday and Saturday.

Basquiat: A Singular Sensation

Visitors contemplate Basquiat’s 1982 Untitled

One painting in a white room in a quiet corner is all anyone really needs to contemplate the life, art, and brilliance of Brooklyn’s most celebrated art-world superstar, Jean-Michel Basquiat.

Lest anyone underestimate the reverence in which art fans hold Mr. Basquiat, just observe which paintings are the biggest selfie magnets at The Armory Show or in the survey galleries at MoMA.  You’ll see a constant stream of excited fans posing one by one to record their presence with any canvas by Jean-Michel – rough, gestural, colorful, graffiti-smeared, topical, socially conscious, channeling voices and ideas in a way that’s his alone.

The Brooklyn Museum’s 2005 retrospective of Basquiat was just like that – legions coming to celebrate one of the borough’s greatest stars. Now the museum’s turned the tables – giving everyone a view of their favorite son in a completely different, audacious setting.

“Untitled”, the focal point of the show, acrylic and oil stick

One Basquiat, on view through March 11 at the Brooklyn Museum of Art, provides an almost church-like atmosphere with stark white benches reverently set where fans can sit quietly and contemplate the work of this legendary Brooklyn artist. No flash, no drama – just you and a singular sensation by Jean-Michel.

Japanese collector and Basquiat super-fan Yusaku Maezawa paid a fortune for this painting at auction last May and decided to collaborate with the museum to spread the joy with other fans in Basquiat’s hometown.

Never mind that his bid was the sixth-highest ever made for a contemporary painting – when you buy something that no one else has seen in over 30 years, why not give props to its creator in the classy way he deserves – white room, solitary contemplation, just one work.

James Van Der Zee’s 1982 portrait of Basquiat

A few discrete wall panels explain Jean-Michel’s importance and context, and the little vitrine with his Brooklyn Museum junior membership card says it all about the artist-as-youngster. His mom enrolled him when he was six.

The show is lovingly bookended (outside the white room) with a monumental James Van Der Zee portrait of Jean-Michel and clips from a 1981 film showing the creative genius in action, making his mark on unadorned walls. See our Flickr album.

Get out to Brooklyn immediately to see the hometown hero’s work before it takes flight to Chibu, Japan.

Close up of Basquiat’s brushwork and drawing