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White Corset Top Biography
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)(through April 19) The prickly American Regionalist Thomas Hart Benton had his share of detractors. But even they would probably acknowledge that his early mural “America Today” is the best of its kind, a raucous, cartwheeling, wide-angle look at 1920s America that set the standard for the Works Progress Administration’s mural program and has remained a New York City treasure. Now installed at the Met in a reconstruction of its original setting (a boardroom at the New School for Social Research), it captivates with period details (from the cut of a flapper gown to the mechanics of a blast furnace) and timely signs of socioeconomic and environmental distress (exhausted coal miners and hands reaching for coffee and bread). 212-535-7710, metmuseum.org. (Rosenberg)
MoMA PS 1: ‘Bob and Roberta Smith: Art Amnesty’ (through March 8) Bob and Roberta Smith is the cognomen of a British artist who specializes in humorously mocking art institutions and the conventional attitudes they tend to promulgate. The ostensible idea of this show is to give people an opportunity to officially retire from making art and to ceremonially discard works of art they own but no longer want. Unloaded works are displayed along with jazzy signs painted by Mr. Smith on all kinds of surfaces. One proclaims, “Joseph Beuys conclusive proof not everyone is an artist.” 22-25 Jackson Avenue, at 46th Avenue, Long Island City, Queens, 718-784-2084, ps1.org. (Johnson)
★ El Museo del Barrio: ‘Marisol: Sculptures and Works on Paper’ (through Jan. 10) This 30-piece survey, organized by the Memphis Brooks Museum of Art, makes virtues of the artist’s restlessness and eclecticism. It includes her underappreciated works on paper alongside sculptural tableaus that combine woodcarving and assemblage (for instance, “The Family,” a funky nativity scene from 1969 that is dominated by a neon-haloed, heavily bedazzled Virgin). It could have done more, however, to explore her Latin American folk-art influences and Venezuelan roots, which deserve at least as much scrutiny as her ties to American Pop art. 1230 Fifth Avenue, at 104th Street, East Harlem, 212-831-7272, elmuseo.org. (Rosenberg)Paying tribute to museum founder Aileen Osborn Webb (1892-1979), a well-connected philanthropist, patron of the arts and, in the museum’s new parlance, a “maker,” this collection show rich in mid-century objects also brings to life Mrs. Webb’s craft-related activities and organizations beyond the museum. (She had founded the American Craft Council in 1939 and, before that, organized cooperatives of craftspeople up the Hudson in Putnam County during the Depression.) With her vision of a museum connected to various networks and marketplaces, Mrs. Webb affirmed craft — or “making,” or whatever you call it — as a deeply social activity and a source of economic self-empowerment. 2 Columbus Circle, Manhattan, 212-299-7777, madmuseum.org. (Rosenberg)
★ Museum of Modern Art: ‘Henri Matisse: The Cut-Outs’ (through Feb. 8) A popular image of the elderly Matisse is of a serene, bespectacled pasha propped up in bed and surrounded by doves and flowers. But in the years around 1940, he must have felt he was living a nightmare. He and his wife of more than four decades separated. He underwent debilitating surgery for cancer. During World War II, he fled south to Nice, only to have that city threatened with bombardment. Through everything, he worked on. It is this Matisse — the invalid, insomniac, night-worker and waking dreamer — we meet in the marvelous, victory-lap show that has arrived in New York from London, trailing light, praise and lines around the block. 212-708-9400, moma.org; admission is by timed tickets. (Cotter)
Museum of Modern Art: ‘The Paris of Toulouse-Lautrec: Prints and Posters’ (through March 22) In his printed works, Henri de Toulouse-Lautrec chronicled and publicized the music halls, theaters, circuses, operas and cafes of Paris with terrific verve, sly wit and surprising subtlety. This enthralling show presents approximately 100 examples drawn from the museum’s permanent collection. 212-708-9400, moma.org. (Johnson)
★ Museum of Modern Art: ‘Robert Gober: The Heart Is Not a Metaphor’ (through Jan. 18) This 35-year retrospective, haunting 13 beautifully-installed galleries at the museum, presents tenderly handmade sculptures and installations more real than surreal that are as American as apple pie — with the sugar left out. Their familiar yet startlingly altered forms — including playpens, sinks and easy chairs — and truncated human limbs and bodies, have a sharpness that continually bring us up short, conjuring memories both private and shared, including the attacks of Sept. 11. 212-708-9400, moma.org. (Smith)
Museum of the City of New York: ‘Gilded New York’ (continuing) This period-piece of a show revolves around the ritual of the fancy-dress ball: an occasion for lavish expenditures by both host and guests. The gallery, upholstered in eggplant-colored brocade and stuffed with silver and porcelain, could serve as a set for the latest Wharton adaptation or Julian Fellowes’s much-anticipated American follow-up to “Downton Abbey.” Two mannequins wearing evening dresses by Maison Worth of Paris have been posed conversationally before a fireplace surround of Italian marble; one of them is clad in the sparkling “Electric Light” dress, festooned with silver bullion, worn by Mrs. Cornelius Vanderbilt II at the Vanderbilt Ball of 1883. In the catalog and just outside the gallery, photographs show guests at other balls dressed (with no apparent irony) as kings, queens and courtiers from Versailles. Fifth Avenue at 103rd Street, 212-534-1672,
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