The Arts Seen in NYC (Backwards Museum Mile Edition)

Well the Missus and I trundled down to the Big Town the other weekend to see what we could see and say, it was . . . cold. But the artwork was swell.

We hit the city around three o’clock and headed down to the Whitney Museum to catch Grant Wood: American Gothic and Other Fables (through June 10).

Here’s what 99% of the world that knows about Grant Wood knows about Grant Wood.

But there’s more to the artist than one painting of what’s routinely referred to as a Midwestern couple but which was really meant to depict a father and daughter. (In real life it was Wood’s sister and his dentist.)

From the Whitney’s website:

Grant Wood: American Gothic and Other Fables brings together the full range of his art, from his early Arts and Crafts decorative objects and Impressionist oils through his mature paintings, murals, and book illustrations. The exhibition reveals a complex, sophisticated artist whose image as a farmer-painter was as mythical as the fables he depicted in his art. Wood sought pictorially to fashion a world of harmony and prosperity that would answer America’s need for reassurance at a time of economic and social upheaval occasioned by the Depression. Yet underneath its bucolic exterior, his art reflects the anxiety of being an artist and a deeply repressed homosexual in the Midwest in the 1930s.

We liked some of his Arts and Crafts work, such as this corncob chandelier he designed for a number of hotels.

We also got a kick out of Wood’s Lilies of the Alley series.

Wood’s paintings over the course of his career ranged from Impressionistic works to starkly realistic portraits to often-dreamy landscapes. But they’re clearly not to everyone’s taste.

Exhibit Ugh: Peter Schjeldahl’s New Yorker review. Representative sample:

[Wood] was a strange man who made occasionally impressive, predominantly weird, sometimes god-awful art in thrall to a programmatic sense of mission: to exalt rural America in a manner adapted from Flemish Old Masters. “American Gothic” . . . made Wood, at the onset of his maturity as an artist, a national celebrity, and the attendant pressures pretty well wrecked him. I came away from the show with a sense of waste and sadness.

Okay then.

From there we moseyed up to The Museum at FIT for something completely different, starting with Norell: Dean of American Fashion (through April 14), a knockout retrospective tracing the career of Norman Norell, “one of the greatest fashion designers of the mid-twentieth century . . . best remembered for redefining sleek, sophisticated, American glamour.”

Very impressive.

Also currently showing is The Body: Fashion and Physique (through May 5), a typically workmanlike FIT exhibit, and Pockets to Purses: Fashion + Function (through March 31), which is a total hoot.

Personal favorite:

Gives a whole new dimension to keep it under your hat, eh?

* * * * * * *

Saturday morning we bussed up to the Museum of the City of New York with the intention of doing the Museum Mile in reverse. First stop was Mod New York: Fashion Takes a Trip (through April 1). Talk about the Wayback Machine.


New York on Ice: Skating in the City (through April 15) was also a delightful walk down Memory Lane, while New York Silver, Then and Now (through July 1) was, well, sterling.

New York Silver, Then and Now links the rich history of silversmithing in New York City to present-day artistic practice. It features newly commissioned works by leading metalworkers, created in response to historical objects from the Museum’s collection.

The Museum’s holdings, widely recognized as one of the foremost collections of American silver in the nation, include leading examples of silver designed and produced in New York from the mid-17th through the 20th century. Comprised of more than 1,800 works by such notable craftsmen as Cornelius Kierstede, Myer Myers, and Charles LeRoux , and renowned retailer/manufacturers like Black, Starr & Frost and Tiffany & Co., the collection demonstrates how, for over four centuries, the city’s silversmiths and designers have adapted international styles to make them distinctively “New York” in look and feel.

You can get a behind-the-scenes look at the exhibition here.

From MCNY we dropped down to the Jewish Museum for Veiled Meanings: Fashioning Jewish Dress, from the Collection of The Israel Museum, Jerusalem which frankly I didn’t get because I have a goyishe kop. Then again, it doesn’t really matter because the exhibit closed yesterday.

Well worth seeing, though, is Scenes from the Collection, “a new, major exhibition of the Jewish Museum’s unparalleled collection featuring nearly 600 works from antiquities to contemporary art — many of which will be on view for the first time.”

Among those works, there was Mel Bochner’s The Joys of Yiddish.

And Louise Nevelson’s Self-Portrait.

Plus 59o-something other absorbing works.

Absorbing in a very different way was the Cooper Hewitt’s main exhibit, Access + Ability (through September 3).

There has been a surge of design with and by people with a wide range of physical, cognitive, and sensory abilities. Fueled by advances in research, technology, and fabrication, this proliferation of functional, life-enhancing products is creating unprecedented access in homes, schools, workplaces, and the world at large. Access+Ability features over 70 innovative designs developed in the last decade. From low-tech products that assist with daily routines to the newest technologies, the exhibition explores how users and designers are expanding and adapting accessible products and solutions in ways previously unimaginable.

Very impressive overall.

From there it was on to the Neue Galerie for Before the Fall: German and Austrian Art of the 1930s (through May 28).

Neue Galerie’s description:

This exhibition, comprised of nearly 150 paintings and works on paper, [traces] the many routes traveled by German and Austrian artists and [demonstrates] the artistic developments that foreshadowed, reflected, and accompanied the beginning of World War II. Central topics of the exhibition [are] the reaction of the artists towards their historical circumstances, the development of style with regard to the appropriation of various artistic idioms, the personal fate of artists, and major political events that shaped the era.

The Missus’s description: “As someone who loves German Expressionism, I think this exhibit is creepy and not very good.”

So moving on . . .

Our last marker on the Museum Mile was the Met, where we made a beeline for Birds of a Feather: Joseph Cornell’s Homage to Juan Gris (through April 15), ” 18 boxes, two collages, and one sand tray created in homage to Juan Gris, whom [Cornell] called a ‘warm fraternal spirit.'”

Here’s what started Cornell’s homage.

From the Met website:

The Man at the Café is the largest collage by Gris, and the only one to feature a human figure. Inspired by the fictional criminal mastermind Fantômas, popular in serial novels and silent films, Gris humorously captured a shady character hiding his face, his fedora casting an ominous shadow. The newspaper article, cut and pasted from Le Matin, reads, “One will no longer be able to make fake works of art,” although Gris himself attempted to trick the eye with the wood-grain paneling of the café interior.

Cornell’s Gris boxes include various collage materials that mimic this image: the French newsprint and mastheads, trompe l’oeil wood grain, and black cut-paper silhouettes. They also subtly reiterate the blue, yellow, and orange accents. The white plumage of the cockatoo that inhabits these boxes even “parrots” the brimming foam of the man’s beer.

Representative sample:

As with much of Cornell’s work, it was both engaging and engrossing.

While we’re doubling our adjectives, Golden Kingdoms: Luxury and Legacy in the Ancient Americas (through May 28) was both exhaustive and exhausting. Pack a lunch.

On the other hand, Quicksilver Brilliance: Adolf de Meyer Photographs (through April 4) was a bit of high tea.

A member of the “international set” in fin-de-siècle Europe, Baron Adolf de Meyer (1868–1946) was also a pioneering photographer, known for creating works that transformed reality into a beautiful fantasy. Quicksilver Brilliance is the first museum exhibition devoted to the artist in more than 20 years and the first ever at The Met. Some 40 works, drawn entirely from The Met collection, demonstrate the impressive breadth of his career.

Public Parks, Private Gardens: Paris to Provence (through July 29)provided a placid finish to our Met crawl.

Drawn from seven curatorial departments at The Met and supplemented by a selection of private collection loans, Public Parks, Private Gardens: Paris to Provence [features] some 150 works by more than 70 artists, spanning the late eighteenth through early twentieth century. Anchored by Impressionist scenes of outdoor leisure, the presentation will offer a fresh, multisided perspective on best-known and hidden treasures housed in a Museum that took root in a park: namely, New York’s Central Park, which was designed in the spirit of Parisian public parks of the same period.

Including one of our favorites, Parc Monceau (here by Claude Monet).

From there we drifted down to our coffee shop of choice, The Red Flame, miles away from the Museum Mile.

* * * * * * *

On the way back to Boston we swung by Hartford’s Wadsworth Atheneum to catch Gorey’s Worlds (through May 6).

For more than 50 years, Edward Gorey’s spare pen and ink drawings illustrating tales of hapless children, kohl-eyed swooning maidens, and whimsical creatures have delighted and amused audiences. Gorey’s Worlds is the first museum exhibition to explore the artistic inspiration of the famed American artist and author by presenting his personal art collection alongside art of his own creation.

Gorey’s Worlds is centered on his personal art collection, which he chose to bequeath to the Wadsworth Atheneum Museum of Art, the only public institution to receive his legacy. Gorey held the institution in high regard for reasons including a shared connection to the ballet and famed choreographer George Balanchine, whose histories date back to 1933 at the Wadsworth Atheneum. When Gorey lived in New York City, he attended nearly every performance of the New York City Ballet under Balanchine’s direction from 1953-1983, and he frequently stopped in Hartford when traveling between the city and his Cape Cod house in Yarmouth Port.

The exhibit was, well, peculiar. But worth seeing regardless.

Then it was home again, home again, jiggedy jig.

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It’s InternADtional Women’s Day at the New York Times!

As the New York Times notes in this piece today, the 2018 version of International Women’s Day has a special dimension to it.

International Women’s Day 2018: Beyond #MeToo, With Pride, Protests and Pressure

ROME — In the era of #MeToo and Time’s Up, International Women’s Day arrived on Thursday with a sense of urgency and determination.

For many women, there was a keen awareness that there had been a major shift in the firmament when it came to gender parity, the treatment of women in the workplace and sexual dynamics.

But others — scratching out lives in developing countries in Africa, toiling away at jobs with little pay in Latin America or scrambling to raise children without help in the Middle East — most likely had little time left over to reflect on the one day of the year designated to celebrate “the social, economic, cultural and political achievements of women,” as the website says.

And then . . . there’s the advertising . . . in the Times.

Start with this ad from Gucci’s Chime for Change.

Special gift with purchase for Gucci: Olympic skater Adam Rippon is wearing a sweater with “Gucci” written all over it in this front-page Style section profile.

Next up: Lululemon.

Final graf:Funny thing, “enough already” is what market watcher Seeking Alpha is also saying about Lululemon’s stock.

From there the Times drops in a couple of house ads, the first of which features senior video journalist Mona El-Naggar.

Following that comes another in the paper’s The Truth Has a Voice series.

That ad promotes the Times’s new Overlooked collection of slowbituaries, which debuts today.

Whew. At this point we could all use a drink, right?

But wait – don’t walk off yet. There’s yet another ad, this one from Hiscox Insurance in the Business section. Here’s the kicker:

Let’s just leave it at that, shall we?

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Serena Williams Now Looks to Re-produce On the Tennis Court

For those of you keeping score at home, it’s been five months since Serena Williams almost died giving birth to her daughter, Olympia. But now Williams is ready to see her tennis career reborn, as Sports Illustrated notes.

Williams restarts her tennis career on the WTA tour next week with 23 major titles. She’ll play an exhibition match Monday night at Madison Square Garden in New York, then compete at Indian Wells, California, in her first tour event in more than a year.

And to celebrate her return, Williams’ doubles partner Nike is serving up something of an adstravaganza.

Start with this double-truck in yesterday’s New York Times.



Body copy:



Then there was this spot on last night’s Academy Awards broadcast.



So, to recap:

There’s no wrong way to be a woman. But there’s sure one right way to be Serena Williams.

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Dead Blogging ‘Inventur’ at the Harvard Art Museums

Well the Missus and I trundled over to Cambridge the other day to catch Inventur—Art in Germany, 1943–55 at the Harvard Art Museums and, say, it was wunderbar.

From their website:

The first exhibition of its kind, Inventur examines the highly charged artistic landscape in Germany from the mid-1940s to mid-1950s. Taking its name from a 1945 poem by Günter Eich, the exhibition focuses on modern art created at a time when Germans were forced to acknowledge and reckon with the atrocities of World War II and the Holocaust, the country’s defeat and occupation by the Allies, and the ideological ramifications of the fledgling Cold War. Chosen for the way it helps characterize the art of this period, the word Inventur (inventory) implies not just an artistic stocktaking, but a physical and moral one as well—the reassurance of one’s own existence as reflected in the stuff of everyday life. The exhibition, too, “takes stock,” introducing the richness and variety of the modern art of this period to new audiences, while prompting broader questions on the role of the creative individual living under totalitarianism and in its wake.

There are a lot of terrific artworks there, among them this piece by Jeanne Mammen.



We also especially liked the sculptures of Hans Uhlmann (pictured above and below).



The exhibit runs through June 3rd. Trundle over if you get a chance.

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Mitt Romney: U.S. Senate Hopeful, U.S. Senate Huckster (3)

Latest in our ever-expanding series

As someone said about the blizzard of Barackaphernalia at the 2008 Obama inauguration, “When Americans want to celebrate, they turn to merchandise.”

But Mitt Romney (R-Wherever) is getting downright pushy about merchandising in his nascent quest for the vacant U.S. Senate seat in Utah.

After flacking bumper stickers and t-shirts in vain to the hardducking staff over the past few days, Romney sent us this email with the subject line, “Your request is missing.”

Memo to Mitt: No, our request is not “missing.” It’s actually “never coming.”

The same, we’re guessing, cannot be said of your requests.

P.S. In today’s Boston Globe, the redoubtable Dan Wasserman clearly took our previous advice.

Question is, when will the Accidental President hose Romney down?

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Mitt Romney: U.S. Senate Hopeful, U.S. Senate Huckster (2)

Second in what we expect will be an endless series

In his three-day-old journey to become the junior – at 70! – senator from Utah, Mitt Romney (R-Wherever) has already solidified his bid to represent the merchandising wing of the Republican Party.

Yesterday the hardworking staff noted Romney’s bumper sticker pitch. Now comes Mitt’s t-shirt position.

Once again we ask: Isn’t this a bit lowbrow, Mitt?

Surely you can afford to take the high road – especially since you’d be the second politician in U.S. history to serve as the governor of one state and the senator from another.

Then again, given the current political climate, bring on the travel mugs (and remember good old Seamus).

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Mitt Romney: U.S. Senate Hopeful, U.S. Senate Huckster

Well, that didn’t take long.

Yesterday Mitt Romney (R-Wherever) threw his top hat into the Utah Senate race with this tweet.

And, apparently, to sell some merchandise, because about five minutes later this email landed in the hardworking staff’s inbox.

(To be sure graf goes here)

To be sure, that sort of pitch is campaign business as usual and perfectly in keeping with Romney’s announcement that “[if] you give me this opportunity, I will owe the Senate seat to no one but the people of Utah. No donor, no corporation will own my campaign or bias my vote.”

That’s great, but c’mon, Mitt – do you really need ten bucks from schlubs like us to fuel your all-but-inevitable victory? The cost of this race would be lunch money to you. Why not do something truly radical and zip-zone those stickers to every Utah resident on your own dime?

That would totally “serve Utahns”- which is quite possibly the most awkward state designation ever.

And that, you have to adMitt, is just so Romney.

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David St. Hubbins Was Way Out Front the Current Curling Craze

If you splendid readers have any doubts that curling is all the rage among Olympic sports, this Kansas City Star piece by Pete Granthoff should quell them.

Mr. T loves watching Olympic curling. ‘You heard me, curling Fool!’

Like clockwork, the sport of curling gets its moment in the spotlight every four years . . .

For example: Mr. T, the star of “Rocky III” and “The A-Team” tweeted about the sport.


We pity the person who tries to top that.

But Jason Gay’s column in yesterday’s Wall Street Journal actually does, as he extols curling outfits.

You probably watch curling for the feats of athleticism, but I watch it for the style, and curling has had a surprisingly large number of style highlights. The Norwegian curling team has revolutionized party pants. Team USA curler Matt Hamilton’s mustache could basically be the Wisconsin state flag.

But the OAR curling outfits are slick. Black and white, slim cut, with the OAR circle logo over the left breast—it’s reminiscent of early Helmut Lang, or Hedi Slimane’s influential run at Dior Homme. Yes, you’re reading an article in the sports section, but stay with me. It’s conspicuously good clothing—you’d wear this stuff. I, on the other hand, would probably have to stop eating pizza for a year.

Then again, nothing tops ESPN’s classic spot featuring Spinal Tap’s immortal David St. Hubbins creating theme music for SportsCenter.



Let’s all go bloody curling, indeed.

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Where in the World Is Janet Langhart? Back on Tour with Anne Frank & Emmett Till

The hardworking staff is certain you splendid readers remember Janet Langhart  (currently Janet Langhart Cohen), whose Boston resumé includes a 1981 stint on WCVB’s “Five All Night” with Matt Siegel – and a bonus Robin Young cameo (at 3:57).



Fast-forward to the other week and here’s Langhart Cohen in the New York Times.

As it happens, the play isn’t new – only the ad is.

Here’s Morgan Freeman touting the play six years ago.



Lots more Frank & Till material here.

No big message here – just thought you’d be interested to know that Janet Langhart Cohen is back in, well, play.

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Dead Blogging ‘Georgia O’Keeffe’ at Peabody Essex Museum

Well the Missus and I trundled up to Salem the other day to catch Georgia O’Keeffe: Art, Image, Style at the Peabody Essex Museum and, say, it was swell.

(Full disclosure: Neither of us is all that crazy about O’Keeffe’s skull ‘n’ bones New Mexico paintings. We much prefer her earlier work, as exhibited in the 2009 Circles of Influence show at the Sterling and Francine Clark Art Institute.)

Regardless . . .

Georgia O’Keeffe: Art, Image, Style is the first exhibition to explore the art, image and personal style of one of America’s most iconic artists. O’Keeffe’s understated and carefully designed garments, many never before exhibited, are presented alongside photographs and her paintings, illuminating O’Keeffe’s unified modernist aesthetic and distinctive self-styling. For more than 70 years, O’Keeffe shaped her public persona, defied labels and carved out a truly progressive, independent life in order to create her art. Her aesthetic legacy — compact masses, organic silhouettes, minimal ornamentation, and restrained color palettes — continues to capture the popular imagination and inspire leading designers and tastemakers of our day.

As for O’Keefe’s earlier work, the exhibit has some excellent examples. Representative sample:

Georgia O’Keefe: Art, Image, Style runs through April 1. Well worth the trip.

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