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Black Corset Top Biography
The centenary of the birth of this formidable self-taught urban visionary, activist and New Yorker is celebrated with a riveting selection of his largest, most epic paintings. Their teeming compositions crowd searing events from 20th-century American life into complex amalgams of time, space and color and conduct a fertile exchange with the museum’s Willem van Genk show. 2 Lincoln Square, Columbus Avenue at 66th Street, 212-595-9533, folkartmuseum.org. (Roberta Smith)
★ American Folk Art Museum: ‘Willem van Genk: Mind Traffic’ (through Nov. 30) Brilliantly paired with the Ralph Fasanella exhibition, the American solo debut of this outstanding Dutch artist, who died in 2005 at 78, adds a bright star to the outsider firmament. A draftsman of extraordinary talent, a hoarder and mystic obsessed with maps, travel and transportation, van Genk obsessively recycled found imagery and materials and his own drawings into collages and fanatically textured paintings that convey the sights, sounds and very static of modern life. 2 Lincoln Square, Columbus Avenue at 66th Street, 212-595-9533, folkartmuseum.org. (Smith)
Asia Society and Museum: Nam June Paik: ‘Becoming Robot’ (through Jan. 4) Close on the heels of a large Nam June Paik survey in Washington last year comes this show, which seems to have two aims in mind: to situate Paik, who was born in Korea in 1932 but spent most of his career in New York, as a prescient imaginer of various forms of digital technology and social media; and to consider his identity as an Asian artist, or at least as a kind of Zen floater who made some of his most interesting work from pixels and sound waves circling through space. 725 Park Avenue, at 70th Street, 212-517-2742, asiasociety.org/new-york. (Holland Cotter)
★ Bronx Museum of the Arts: ‘Beyond the Supersquare’ (through Jan. 11) In the mid-20th century, certain Latin American cities looked like the most modern cities on Earth. Not only was their architecture imaginative, so were the ideas behind it: that design could shape civic life; that art and architecture were inseparable; that while Europe and the United States were the cultural powers of the day, South America had a shot at tomorrow. The momentum broke down when a rash of right-wing military coups swept the continent. But the link between art and architecture remained firm and continues to. That’s the subject of this subtle, buoyant think-piece of a show of contemporary work, which extends to an open-air pavilion designed by Terence Gower, set in the lush garden of the Andrew Freedman home across from the museum. 1040 Grand Concourse, at 165th Street, Morrisania, the Bronx, 718-681-6000, bronxmuseum.org. (Cotter)
Brooklyn Museum: ‘Crossing Brooklyn: Art From Bushwick, Bed-Stuy and Beyond’ (through Jan. 4) Billed as a “major survey” of Brooklyn artists, this 35-person show favors artists who venture outside their studios to do various activities social and otherwise. Much is tepid and didactic, but some things are amusing. Nobutaka Aozaki makes portraits of people using a black marker to add their distinctive features to the yellow smiley face on plastic shopping bags. In a triptych of video self-portraits that she made in an airplane lavatory, Nina Katchadourian lip-syncs to a Bee Gees song. A video by William Lamson in which at certain points he appears to be standing on the calm surface of the Delaware River has a transcendentalist vibe. 200 Eastern Parkway, at Prospect Park, Brooklyn, 718-638-5000, brooklynmuseum.org. (Ken Johnson)
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Brooklyn Museum: ‘Divine Felines: Cats of Ancient Egypt’ (ongoing) If your dream of heaven is eternity spent with the pets you love, this show is for you. All of its 30 objects, sifted from the museum’s renowned Egyptian collection, are of cats, big and little, feral and tame, celestial and not. Whether cast in bronze or carved in stone, their forms and personalities were meant to outlast time, and so they have. 200 Eastern Parkway, at Prospect Park, 718-638-5000, brooklynmuseum.org. (Cotter)
★ Brooklyn Museum: ‘Killer Heels: The Art of the High-Heeled Shoe’ (through Feb. 15) Whether you view extra-high heels with lust or horror, as objects of empowerment or objectification, this in-depth survey of elevating footwear from past and present, East and West, is a model of the curatorial craft. It examines its subject from several fruitful angles, including unflattering ones, interspersed with excellent labels, relevant objects of art and especially design, clips from famous films and videos both didactic and artistic. Its main flaw: dim lighting dictated by fragile materials means that some shoes are most visible in the catalog. 200 Eastern Parkway, at Prospect Park, Brooklyn, 718-638-5000, brooklynmuseum.org. (Smith)
★ Drawing Center: ‘Thread Lines’ (through Dec. 14) In the late 19th century, the building that housed the Drawing Center was home to the Positive Motion Loom Company. The center’s current group show invokes that history in, among other works, a lively installation and performance by Anne Wilson. Titled “To Cross (Walking New York),” it features black-clad dancers who wrap the gallery’s four central columns in brightly colored crisscrossing threads, essentially turning them into a giant loom. 35 Wooster Street, SoHo, 212-219-2166, drawingcenter.org. (Karen Rosenberg)
★ Guggenheim Museum: ‘Zero: Countdown to Tomorrow, 1950s-60s’ (through Jan. 7) One of the most experimental of all postwar European art tendencies finally receives a full-dress survey in an American museum, one that was built and opened during its first flowering. While the work’s pursuit of newness — moving parts, mirrored surfaces and glowing lights — wears thin, the seamless pairing of exhibition and architecture is perfect. Both seem alternately radical and quaint. 1071 Fifth Avenue, at 89th Street, 212-423-3500, guggenheim.org. (Smith)
★ Jewish Museum: ‘From the Margins: Lee Krasner and Norman Lewis, 1945-1952’ (through Feb. 1) Inspired by a pairing in the museum’s 2008 show “Action/Abstraction: Pollock, de Kooning and American Art, 1940-1976,” this exhibition orchestrates a profound and sensitive conversation between Krasner and Lewis — one that takes into account their shared visual language as well as different cultural backgrounds (as a Jewish woman and an African-American man). It also suggests that both artists have long been hidden in plain sight: Krasner as the spouse of an art celebrity, Lewis as a black artist whose paintings were more formal than political. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Rosenberg)
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★ Jewish Museum: ‘Helena Rubinstein: Beauty Is Power’ (through March 22) The first museum show devoted to the life and art collection of the cosmetics magnate Helena Rubinstein is a master class in modernism-as-marketing — one that comes with a strong female perspective on 20th-century visual culture. It shows us how Rubinstein adapted Cubism, Surrealism and other avant-garde art and design movements for her personal brand, highlighting new and different standards of beauty and exhorting women to control their own images through makeup and grooming. Mixing biography, business, art, fashion and décor, it recreates rooms from Rubinstein’s salons and reassembles parts of her diverse collection, which included African, pre-Columbian and Oceanic artworks. 1109 Fifth Avenue, at 92nd Street, 212-423-3200, thejewishmuseum.org. (Rosenberg)
★ Metropolitan Museum of Art: ‘Assyria to Iberia at the Dawn of the Classical Age’ (through Jan. 4) Is art from the past pertinent to present? Absolutely. The evidence is there in this magnificently complex show of art from parts of the Middle East, or as the Met prefers to call it, the Near East, that now include Iran, Iraq, Israel, Lebanon, Syria and Turkey. The exchange of materials, ideas and beliefs traced in shipwreck-salvaged objects here speak of a world as globally networked as our own. The wars depicted in Assyrian relief panels are as horrific as those being fought on the same turf today. Look at any precious thing in the show — a Babylonian gold pendant, a Phoenician ivory carving — and know that their equivalents are being looted and sent to destinations unknown today. 212-535-7710, metmuseum.org. (Cotter)
★ Metropolitan Museum of Art: ‘Cubism: The Leonard A. Lauder Collection’ (through Feb. 16) This no-strings-attached gift of 81 Cubist works more than lives up to expectations. Concentrating on the four horsemen of the Cubist apocalypse (Braque, Gris, Léger and Picasso), it outlines the style’s heady transformation of art while giving the museum a foundation in modernism commensurate with its holdings in other eras. It’s a stunning show and thrilling event. 212-535-7710, metmuseum.org. (Smith)
★ Metropolitan Museum of Art: ‘Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry’ (through Jan. 11) The Met presents its third spectacular show of European tapestries in a dozen years and its first to concentrate on a single artist, the polymath Pieter Coecke van Aelst. It may repeatedly make you gasp, whether at the size or realness of the images, their human dramas and sumptuous surfaces, or simply the immense open space that forms the exhibition’s spine. 212-535-7710, metmuseum.org. (Smith)
Metropolitan Museum of Art: ‘Making Pottery Art: The Robert A. Ellison Jr. Collection of French Ceramics (ca. 1880-1910)’ (through March 15) Nearly all the 40 works in this show — from a collection recently donated to the museum — are in a traditional form of vases, bowls and platters. They represent a marvelous variety of styles and influences, including Art Nouveau, Arts and Crafts, classic Chinese traditions and European folk art. What they share is a love for processes and materials and a candid way with the human touch. Most intriguing of all is a curiously clunky small vase by Paul Gauguin, who might have been the George Ohr of European ceramics if he’d stuck with it. 212-535-7710, metmuseum.org. (Johnson)
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Metropolitan Museum of Art: Amie Siegel: ‘Provenance’ (through Jan. 4) Stylish aesthetics and fashionable conceptualism trump documentary realism in “Provenance,” an extremely suave film by Amie Siegel. The 40-minute movie is an instance of institutional critique, an art genre that tries to expose and subvert the workings of the capitalist art market. Specifically, it’s about the scandalous trade in furniture produced for Chandigarh, the utopian city in northern India designed by Le Corbusier and his team and built between 1951 and 1965. Although visually and emotionally captivating, it leaves obscure details that a more conventional documentary would bring to light. 212-535-7710, metmuseum.org. (Johnson)
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