Hockney Shows Flying Colors at The Met

David Hockney at the press preview of his retrospective

Through his entire life, commemorated in the Metropolitan Museum of Art’s retrospective, David Hockney has always let the colors fly, from his earliest years as a UK phenom to his most recent digital iPad sketches. Take a look in our Flickr album.

Hockney’s works are hung in chronological order in this big, colorful show, closing February 25 – the only US stop for this joyous celebration of one artist’s life.

The earliest paintings represent the time Hockney burst upon the UK art scene, going from grad student to gallery star in a hot second. Large canvases that explore the still-banned gay lifestyle are followed by colorful, joyful road-trip paintings that mix words, puns, flattened geography, and many exotic personnages of the American West.

Detail of A Bigger Splash, an LA acrylic from 1967

These works represent the launching pad for Hockney’s most iconic period – large canvases of lawns, pools, and sprinklers of growing and glamorous Los Angeles. Big flat Sixties spaces with blue or white water punctuated with remnants of abstract brushwork.

A gorgeous acrylic of Mount Fuji is drenched in Frankenthaler washes. It’s kind of a joke, since Hockney traveled to Japan to enjoy the scenery, but was so disappointed by all the industrial landscape that he settled on commemorating the trip by just doing a painting from a postcard and flower-arrangement guide book. Interestingly, Hockney’s Fuji-and-flower image holds the honor of being the Met gift shop’s best-selling postcard, outselling even Matisse’s haystacks or lily pads.

1990 oil Pacific Coast Highway and Santa Monica

Hockney’s biographical journey continues through galleries that are polar opposites – monumental, famous double portraits of celebrities and benefactors followed by a more intimate space peopled with little drawings of Warhol, other friends, and himself.

The color, size, and character of the rest of the work really crank the show up a notch. It’s like looking at Los Angeles landscapes, the Grand Canyon, or a friend’s colorful living room from the perspective of a drone hovering over it all. Every painting here makes a big, bold statement.

Hockney’s 2010-2013 iPad drawings

When the scale of the landscapes simply gets too big to manage (think Thomas Moran’s masterworks), Hockney just paints it all on a grid of smaller canvases that he can just hang in a grid. Brilliant solution .

The final room showcases Hockney’s most recent work – colorful iPad drawings. At age 80, he wakes up every morning, looks out the window, picks up the tablet, and translates his thoughts into bright, bold beautiful color.

Take a look with curator Ian Altaveer as he walks you through the show:

Modern Japanese Design from Humble Plants Blossoms at Met

2017 immersive bamboo sculpture by Tanabe Chikuunsai IV

Ancient grasses are the medium through which master craftsmen have made eye-popping, intricate statements, as evidenced in the Metropolitan’s exhibition, Japanese Bamboo Art: The Abbey Collection, running until February 4.

The show opens with a dynamic, undulating tiger-bamboo sculpture installation by Tanabe Chikuunsai IV, a modernist descended, trained, and influenced by three previous generations of acclaimed Japanese bamboo innovators.

In fact, families passing on the secrets and traditions in three different regions of Japan is a featured theme of the show. In many cases, work by fathers and sons is shown side-by-side, such as the intricate works by Tanabe’s own great-grandfather and grandfather, and the stunning sculptures by Honma Hideaki and his father, Honma Kazuaki.

Mid-19th c. hanging cicada-shaped basket collected by Moore

The show showcases contemporary and 20th-century bamboo art from the Abbey Collection (which will eventually be given to the Met) alongside 19th-century pieces collected and donated to the Met in different eras.

For example, the Met received a bonanza of Asian art from Tiffany’s artistic director of silver, Edward Moore – over 80 textiles, bamboo baskets, metal work, and ceramics – from his overseas journeys in the 1860s and 1870s.

Beautiful gold-and-lacquered bamboo pieces that he collected are displayed in this show, alongside kimonos, painted screens, and netsuke-toggled containers featuring images of bamboo growing wild.

Modern lines of 1940s Peony Basket by Maeda Chikubosai

There’s also a unique bamboo and rattan bowler hat from the 1880s, courtesy of the Abby Collection, which injects a bit of the “Pacific Overtures” feel to the show, demonstrating how Western influences began to creep into Japan and push artists, such as Shokosai, to use traditional materials in contemporary life. In this case, snappy items sported by fashionable celebrities.

Despite the centuries in which craftsmen shaped large and small specimens of some of the more than 600 species of these grasses, bamboo work remained classified as “craft” versus “art.”

By 1929, however, the up-and-coming generation of bamboo innovators finally accomplished what their artistic ancestors had not – full recognition by the Japanese art hierarchy that their creations were on a par with painting, other types of sculpture, and fashion.

2014 sculpture by Honma Hideaki next to 1983 panel by his father, Honma Kazuaki

An example is Sakaguchi Sounsai’s fruit tray, one of the first pieces of bamboo works accepted into a government-organized national art exhibition. Kudos to the Abbey Collection and the Met for showing how Japanese artists took a humble plant and made it blossom into a dramatic, rich, intricate statement reflecting modern times.

Take a look at everything on the Met’s website and our favorites on Flickr, which shows some of the Moore and Abbey-collected works in chronological order.

To get an idea of the skill involved in transforming these natural materials, watch this time-lapse video of The Gate, the dynamic, undulating installation dominating the show’s entrance, created by a team led by bamboo artist Tanabe Chikuunsai IV.

And listen to Hiroshi Sugimoto, the famed photographer, looks at Tosa Mitsunobu’s 15th-century Bamboo in the Four Seasons screen, also included in this show at the Met, describing how a two-dimensional work brilliantly uses nature to convey the passage of time.

Surrealist Nature Walk and Space Trip at MoMA

One of 147 images from Ernst’s first collage novel in 1929, The Hundred Headless Woman

Drawn mostly from its own collections, MoMA’s Surrealist tribute show “Max Ernst: Beyond Painting,” running through January 1, takes visitors on a nature walk and space trip through the eyes of one of the 20th century’s wildest art innovators.

Ernst cross-pollinated his Data and Surrealist works on paper with his lifelong fascination with natural history, microscopic life, and the furthest reaches of the Universe. MoMA’s showcase of Ernst’s collages, mixed-media mash-ups, and books serve up science and nature in increasingly idiosyncratic ways.

Recovering from his years of service in the German army during World War I, the mysteries of nature, science, and outer space worked their ways into Ernst’s body of work as he founded the Dada movement and transitioned into a leading light of the Surrealist art movement.

Ernst’s 1921 overpainted and embellished science teaching chart.

In the first gallery, Ernst embellished and cut up found illustrations. At a distance, they look charming, but take a closer look. In a small work from 1920, he mixes a dissected beetle and a see-through fish with an illustration from a German military manual about how to conduct chemical warfare from the air.

Nearby, an arresting, colorful painting with meticulous writhing biomorphic forms, who seem to be dancing, is not what it seems. Ernst painted over an otherwise dull science teaching chart showing yeast-cell mutation, turning it into an absurd micro-world where microscopic forms dance, flirt, and carry on.

Slightly surreal bird frottage from Ernst’s 1926 Natural History print portfolio.

A 1924 “Natural History” portfolio in the show demonstrates Ernst’s use of his frottage technique. He creates visions of animals and plants by rubbing crayon on paper over different textured surfaces. It was his contribution to the Surrealist fascination with using unfiltered “automatic” techniques for picture making and novel writing.

Painted rocks, biomorphic forms, and cut-up illustrations made into surreal picture books are on display, along with a Moonrise work. Ernst took burlap, plastered it, spray painted a moonscape, and slathered on thick coats of paint. See this, his butterfly drawing and more in our Flickr album.

Ernst kept drawing inspiration from the natural world as he and his Paris collaborators fled World War II in Europe, tried to adjust as refugees in the United States, and ultimately returned to the Continent.

“Invisible to the naked eye, it appeared in its family to be the furthest from the sun.” An etching in Ernst’s 1964 art book 65 Maximiliana or the Illegal Practice of Astronomy.

The show closes with a magnificent portfolio of work from 1964 that is inspired by a nineteenth-century astronomer’s discovery of a small planetoid. Ernst seriously and whimsically considered what it must have been like to peer into the void of space and find what lies beyond our normal field of vision. In one work, he writes:

“It would be poetic to give the last planets 97 98 and 99 the 3 Fates Clotho Lachesis and Atropos not to cut the thread of research but to wrap up the first hundred of the little planets.”

Ernst spent his life pushing the limits on the edge of discovery.

Here’s a walk though Ernst’s fascinating work with MoMA curator Anne Umland:

Georgia O’Keeffe’s Always-Modern Style

Modern black-and-white dressing even in 1917. Photo: Stieglitz.

Like any home sewer, she was fond of certain fabrics and put a lot of love and care into crafting something she wore (and wore out) through important decades of her life.

In Georgia O’Keeffe: Living Modern, on view at the Brooklyn Museum of Art through July 23, you will experience the pristine care this home sewer gave her hand-tucked tunics for over 60 years after she made them – crème silk, tiny stitches, thin bow ties, and shortened hems, all from the 1920s.

Brooklyn’s had a blockbuster season with this O’Keeffe show. It’s where Georgia had her first museum show in 1927, when she was a fixture on the high-art scene in New York, wearing a dramatic evening wraparound coat with rainbow-surprise lining – an upscale step from the loden cape that was her signature look a few years earlier.

Although many knew her for her Southwestern landscapes, she studied at the Art Students League and got her teachers training at Columbia in New York City. Only then did she take a teaching gig out west at Texas A&M. Stieglitz, her future husband was already showing her work in New York.

Clean lines of handmade silk dresses that Georgia made in the early 1920s.

For years, Georgia lived in Midtown, not too far from Bergdorf’s and other fancy shops. Although she chose an austere, modern look, the proximity to luxury and knowing the detail behind how elegant clothes was part of who she was.

Glimpse items from the show on our Flickr feed.

Once she moved out west permanently after Stieglitz passed, she adopted a select portfolio of western wear – denim shirts, 501s or Lady Levis, and rubber-soled PF sport shoes. No crazy fringe or cowboy frou frou.

Although there are no photos of it in the show, the curators say that her iconic adobe home featured mid-century modern furniture. It’s interesting how she kept up with modern fashion and surrounded herself with sophisticated, sleek lines from her remote perch in New Mexico’s redlands.

Working McCardell and a concho belt in this 1956 Todd Webb photo

She acquired one of the first Puccis sold in the United States – a stark black-and-white “chute” dress — and had a beloved collection of Marimekko and Clare McCardell sport dresses. She felt that McCardell was the greatest designer America had ever produced. So much so, she had the designs copied by local seamstresses.

Georgia’s trips back to New York included stops at Bergdorf’s and at her favorite old neighborhood tailor. Although she wasn’t sewing anymore, she invested a lot of effort to work with meticulous artists who could fashion austere black wool suits into the perfect expression of her, with just a subtle detail added her or there.

The paintings, clothes, and photographs coexist throughout the show, informing your vision of one of the most famous artists of the 20th century.

It’s quite remarkable to realize that every great photographer (in addition to her husband) sought her out (or received an assignment) to capture her no-nonsense image – Ansel Adams, Bruce Weber, Richard Avedon, and Annie Liebowitz.

Sparkling 1980s Warhol shows how Andy feels about Georgia.

Appropriately, one of the highlights is the miniscule Polaroid that Andy snapped of Georgia some time in the Eighties. Her head is closely wrapped in her signature black scarf and she’s as serious-looking as she can be. Andy used it as the basis of a photo-silkscreen portrait that he sprinkled with diamond dust, which gives it an Interview magazine quality.

The piece is surrounded by fashion multiples, large-scale portraits by other famous photographers, big painted abstractions, and multiple images where she sports her Calder art-piece brooch. Her all-knowing, of-the-moment glittery visage peering out of the Warhol frame shows Georgia right in tune with the the modern, changing times.

Watch this brief overview of the show:

Georgia’s multiples from the 1960s — Balenciaga suit, copies, and custom pieces and slacks.

How to Build an Empire at The Met

Close up of Qin chariot horse replicas (221 – 206 B.C.). From: Qin Shihuangdi Mausoleum Site Museum, Lintong

You can’t take it with you, or can you? The Chinese emperor with the terra cotta army thought so. See for yourself in Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C-A.D. 220), on view through July 16 at the Met.

There are only a few horses and men from that monumental undertaking on display, but the terra cotta visitors are stunners. They and the other luxury and art objects on loan from 32 museums and archeological institutions in China provide a vivid look into the culture and pride of a people who were just forming an identity as a nation in 221 B.C. Previously, the Chinese continent consisted of warring ethnic tribes.

Heavenly Han horse and military groom in bronze (25 – 220 A.D) from Mianyang City Museum.

About a century earlier, classical Greek style, art, and ideas washed over Europe and Asia due to Alexander’s empire-building success. At the time of the Qin dynasty, when the Great Wall was being built, scholars wonder whether the Chinese emperors had seen (or heard about) large-scale classical Greek sculptures and asked their artists to out-do their Mediterranean counterparts.

Why not build full armies, cities, entertainment troupes, cavalries, and watch towers and bury them in tombs of the emperors, princes, and princesses to serve them in the after life? Like the Egyptians, the Qin and Han emperors and princes wanted a lot of stuff to use in the afterlife. But unlike the Egyptian style, it was all about personality.

Each large-scale sculpture is imbued with individual flair in their apparel, expressions, hairstyles, and weapons. If you listen to the audio guide, the curators tell us that the large-scale terra cotta armies were mass-produced using molds, but the artists were told to give each sculpture-person a dose of individuality before they were done.

Terracotta cattle (206 B.C. – 9 A.D.) from the Yangling Mausoleum.

That holds true for the animals in the show, too. The Han dynasty had a thing for beautiful, spirited horses and the center gallery in the show displays some beauties. Grooms come along, too.

Apparently the conquering Han rulers kept menageries and ranches, as seen in the show’s room full of rhinos, elephants, cattle, pigs, and animals-turned-into-art-lamps. There’s a twinkle in each of their eyes, too.

Another highlight is the jade suit made for a princess, which was supposed to form added protection in the afterlife. Another is the money tree. Who wouldn’t want one of those?

The show’s objects reflect how many tribes and influences crossed paths over the course of the Han dynasty (think Silk Road) to create the modern view of a single, all-encompassing Chinese culture – diverse textiles, gems, inventions, and ideas.

Han Dynasty belt buckle (206 B.C. – 220 A.D.) from Xinjiang Uyghur Autonomous Region Museum

The final object, a bronze mirror from the Han dynasty, reflects it all – the first recorded inscription expressing the desire for the peoples of the “Central Kingdom” (a.k.a. China) prospering for generations to come. It’s the earliest inscription to reference many ethnic groups considering themselves as one people, one China. 

Take a look at all the objects in the collection on the Met’s site, or look at our favorites on Flickr.

Browse through the catalog to see more spectacular stuff that Han dynasty emperors just had to have:

 

Magical Masterworks End Tour at Met

Boy’s 1870-1900 hide shirt decorated in glass beads in geometric pattern by female Crow artist

Exquisite detail and spiritual power are evident in every item showcased in the Metropolitan’s show, Native American Masterpieces from the Charles and Valerie Diker Collection, closing March 31.

The Dikers have spent a lifetime collecting objects of incredible detail, spirit, and beauty and sharing truly dazzling works with the public, most recently in the Indigenous Beauty show which ends its national tour here in New York.

Every time we have visited the small showcase inside the Met’s African and Mesoamerican galleries, visitors have been pouring over every detail of the weave, beadwork, paint, inlay, and woodcarving on the masks, clay jars, baskets, shirts, coats, hats, headdresses, war shields, and hide canvases on display.

Magical colors, geometric patterns, attached talismans, and even mysterious paint splotches pack powerful messages as animals, spirit-creatures, and half-human beings emerge in two and three dimensions.

1840s man’s European-style hide coat created by a female Naskapi artist in Labrador

The majority of artwork and clothing dates from the 19th and early 20th centuries, but pieces are earlier, such as a nearly perfect Anasazi clay pot from 1100 A.D., which uses geometric 2-D wizardry on the curved surface to convey the interconnection of underground water reservoirs that enable agricultural communities to thrive in the Southwestern desert.

Native designs and magical powers are sometimes merged with European style, as in a man’s painted hide summer coat, which was created by a female Naskapi artist from Labrador, Canada. Designed inspired by European coats, with images for a good hunt, but worn by the hunter for only one season

The curators have taken care to cite the artists in cases where they are known, such as an1880s buffalo-hide shield painted by Joseph No Two Horns, a Lakota artist who participated in the 1876 Battle of the Little Bighorn.

1910 woven quilled basket and 3D lid by Elizabeth Hickox of Northern California

The show puts a spotlight on innovators, who began making monumental works for collectors, such as the large pottery jar by Nampeyo, the first well-known Hopi artist and Elizabeth Hickox, who became known for her three-dimensional embellishments in woven basketry in Northern California.

Enjoy all of the details of our favorites from this show in our Flickr album.

Navajo Jewelry Masters Offer Glittering World at Customs House

Bracelet of coral, opal, suglite, lapis, turquoise, gold, and silver by Raymond Yazzie. Courtesy: NMAI/Knight collection. Photo: S. Franks

Bracelet of coral, opal, suglite, lapis, turquoise, gold, and silver by Raymond Yazzie. Courtesy: NMAI/Knight collection. Photo: S. Franks

If you’d like an immersion into a chamber of glistening silver and gems, enter the National Museum of the American Indian’s exhibition of stunning beauty and tranquility — Glittering World: Navajo Jewelry of the Yazzie Family.

The Smithsonian is providing New York with a unique chance to view 300 remarkable necklaces, bracelets, rings, and buckles from a New Mexico family of artists known for catapulting Navajo symbols, colors, and gems into a modern-art context.

Lapis and gold bracelet by Lee Yazzie, 1984. Photo: E. Aboroso, NMAI.

Lapis and gold bracelet by Lee Yazzie, 1984. Photo: E. Aboroso, NMAI.

The focus is on Lee and Raymond Yazzi, brothers whose award-winning, intricate creations are sought by collectors worldwide. You’ll see five magnificent pieces as soon as you enter, including work by their sister, Mary Marie – representing lifetimes of master craftsmanship inspired by the mountains, sun, sky, spirits, and family in Gallup, New Mexico.

Photomurals inside the door will transport you to the red rock monuments of Navajo Nation, 1950s trading posts along the old Route 66, and maps to turquoise mines that have supplied native peoples with high-end bedazzlers since 300 A.D. The Smithsonian will be returning it all to private collectors after January 10, so be sure to enter this beautiful realm before then.

Watch this testament to artistic inspiration and dedication to beauty:

And take a trip to the Navajo world to hear more on a lifetime of creation:

AMNH Highlights Species Living at the Limits

Tartigrades rule the show -- the micro-animal can survive at high heat, high altitude, high pressure, inhospitable climates, without water, and even outer space.

Tartigrades rule the show — the micro-animal survives high heat, high altitude, high pressure, without water, and even outer space.

If you’ve ever wanted to take a magic carpet ride to visit all the animals, plants, and environments you’ve ever seen on National Geographic or Nova, spend some time inside the special exhibition Life at The Limits: Stories of Amazing Species, running through January 3 at the American Museum of Natural History.

The curators and exhibition staff take you to the absolute limits of life on Earth in a “wow factor” show, organized into topics sure to astound.

How high into the atmosphere do animals live? How deep in the ocean? Who is the world-record holder for bite force? Who makes the longest migratory journey? Who is the award-winner for survival in the extreme?

The show will take you into deep caves, to life among the black smokers in ocean depths, to high altitudes, and even into outer space.

A deep-sea diving champion -- the Southern elephant seal can hold its breath for 2 hours and dive to 5,000 feet

A deep-sea diving champion — the Southern elephant seal can hold its breath for 2 hours and dive to 5,000 feet

And they’ve even thrown in some live creatures, too – the popular Axolotls, who retain their juvenile amphibious form into adulthood, and swimmers using the jet-propulsion method – chambered nautilis. Check out a few views on our Flickr feed.

Not to give anything away, but you’ll find out that vultures have been known to fly at 37,000 feet and beaked whales have been known to dive at least 10,000 feet below the ocean’s surface.

Live Chambered nautilis demonstrates jet propulsion

Live Chambered nautilis demonstrates jet propulsion

Crocodiles have a bit force of 3,700 pounds, electric eels and hammerheads can deliver 600 volts, and eagles can subdue animals of up 20 pounds in weight using only their claws. Arctic Terns may migrate 25,000 miles.

There’s no doubt that the stars of the survivalist show are miniscule tartigrades (better known as “water bears” or “moss piglets”). These miniature eight-legged water creatures inhabit climates that no human could. They are able to survive at temperatures colder than Pluto and hotter than boiling water and have been known to survive in the void of space for up to 12 days.

Moreover, tartigrades are prolific: nearly 1,200 species inhabit Earth in lichen, moss, beaches, and dunes and hold the distinction of residing at the International Space Station and being part of Space Shuttle Endeavor’s final flight.

Artist recreation of tube worms absorbing chemicals from ocean vents three miles under the sea – an environment unknown until 1977

Artist recreation of tube worms absorbing chemicals from ocean vents three miles under the sea – an environment unknown until 1977

How did life evolve to adapt to such extremes? Darwin explains it in his theory of natural selection, which leads to gradual adaptations within animal populations.

But you are left to wander and wonder at the engaging displays, animals, specimens, and movies.

Glimpse some of this fascinating exhibition in this video with co-curators John Sparks and Mark Siddall. By the way, the cover photo below is the Axolotl featured in the show:

Texas Retirement for World Famous NYC Dinos

A 1964 New York Times photo of the Sinclair Dinosaur and Stegosaurus passing by the Empire State Building on their way to the Queens fairgrounds

A 1964 New York Times photo of the Sinclair Dinosaur and Stegosaurus viewing the Empire State Building on their way to the Worlds Fair fairgrounds

The Sinclair dinosaur was a sensation when he arrived in New York City to star in the 1964 World’s Fair. Millions of visitors queued to have their pictures taken with him and get a glimpse of life-size replicas of the scale and scope of the Mesozoic megafauna.

T. Rex, Stegosaurus, Triceratops, Trachodon…never mind that they lived millions of years apart – just to see them inspired science geeks, wonder seekers, and future paleontologists – an unforgettable childhood impression.

It may surprise you to learn that Sinclair and T. Rex are living a blissful retirement in Texas where there are no Unispheres, freeways, lines of tourists, or ticket booths…about 75 miles southwest of Fort Worth in a state park with another unique connection to New York.

Sinclair relaxes in a Texas corral

Sinclair relaxes in a Texas corral

The gargantuan dinosaur trackway up on the fourth floor of the American Museum of Natural History is from the Paluxy River in Dinosaur Valley State Park, where these two former New Yorkers have retired.

Back in the Thirties, AMNH field explorer Roland T. Bird told his boss, Barnum Brown, about the Texas trackways. In 1940, aided by WPA crews, the submerged tracks were excavated, cut into 1,200 pieces and shipped off to the AMNH, the Smithsonian, the University of Texas, and a few other places.The excavation was a media sensation, with chronicles appearing everywhere.

In New York, the jigsaw-puzzle track pieces were eventually reassembled and placed under the Apatosaurus/Brontosaurus, where they remain today.

Apatosaurus atop Paluxy trackway in New York at AMNH

Apatosaurus atop Paluxy trackway in New York at AMNH

The big, round blobby tracks that appear to match those of Apatosaurus are reckoned to be those of Sauroposeidon and the three-toed tracks running right alongside are those of Acrocanthosaurus, a predator.

Even though this spectacular trackway got moved to New York, there are still plenty in in the park. There are at least five big sites, which have all been documented in the Dinosaur Valley State Park footprint-mapping project. See the results here. When you click on each photo mosaics or track overlays, they will open in Google Earth. Find the R.T. Bird site under Track Site Area 2.

But how did the New York dinosaurs get to Glen Rose? The entire dinosaur group toured the United States for a few years after the Fair, right around the time that Texans lobbied to have the Paluxy Trackway declared a state park. No dinosaur fossils at the time, but there were lots of footprints, mostly underwater but a few on the shoreline. Neighboring ranchers donated the land, hoping to keep the site intact and spur tourism dollars.

Sauropod footprints underwater at the Paluxy River, Glen Rose, Texas

Sauropod footprints underwater at the Paluxy River, Glen Rose, Texas

When the Sinclair tour concluded, Atlantic Richfield’s idea was to donate all the dinosaurs to the Smithsonian, but when the Smithsonian said they didn’t want the group, the band broke up. One went to Vernal, one to Cleveland, but Glen Rose was the only location that managed to get the two biggest stars. Did the New York connection make the difference?

It’s hard to know, but the recently opened Perot Museum of Nature and Science features a pop culture corner in its dinosaur hall with replicas of all of the NYC’s World’s Fair dinosaurs!

For the complete story, check out this video of the tracksite and an introduction to the Google Earth mapping project, old videos of Mr. Bird’s historic 1940s excavation, and cameos by the Sinclair dinosaur and friends.

World’s Fair T Rex enjoying a quiet life in Texas

World’s Fair T Rex enjoying a quiet life in Texas

Frida Khalo Extravaganza Ending with Colorful Surprises

NYBG’s Haupt Conservatory is transformed into Frida’s Casa Azul

NYBG’s Haupt Conservatory is transformed into Frida’s Casa Azul

Ever since the New York Botanical Garden installed its Frida Khalo: Art, Garden, Life show, it’s been a nonstop party and feast for the eyes, ears, and tastebuds.

Not sufficient to import fourteen of Frida’s rarely seen paintings for the formal gallery upstairs in its library building, the creative NYBG team has made environments, commissioned artists, designed apps, booked acts, hosted special events, transformed the conservatory, made a wall of cactus, redesigned menus, and even brought in a taco truck to give everyone an immersion into her sophisticated Mexican lifestyle.

This blockbuster sensory experience is in its last week, going out with a bang with a Dia de los Muertos theme as this traditional Mexican holiday collides with our own Halloween. Sugar skulls and whimsical skeletons are taking over Frida and Diego’s pyramid that serves as the centerpiece of the garden portion of the show.

Tissue-paper dresses for The Two Fridas by artist Humberto Spindola

Tissue-paper dresses for The Two Fridas by artist Humberto Spindola

It’s an appropriate mix, given Frida’s own proclivity to merge the everyday with the surreal in her own works. The Library has an exquisite collection of her self-portrait and still life paintings, featuring flowers, animals, and deep-rooted Mexican myth and culture.

Downstairs in the Britton Rotunda, there’s a stunning installation of The Two Fridas by artist Humberto Spindola – side-by-side mannequins wearing tissue-paper dresses in colors that Frida sported, but with the surreal outer heart that she painted more than once. Visitors approach as if it were a shrine with special powers.

Frida’s workspace

Frida’s workspace

The Haupt Conservatory serves up a riot of color with floating blue containers of vivid flowers, the dynamic blue of the recreated Casa Azul, where she lived, pops of the types of flowers with which she adorned her table and sills, and the intensely painted Mexican-style pyramid in the center of it all.

The sensations are so bright that it’s easy to miss the recreation of Frida’s studio, tucked away in the trees to the left of the main event – brushes, paints, paint sticks, and other tools.

Outdoors, the curators have succulents jammed into every piece of oversize Mexican pottery near a “wall” of cactus, replicating a natural fence that Diego had outside his studio for decades.

Soloist from Capulli Danza Mexicana channels her inner Frida for the crowd

Soloist from Capulli Danza Mexicana channels her inner Frida for the crowd

The “Life” portion of the show’s title is represented by the generous schedule of music, performances, films, and events that the NYBG has featured throughout the show’s six-month run. Dance companies, all-female mariachi bands, chefs, and authors provide sensuous infusions of movement, wit, gaiety, and sophistication that Frida embodied her entire life. Flashing red skirts, exciting beats, fast footwork, dramatic flourishes, and meaty conversation all contribute to the experience of who Frida was, how she lived, and what she loved.

Download the exhibition panel to see all the parts of Mexico City that meant so much to Frida and Diego – images of parks, gardens, markets, and historic sites, including photos of Casa Azul.

Download the app for your visit, and go to our Flickr site to see the photos and a few videos of the dancers in action.

Take a look at what the NYBG team achieved:

If you have time, check out the YouTube of the all-star kick-off symposium dedicated to Frida last May.