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:

Women Rise Up for Cruelty-Free Hats

1885 satin evening dress embellished with swans’ down. Collection: Brooklyn Museum collection, The Met.

While early 20th century American women were still lobbying for the vote, activists first scored a victory for the environment – convincing the United States government to change the laws to protect wildlife and lobby the millinery industry to remove the mania for birds and feathers from the fashion equation.f

The New-York Historical Society’s exhibition, Feathers: Fashion and the Fight for Wildlife, running through July 15, presents a neat three-gallery exhibition that tells a forgotten tale of the citizen uprising and activism that led to a major environmental win for wildlife. Take a look at some of the items in our Flickr album.

The exhibition uses its Audubon watercolor collection to maximum effect.  The final gallery of the show displays JJ’s life-sized depictions of gorgeous water birds in their native habitats, providing an emotional counter-punch to the dozens of disturbing 19th-century hats, muffs, fans, and headgear adorned with plumage of the same creatures in the first gallery.

Must-have 1894 accessory, a gold aigrette with diamonds and feathers from breeding Great Egrets. Collection: MCNY

The show tells the story of the fashion feather craze that swept the world of high society in the 1880s and 1890s across America and Europe – a mania that resulted in large-scale destruction of birds, nesting grounds, and habitats. Destined for millinery shops in major cities, birds were shot and nests ransacked for exotic plumage, fluffy down, and entire bodies of wild and domestic birds that could be artfully arranged across shoulders and on brims.

Aigrettes, a delicate diamond-encrusted tiara, with wisps of egret feathers, were fashion accessories in extremely high demand. Hunters laid in wait for Great Egret males during mating season just to get these little wisps for the European and American trade.

Audubon’s portrait of the majestic male hangs in the final gallery. Its label states that in 1902, London alone received shipments of 1.5 tons of this wispy plumage, representing a sacrifice of about 200,000 birds and perhaps three times that number of trampled Great Egret eggs.

Audubon’s life-size 1821 watercolor of the then-endangered Great Egret. Collection: NYHS

Audubon’s Birds of the World could only be purchased by super-wealthy patrons, but smaller, individual prints of the massive, famous set were widely available and people loved them. Armed with binoculars and inspired by Audubon’s journeys, societies of bird enthusiasts took to pastures and woods to document and enjoy local species across the eastern United States from the 1880s on.

Gallery 2 tells the stories of these early environmental leaders, such as publisher George Grinnell who pioneered Audubon Magazine and Mabel Osgood Wright of Connecticut who used photography to document local bird species and educate others about them.

But even as they enjoyed the diversity of bird species around them, bird lovers, scientists, and environmentalists of the 1890s were horrified by the magnitude of the destruction.  Every fashionable woman on the street was wearing or carrying some accessory with a bird, bird part, or feather. The magnitude of the problem, they knew, was unsustainable.

Contemporary reproduction of an early 20th c. Audubonnet, which uses ribbons, not feathers

They faced daunting odds, since the millinery trade employed thousands, retail giants were benefiting, and the average fashionista simply didn’t want to know.

Emboldened by the activist strategies surrounding suffrage, the concerned women and men protested, lobbied, and offered solutions. One solution was the Audubonnet, a wildlife-friendly design approach that advocated dramatic ribbons and bows to replace wildlife on hats.

Copy of a 1900s newspaper ad selling featherless ladies’ hats.

By 1904, the fashion and retail pendulum swung in favor of the activists. Saks and Gimbels started promoting Audubonnets, and the industry agreed to abandoned the use of exotics and restrict itself to domestic birds and fowl, such as pigeons, doves, crows, hawks, peacocks, turkeys, ducks, and the like.

Buyers felt good about moving away from destructive fashion and sporting eco-friendly looks. The ribbon and artificial flower trade boomed. By 1918, the Migratory Bird Treaty Act passed, banning bird hunting and killing and protecting all bird parts, feathers, nests, and eggs of hundreds of species.

Naturalists, scientists, activists, the Supreme Court, and Theodore Roosevelt all played a part in shifting environmental consciousness and politics of the time – a larger story than this exhibition tells but one that’s outlined in the first-floor TR galleries across the street at the American Museum of Natural History.

Audubon’s 1833 life-size watercolor of the Common Eider, once endangered by down gatherers disturbing eggs and nests in the wild. Commercial farms now raise them and collect their down.

The AMNH’s historic 1902 diorama of the Pelican Island water bird habitat, created to inspire New York audiences to protect endangered wildlife, is long gone from the museum.

But what a pleasure to see the NYHS Audubon watercolors continuing to do the job that JJ intended them to do — amaze, inspire, and bring the wilderness and the birds he loved to life on Central Park West.

How Ancient Tablets and Scrolls Became Books via Socks

Show curator, Georgios Boudalis, and map of how new book technology spread in the ancient world

How did people make the transition from reading and writing on scrolls to creating bound books? And what did it have to do with making socks and sewing?

You’ll take the journey across several centuries in The Codex and Craft in Late Antiquity, an exhibition on early bound book forms on display at the Bard Graduate Center Gallery through July 8.

Curator Georgios Boudalis of Thessaloniki’s Museum of Byzantine Culture explains how papyrus (or parchment) packages were joined together and modified over time by sewing, thread-looping, cutting, gilding, and fancy leather embellishments.

“Poetess of Pompeii” with her tablet, 50-70 A.D. Fresco photo: National Archeological Museum, Naples, Italy

Modern readers constantly debate the pros and cons of reading on tablets versus bound books, so it’s relevant that the exhibition’s story begins with fourth-century tablets.

Ancient tablets are about the same size as iPad minis, evidence that young people were using portable re-writable (i.e. wax) media long before the modern era. Just look at the portrait of the “Poetess of Pompeii.”

Boudalis makes the case that the technological transition to the “big book” idea began when craftsmen started to modify wax tablet frames (i.e. holes and grooves) so they could stitch and loop several together in a stack. After that, the stacks began to sport wooden covers.

The show includes some rare, early ninth-century manuscripts, when this type of book production was mainly commissioned by monastic religious orders.

Tooled and cut leather on 9th c. Gospel uses similar techniques as footwear. Collection: Morgan Library

In 1911 on his annual pilgrimage to Egypt, J.P. Morgan seized the opportunity to buy several old bound manuscripts discovered in a dry well in the Fayum oasis. The bound pages, most likely a Coptic monastery’s entire library, were hidden a thousand years earlier by monks to save their literature and gospels from destruction by invading armies.

The Morgan Library generously allowed Boudalis to examine the fragile bindings on this ninth-century treasure and lent it to Bard for the exhibition.

Along with ancient, fragile works from The Metropolitan Museum of Art, Brooklyn Museum, American Museum of Natural History, Yale, and other American collections, the exhibition’s digital animations and modern replicas vividly demonstrate how craftsmen bound books, embellished covers, and protected sacred writings.

Modern sample of cross-knit looping technique for ancient socks

Complex looped-thread techniques were used to join sections of these early books – technology application used by many ancient cultures. As evidence, the exhibition features ancient woven leather belts and creative looped-knit socks next to woven book straps and looped-thread bindings of the manuscripts.

Complicated textile patterns and interlocking designs on textile fragments are shown next to similar gilded and tooled leather book covers.

Modern facsimile of the Morgan’s 5th century Glazier Codex. By Ursula Mitra

Gilded and tooled leather shoes were likely made by the same craftsmen who cut, tooled, and gilded leather book covers. Take a look at more on our Flickr album.

As ancient people sought more convenient and artistic packages of their intellectual property, they turned to skilled craftsmen to create it.

Listen to the Boudalis speak about the art of sewing and craft in the birth of books and see his examples of Peruvian feathered blankets, Parcas textiles, and fish nets from Camaroon – which all use simple, one-thread loop techniques to create astonishing things:

Native Inventions in Spotlight as imagiNATIONS Center Debuts in New York

Sixth graders listen to explanation of Native American innovation map

The sixth-graders were having the time of their lives cramming into the rocking kayak, finding secret treasures from far-away cultures in the drawers, and comparing sturdy lacrosse sticks made from natural materials.

It was all part of the joyous opening day of the new imagiNATIONS Activity Center, on the ground floor of the Smthsonian’s National Museum of the American Indian, right off Bowling Green in downtown Manhattan.

NMAI officials blessed the proceedings with percussion and chant, but the genuine thrill was seeing the kids pour into the new center to listen to and experience a new take on science, math, and engineering.

Tip of a contemporary surfboard – originally invented by Hawaiians.

When you walk inside, a wonderful wall summarizes the story – a map of North and South America populated with technical inventions by Native Americans over the last several thousand years! It’s a brilliant summary of the fresh ideas that you’ll encounter around the corner.

Although this sparkling, new, inspirational ImagiNATIONS Activity Center was conceived for children, rest assured that any adult museum lover will be blown away by discovering the technical innovation story too.

Although the first settlements in Manhattan and Broadway itself were created by native populations, city dwellers often get so overwhelmed by towering skyscrapers that they don’t immediately connect native cultures with what exists downtown.

Yup’ik kayak frame created by Bill Wilkinson of Kwigillingok, Alaska from spruce, cedar, driftwood, and walrus bone

OK, maybe no one is reading the news on steles in Mayan hieroglyphics anymore, but the much of the work displayed here is made by living, breathing native artists. The next time you’re stuck on a subway because of a signal malfunction, consider the fact that in the Andes, the community assembles each year to repair their chasm-crossing fiber foot bridges. Now, that’s a commuter maintenance plan!

Or consider that Arctic kayaks are custom designed to suit each individual’s weight and shape.  Or that cool surfer dudes in Hawaii are simply carrying on a wave-riding tradition that extends back thousands of years.

Cold weather waterproof kayak-hunting system

Every step makes you stop and think.  How is it that the Mayans were one of three cultures to invent concept of zero in mathematics? What brilliant minds perfected making waterproof parkas from carcass leftovers or salmon skin?  Or the engineering it takes to design watercraft that doesn’t tip?

Sixth graders learn how igloos are engineered.

The mannequin in the corner displays recently crafted components of “system dressing” for hunting from kayaks in freezing waters.  The parka has waterproof stitching and attaches to the kayak opening.  The visor includes walrus whiskers that aren’t just decoration – they transmit subtle, silent vibrations to the visor that tell expert hunters that their prey has shifted course.

Everything you experience in the center was designed to help teachers inject something new to supplement schools’ math and science curriculums. But the fun factor for learners of all ages is truly off the charts.

You’ll experience how all the significant contributions made by native people in food, architecture, sports clothing, agriculture, and engineering really add up in day-to-day modern life. You’ll want to get into the kayak and open all the drawers yourself.

Port Authority executive Janice Stein and colleague who loaned steel cables from the Bayonne Bridge

From attending the opening, we were able to meet the people from the Port Authority of New York and New Jersey, who donated a piece of repair cable from the recently upgraded Bayonne Bridge for the engineering display. Perfect for seeing and touching to see how Andean fiber cables compare to urban steel.

We also heard the story of how the kayak overhead made a 4,000 journey on a sea plane, a ship, and a truck from the workshop of Bill Wilkinson in Kwigillingok, Alaska to Anchorage to Seattle and to New York City.

Take a look at our Flickr album and make a trip to the Battery as soon as you can. The center, like the NMAI, is free, fully staffed, and open seven days a week.

Exploring drawers of textile samples.

Take your own kids, your neighbor’s kids, or your inner child and get your hands on that igloo downtown and think about what you owe the people living south of the border for the invention of chocolate.

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:

Gold and Other Ancient Luxuries at The Met

Gold crown, headband, and ear flares worn by high-status person from Peru’s Northern Coast (Chongoyape), 800 – 500 B.C. Collection: NMAI, Smithsonian.

What constitutes luxury? Something wildly extravagant, made of expensive and rare materials, and incredibly intricate and beautiful.

There’s plenty on display at the Metropolitan Museum of Art in the Golden Kingdoms: Luxury and Legacy in the Ancient Americas, running through May 28.

The show, which returns to New York after a run at the Getty in Los Angeles, is a fulfilling journey that takes you over 3,000 miles through North and South America and across the years – from 1200 B.C. to the Spanish conquest of mighty kingdoms.

The star attraction is gold, which was hammered and fashioned into portable ornaments worn by high-net-worth individuals centuries ago. Crowns, ear flares, and nose ornaments from Peru’s northern coast, made sometime between 800 and 300 B.C., are on display right at the start of the show.

Front of a headdress from Peru (Moche), 300 – 600 A.D. Collection: Lima’s National Museum

But as you wind your way further through time and cultures, many more virtuoso works are displayed – a gold sheet octopus for the front of a headdress and the dramatic crescent-shaped burial ornamentation for the Lord of Sipán, both Peruvian pieces from the Moche culture made 600 years later.

In the center gallery, you encounter whimsical gold sculptures from Colombia made nearly a thousand years later by Colombia’s Muisca people, who “sacrificed” some of these precious items to the gods by tossing them into lakes or cenotes – a practice that unfortunately led the Spanish to believe that the mythical El Dorado really existed.

Incan tunics for votive figures, 1460 – 1626 A.D. From The Met, Field Museum, and AMNH.

Curators segment the show by highlighting the various approaches to luxury by different indigenous cultures – intricately woven textiles, feathered shirts and temple wall hangings, carved jade, monumental stone portraits of royalty, and even a lime container in the shape of a jaguar that is partly made from platinum.

Because materials were sourced so far from where the luxury items were crafted and preserved, the show weaves a rich tale of trade. Networks for jade far from Guatemala, tropical birds far from the Amazon rainforest, and ocean shells far from the dry Andean highlands.

Pair of gold, shell, and stone ear ornaments from Peru’s North Coast (Moche), 200 – 600 A.D. Collection: The Met

The mosaics, beadwork, and of multiple precious-stone inlay are dazzling, both in their visual impact and when you stop to consider the South American supply chain.

The magical properties of shells were acknowledged by everyone in these ancient kingdoms – from the rulers and lords that sported patterned multicolored shell collars to priests using shell-shaped ceramics for ritual offerings to everyday farmers who ensured sufficient rain by scattering broken shells in their fields.

Mixtec mask of spondylus shell, mother of pearl, and turquoise, 1200 – 1521 A.D. Collection: Italy’s MIBACT Museum of Civilization

Spondylus shells – the ultimate in marine adornment – only came from the oceans near Ecuador or northern Peru. Rulers just had to have them.

By the time the Spanish arrived in the New World, the level of artwork was at an all-time high. A particularly virtuoso inlaid Mixteca mask is shown toward the end of the show – one so beautiful that it came into the hands of Count Medici and is on loan from a museum in Italy.

Take a look at the beautiful items on the Met’s exhibition website and our favorites on our Flickr album.

See what’s behind the golden door by taking a peaceful video walk through this gorgeous show. All you’ll hear are the magical Mayan cenote bells:

Find out more by listening to the audio guide of the show here.

Americas Prehistory Revealed in Places No One Has Looked

Fun Greater Coclé monkey plate from Panama’s Rio Coclé del Sur (AD 700 – 850)

It’s easy to think that that prehistory in America is all about the grand architecture of the Mayans, Incas, and Aztecs. But the National Museum of the American Indian wants you to think differently.The current show at NMAI’s Customs House in New York, Cerámica de los Ancestros: Central America’s Past Revealed, on view through May 20, takes you deep into the rain forests of several countries to show how colorful clay pots reveal a rich story of artistic complexity, style, and cross-cultural trends.

The achievement of the show – a multiyear exhibition that began its run at the NMAI in Washington, DC in 2013 – is telling a story through the humble material that nearly every village home knew how to shape. The everyday nature of the items stands in sharp contrast to the Metropolitan Museum of Art’s current Golden Kingdoms show that focuses on the luxury trade.  Yet, it tells a similar tale.

Mayan rain god Chaac makes an appearance on a Guatemalan incense burner (AD 250 – 900)

In skilled hands, artisans over the last three thousand years transformed their clay into whimsical daily objects, powerful ritual tributes, technological implements, and shockingly intricate storytelling media.

NMAI took a ground-up approach to uncovering history, focusing on six relatively unknown sites where discoveries are being made by universities and students in Belize, El Salvador, Honduras, Nicaragua, Guatemala, Costa Rica, and Panama.

The focus is on the pottery, although you also see jade pendants that the Mayans threw into cenotes as offerings in Guatemala and upscale gold and spondylus shell necklaces excavated in Panama’s Greater Coclé sites.

The show emphasizes the style that each cultural group brought  –Mayan incense burners from Guatemala with dramatic portraits of the rain god Chaac, storytelling painted vessels from Honduras, and vessels, plates, and icons depicting monkeys, tapirs, vultures, frogs, and birds of the surrounding rain forest.

Ulúa River jaguar-paw bowl from Honduras (AD 850 – 950)

The sites where these clay treasures were found functioned primarily as agricultural villages, not grand palaces; however, many sites show paved roads leading in and out.

The artistic and archeological evidence makes it clear that local artists were adapting and interpreting the lore, myths, histories, and styles picked up along the bustling trade routes through Central America, where birds, jade, gold, cacao, and humble pots were being traded, used, and refashioned.

Lempa River artists from El Salvador near Palacio, Cuscatlán made armadillo pots and lots of other animals (AD 900 – 1200)

You don’t often link ancient pottery and mass-market production, but at least one case shows a ceramic mold from El Salvador that was used by the artist to crank out Mayan-style pendants about 1,500 years ago.

There’s also a case showing how pottery stamps were used to embellish textiles even further back in time. These stamps are from Honduras and Costa Rica, but you can be sure that techniques to make your everyday cotton tunic a little nicer was fairly widespread.

View some of our favorite items on our Flickr album.

The introductory gallery of the show describes some of the early archeological activities in Central America, which were often spurred by the powerful agri-businesses (e.g. United Fruit) that set up shop in Central America in the early 20th century.

Examples of how pottery stamps were used to print fabric since 300 BC. Here, a Honduran monkey stamp and two others from Costa Rica.

The show makes the point that the next wave of amateur treasure-hunters in the Sixties and Seventies swept a lot of the archeological finds out of the county and into US and European museums.

Today, however, the NMAI salutes the universities, professors, and students throughout Central America that are discovering ancient histories in their own backyards and developing the scientific skills to contribute to the scientific dialogue about the past.

The show leaves you with a sense that the discoveries are just beginning. Watch this video and travel deep into the rainforests and meet the next generation of Central American archeologists on the cusp of making new discoveries:

Download the catalog here to see maps of the area and get to know more about bustling prehistoric cultural production centers you never knew, like the Ulúa river valley in Honduras and the vibrant Gran Cocle in western Panama.

2012 painted Lenca vessel from Honduras — showing that artists are still going strong after 2,000 years

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

FIT Challenges Designers over Shape, Physique, and Fashion’s Future

Red carpet looks for curvy women: Roberto Cavalli’s ensemble, LaQuan Smith’s see-through for Kim Kardashian, and Christian Siriano’s dress for Leslie Jones

Against the historical context provided by examples of how women (and men) have pushed and pulled their bodies into fashionable silhouettes since the 1750s, The Museum at FIT asks a broader, more contemporary question:  Why don’t designers today create attractive clothes for women who don’t fit into a size 2?

The exhibition, The Body: Fashion and Physique, on display through May 5, begins with a thoughtful video in which young New York designers, including Christian Siriano, call for change in the industry to give plus-size women fashion-forward off-the-rack options that project youth, style, and pizzazz.

As usual, FIT has an excellent website for the show, where you can step through 250 years of fashion history in sequence to see and read about how the concept of the “ideal” body has changed.  For some of our favorite items, see our Flickr album.

1845-1855 corset with metal eyelets and 1865 Scottish dress buoyed by hooped crinoline

The 1800s fashions on display from the FIT archive pair undergarments – like corsets, crinolines, and bustles – to demonstrate how fashion emphasized the importance of tiny waists through most of the 19th century. The swags covering protruding bustles eventually gave way to the no-corset looks of early 20th century artistic women who worshipped the exotic excesses of Paul Poiret.

The curators focus on the roots of fashion-induced body issues back then, too. An iPad shows the proliferation of fashion illustrations that draw women with impossibly tiny waists. Nearby, they show evidence from their collection to bust the myth that all corsets were laced tight enough to achieve an 18-inch waist. Simply not true. The illusion of that “ideal” was created with wide skirts and pouf sleeves.

When powerful structure was in: a 1981 dress by Mugler and 1986 jacket by Donna Karan

From there, the show moves through the next 100 years, providing examples of tube silhouettes of the Twenties, languid body-skimming styles of the Thirties when women used girdles to achieve the “ideal” body, the built-in structure of Dior’s New Look, and through to more recent times.

Although the intricate architectural cut of a Thierry Mugler dress would not normally be paired with a soft-tailored jacket by Donna Karen, the curators note that the “ideal” shape for women in the 1980s was athletic, fit, and toned. The pairing of these two designers shows how the impact of powerfully shaped fashion worked for equally well for Grace Jones or for powerfully shaped women who inhabited the C-suite.

In more recent times, the show makes the point that designers and image-makers increasingly shifted the “ideal” shape to the super-young and super-slim, encouraging completely unrealistic expectations about women’s bodies. Men and women obsesses over diets and fitness to achieve body shapes that are fairly impossible goals.

Two padded looks: a 1996 statement dress by Rei Kawakubo and the 1994 Wonderbra

The show concludes where it started – with a conversation about how designers, fashion fans, and the rise of social media are influencing and showing how real women dress today.

A fantastic red-carpet evening gown that Siriano designed for Leslie Jones after a Tweet storm ensued about designers not offering to dress a larger woman serves as the cornerstone content of the show. One dress says it all – class, elegance, beauty, sass, and bravery all summed up in one statement-creation.

Listen to what Christian and the other passionate young designers have to say about where fashion must go for the good of all:

If you have more time, listen to the conversation between Valerie Steele and Tim Gunn, which led FIT’s all-day seminar on this topic. This conversation digs deeper into lack of industry and designer support for less-than-ideal-sized women and concludes with ideas on what emerging designers can do to bring about change.

Nick Mauss Brings NYC Modern Art/Dance Influences to Life at The Whitney

Dancers strike poses inspired by the surrounding works of art in a piece collaboratively choreographed with Nick Mauss

Cecil Beaton’s 1937 Vogue photo of poet Charles Henri Ford in a costume by Salvador Dali

Go when the dancers are there. Entering Nick Mauss: Transmissions, installed on the top floor of the Whitney through May 14, you’ll see them moving behind a transparent scrim as the elevator doors open.

The artist had a vision and the Whitney curators gave him the freedom to scour their deep-storage archives, delineate a space for dancers, install works of art, and write scintillating details about the fruits of his research.

Nick’s vision was to create a visual conversation about the collisions between modern art and dance in New York between 1930 and 1950 – a time when bon vivants, peripatetic painters, scandalous artistes, and boundary-pushing dancers expressed themselves in every manner possible.

He succeeds spectacularly. But the show isn’t laid out in a chronological manner like a history show. It’s more of a curated, free association experience that genuinely works.

Visitors encounter Whitney works that are almost never displayed, photos from the Kinsey Institute, works from the NYPL’s Jerome Robbins Division archive, ephemera from personal collections, and Nick’s own creations.

1928 dancer-inspired sculptures by Elie Nadelman stand in front of Nick’s mirrored mural.

Nick’s put a quartet of live dancers at the center of the swirl, encouraging and challenging visitors to explore clues surrounding them – private artistic photos, Diaghilev’s calling card, costume designs by Dorothea Tanning, a video of Balanchine in rehearsal.

As dancers quietly assume poses, visitors are left to move about and make their own connections. Do the dance poses echo the quiet Gaston Lachaise or Elie Nadelman sculptures, or the over-the-top expressions of NYC ballet superstars in Carl Van Vechten’s slide show splashed across the opposite wall?

Nick’s research unearthed an extraordinary wealth of information about relationships among artists, cross-currents of artistic influence, intimate social circles, and gay life. His idea was to inject a little more color to the American modern-art narrative.

One of 830 slides taken of American Ballet Theatre dancers by Carl Van Vechten, America’s first dance critic.

When the Whitney staff read the captivating associations that Nick uncovered as he selected objects for the installation, they decided that it was too rich to simply identify things in the traditional cut-and-dried museum label card format

The curators mounted Nick’s extraordinary background stories next to the artworks, photos, stage set mock-ups, and costume designs to let visitors get inside Nick’s head and share in his fun.

The stories – like the dance quartet – encourage visitors to connect their own knowledge about the origins of modern dance and modern art in New York with what they see and read:

What impact did modern dance pioneers Loie Fuller and Ruth St. Denis have on 1920s sculpture? How did a Ballet Russe-obsessed cultural impresario convince George Balanchine to start the New York City Ballet?

Reflected in Nick’s mirrored mural, a monitor shows videos of Balanchine rehearsing the New York City Ballet.

What was a sophisticated dance critic doing in his studio with props, costumes, Agnes de Mille, and stars of the New York ballet world?

The beauty of Nick’s installation is that people wandering about the space are able construct their own visual and mental narratives and understand the swirl of modernism from that time in a new way. Take a look at our Flickr album to view some of our favorite works in the show.

The choreographed piece was developed collaboratively by Nick and the dancers. The complete experience is poetic, revelatory, interactive, and constantly in motion.

The dancers perform from 12 p.m. to 4 p.m. daily, and also on Friday nights from 6 p.m. to 10 p.m.

Here’s a short clip of the quartet of dancers performing in the gallery:

And another short clip of duets: