Let's Talk Off Broadway

Yvonne Korshak reviews Off-Broadway, Broadway, Film and Art

Category: Art Exhibitions (Page 1 of 4)

Questioning the Past at Rojas' The Theater of Disappearance. Metropolitan Museum of Art, Roof Garden. All photos Robert Ruben and Yvonne Korshak.

Art Review | The Theater of Disappearance by Adrián Villar Rojas | Metropolitan Museum of Art Roof Garden

… the party’s over …

A. Villar Rojas, The Theater of Disappearance, Metropolitan Museum Roof Garden, Summer 2017

It looks like a party — all those banquet tables (my heart lifted as I thought we’d be served refreshments!)   But don’t try to take a seat.  Only one figure is seated at a table, and his plate is empty (left).

As you move through this world of white, you see the tables are cluttered with elegant but toppled empty goblets, plates and platters with ancient imagery, askew, moldy rolls, chicken bones and scavenger crabs.  On others tables are recumbent figures, alive and dead, writhing humans entwined with tomb effigies. Black sculptures, with chalky white dust drifted onto them, surround and punctuate the “banquet.”

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A. Villar Rojas, The Theater of Disappearance, Metropolitan Museum Roof Garden, Summer 2017

Art Review | First Look and The NY Times got it all wrong | The Theater of Disappearance | Adrian Villar Rojas | Metropolitan Museum Roof Garden

  • The New York Times got it All WRONG.  
  • I kid you not.

* Friday, April 14, 2017, Weekend Arts II, “A Mini-Met Mashup on the Roof” by Jason Farago

It’s no mashup.  My own review will follow as quickly as I can write it.  Meanwhile, have a look …

For my full review, go up one or click here.

The Theater of Disappearance, Rojas' rooftop installation for the Metropolitan Museum of Art, NYC, Summer 2017

A Musical DEcomposition   (my title)

A Musical Decomposition. Rojas' The Theater of Disappearance, Metropolitan Museum of Art Roof Installation Summer 2017

A Musical DEcomposition — detail

Strongman, Qindynasty (221-206 B.C.), Terracotta, H. 61 3/4 in. (156.8 cm), Lent by Emperor Qinshihuang's Mausoleum Site Museum.

Art Review | Age Of Empires: Chinese Art of the Qin & Han Dynasties (221 B.C.-A.D.220) | Metropolitan Museum of Art

… when China became China …

Here is an opportunity to see some of the most remarkable objects of art and archaeology excavated in China.  Because some are so lavish, and in some cases unique, a number have been featured in Western publications including newspapers and magazines, but most have never been seen outside of China.The Qin and Han dynasties together make up the classical period of Chinese art and culture, when the basic forms of political organization and intellectual and artistic paradigms were formed.   The key theme of this period, and of this exhibition, is unification of the vast territory of China under the powerful Qin emperor, Qinshihuang, and its maintenance and expansion in the Han dynasty.

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Max Beckmann in New York, exhibition at Metropolitan Museum, NY, October 19-2016 -February 20, 2017

Art Review | Max Beckmann in New York | Exhibition at the Metropolitan Museum, NY | October 19, 2016 – February 20, 2017

… great expressive power …

Max Beckmann was one of the greatest artists of the 20th century.  In a way, his tragic vision was the truest.

The exhibition includes works made during the three years he spent in New York at the end of his life and works that may have been made elsewhere but are in New York collections.  The focus is on paintings — Beckmann was also a draughtsman, printmaker, sculptor and writer — and though not comprehensive it brings to the viewer the full range of Beckmann’s painting.

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Parker's Transitional Object (PsychoBarn) reflected in the glass of Temple of Dendur gallery while museum Director Thomas Campbell speaks at the press opening

Art Review | Cornelia Parker’s Transitional Object (PsychoBarn) | Metropolitan Museum Roof | Summer 2016

… they never promised us a “real” garden …

Cornelia Parker, Transitional Object (PsychoBarn), site specific installation on roof of Metropolitan Museum, summer 2016

When is a house not a house?  When it’s a Transitional Object (PsychoBarn) by Cornelia Parker, site specific installation for summer 2016, Roof Garden of the Metropolitan Museum

When I first saw photos of Cornelia Parker’s Transitional Object in a newspaper, I thought oh no, why do they have to stick an eyesore on the museum’s lovely roof garden.  When I went to see it actually I found that it’s an intriguing eyesore, not what I’d like best to see on the roof but it does get you thinking.

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Sections of the Telephos Frieze from the Great Altar of Pergamon, 2nd century B.C., in the foreground (Herakles Finding Telephos n the right), with, high in the background, photographs of some of the most central images from the frieze.

Art Review | Pergamon and the Hellenistic Kingdoms of the Ancient World at the Metropolitan Museum 

… from lofty gods to lusty satyrs … 

Arial panorama of the ancient theater at Pergamon and surrounding terrain, poster of exhibition Pergamon and the Hellenistic Kingdoms of the Ancient World, Metropolitan Museum of Art

Panorama of the ancient theater at Pergamon and surrounding terrain, exhibition poster. Those steps were too steep for me — didn’t have the nerve!

Hellenistic Art covers huge sweep of three centuries from the death of Alexander to that of Cleopatra (323 – 30 BC) and in geography.  Through the conquests of Alexander the Great and their aftermaths, Greek culture spread from the Gibraltar to India, casting a defining influence everywhere it went, while absorbing new ideas.   Remarkably, this magnificent exhibit of Hellenistic art, with a focus on the city of Pergamon, is truly large and varied enough to give a fair idea of the whole, and to offer many examples of stunningly beautiful and profound works.

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Vijay Iyer, creator of Relation: A Performance Residency, at the Met Breuer March 18 - 31, 2016

The New Met Breuer | Overview II : Nasreen Mohamedi | Vijay Iyer’s “Relation”

continuing from Overview I … previous post …

Nasreen Mohamedi … and existentialism

With Unfinished:  Thoughts Left Visible on the third and fourth floors of the Met Breuer (previous post, Overview I), the inaugural exhibit on the second floor surveys in over 130 works the career of “Nasreen Mohamedi, an Indian artist, born in Karachi (British India, now Pakistan), who worked in a small format in tones of black, white, grays and taupe, most often using ink and graphite on paper, as well as black and white photography.

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In the exhibition "Unfinished: Thoughts Left Visible", Metropolitan Museum of Art, inaugural exhibition at the new MET BREUER, March 2016

The New Met Breuer | Overview I: The Building and the Inaugural Exhibition “Unfinished”

The opening of the Metropolitan Museum of Art’s new space is a wonderful event. The Met has done this just right!

THE BUILDINGMarcel Breuer's iconic building is the former home of the Whitney Museum and the future home of an extension of the Met. Credit: Wikipedia

OVERVIEW I  looks at the building by Marcel Breuer, and the inaugural exhibition, Unfinished: Thoughts Left Visible. 

The great modernist building designed by Marcel Breuer used to house the Whitney Museum of American Art but the Whitney left the Breuer building, on Madison Avenue and 75th Street, and moved to a new building downtown.  Now the Metropolitan Museum of Art has taken over the Breuer building to create its own new museum space for modern and contemporary art — and as far as I can see, they’ve done everything with great intelligence and dedication – and created a great contribution to cultural life.

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Art Review | “Roof Garden Installation” by Pierre Huyghe | The Metropolitan Museum of Art | Summer 2015

… only there’s no “garden”…

Paving stones are uprooted and water is tricking in and around — is the maintenance crew working on a leak?  No. This is the new art installation on the roof of the Metropolitan Museum.

Huyghe roof garden installation, schist boulder

Huyghe’ roof garden installation, schist boulder

The site is magnificent, nestled in Central Park and among magnificent New York skyline views, but this installation, which has no title, is dull.

In the midst of it all, there’s a large, unworked boulder of Manhattan schist, the stone that forms the familiar outcroppings in Central Park, and supports Manhattan’s skyscrapers.   Some stone dust scattered around the boulder is said to have shaken off during the stone’s transport to the museum, and the artist chose to leave where it settles.

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Art Review | Van Gogh: Irises and Roses | The Metropolitan Museum of Art

… together and apart …

Van Gogh, Irises, 1890, o/c, 36 1/2" x 29 1/8" (92.7 cm x l73.9 cm), Van Gogh Museum, Amsterdam, Photo: Metropolitan Museum of Art

Van Gogh, Irises, 1890, o/c, 36 1/2″ x 29 1/8″ (92.7 cm x l73.9 cm), Van Gogh Museum, Amsterdam, Photo: Metropolitan Museum of Art

This is the first time the two paintings of irises and two of roses are exhibited together, the way van Gogh conceived them and in the order he painted them, four paintings, but monumental in terms of their importance for the history of art – like just about everything van Gogh did in his short life.

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