Critical reviews of books, exhibitions, and projects in all areas and periods of art history and visual studies

Browse Recent Exhibition Reviews

Karen Wilkin and Bruce Guenther
Princeton University Press, 2000. 180 pp.; 220 b/w ills. Cloth $49.95 (0691090491)
Portland Art Museum, Portland, OR, July 14–September 16, 2001; Joe and Emily Lowe Art Gallery, Syracuse University, Syracuse, NY, January 26–February 23, 2003; Columbia Museum of Art, Columbia, SC, March 15–June 17, 2003
Time always takes revenge on a critic. Any writer with an acute sense of the contemporary in art is bound to appear dated eventually, so the recent exhibition and catalogue of Clement Greenberg's private collection at the Portland Art Museum necessarily raises the question of taste: Here it is the critic who is up for judgment. It is easy to notice the fallibility of Greenberg's choices, and in a way too obvious. Would Charles Baudelaire or Denis Diderot come off any better if we saw a show... Full Review
July 23, 2002
Thumbnail
Mariët Westermann
Exh. cat. Zwolle, Netherlands: Waanders in association with Denver Art Museum and The Newark Museum, 2000. 240 pp.; many color ills.; many b/w ills. $29.95 (0914738461)
Newark Museum, Newark, NJ, October 17, 2001–January 20, 2002; Denver Art Museum, Denver, CO, March 2–May 26, 2002
According to Witold Rybczynski's Home: A Short History of an Idea (New York: Viking, 1986), private spaces in households are a Dutch seventeenth-century invention, despite their commonplace nature today. A serious new exhibition and a handsomely produced accompanying catalogue set out to explore this premise by showing Dutch representations of household interiors, as well as actual period furnishings. The exhibition organizer and catalogue supervisor, Mariët Westermann, is far from... Full Review
May 8, 2002
Thumbnail
Nadine M. Orenstein, ed.
Exh. cat. Yale University Press in association with Metropolitan Museum of Art, 2000. 336 pp.; 108 color ills.; 166 b/w ills. $60.00 (0300090145)
Museum Boijmans-van Beuningen, Rotterdam, the Netherlands, May 24–August 5, 2001; and Metropolitan Museum of Art, New York, September 25–December 2, 2001
See also: Hans Mielke, "Pieter Bruegel: Die Zeichnungen":http://caareviews.org/reviews/250, reviewed by Dorothy Limouze As the European Cultural Capital of the year 2001, Rotterdam had something quite special to offer—a sensational exhibition, the likes of which will scarcely, if ever, occur again. Almost all of the total graphic work of Pieter Bruegel the Elder (ca. 1525–69) was on view this past summer at the Boijmans-van Beuningen Museum in the Netherlands. This splendid show... Full Review
September 19, 2001
Thumbnail
Walter Liedtke, Michiel C. Plomp, and Axel Ruger
Exh. cat. Yale University Press in association with Metropolitan Museum of Art, 2001. 640 pp.; 225 color ills.; 526 b/w ills. $75.00 (0870999737)
Metropolitan Museum of Art, New York, March 8–May 27, 2001; The National Gallery, London, June 20–September 16, 2001
By invoking the name of this well-known Dutch cultural idol in the title of their magnificent exhibition and catalogue, the organizers of Vermeer and the Delft School assured historically packed houses for both of the museums that hosted this show. As visitors realized upon entering, however, the show did not focus narrowly upon the genius Vermeer, who produced only about sixteen of the 159 works on display. Rather, its scope was broadly historical, examining the rise of Vermeer's... Full Review
July 16, 2001
Thumbnail
Barbara Butts, Lee Hendrix, and Scott Wolf
Getty Trust Publications, 2000. 330 pp.; 178 color ills.; 127 b/w ills. Cloth $125.00 (0892365781)
The J. Paul Getty Museum, July 11–September 24, 2000; The Saint Louis Art Museum, November 4, 2000–January 7, 2001
Painting on Light: Drawings and Stained Glass in the Age of Dürer and Holbein was a stunning exhibition of 152 drawings and examples of stained glass (see the exhibition review by Christiane Andersson in Burlington Magazine CXLII no. 1173, December 2000, pp. 801–803). The Los Angeles venue included a two-day international symposium (September 15–16, 2000). The exhibition was also seen at the Saint Louis Art Museum. Perhaps the single greatest achievement of this ambitious... Full Review
February 19, 2001
Thumbnail
Pierre Rosenberg
Exh. cat. Yale University Press, 1999. 360 pp.; 99 color ills.; 35 b/w ills. Cloth $65.00 (0300083483)
Royal Academy of the Arts, London, March 11–May 29, 2000; in collaboration with The Metropolitan Museum of Art, New York, June 27–September 3, 2000.
Emblazoned on the cover of the Louvre's new Chardin exhibition catalogue is the image of a girl child holding a racquet and shuttlecock but curiously made-up and dressed like an adult woman. Her cheeks are rouged, her hair is powdered and she wears a circlet of ribbon tied enticingly around a slim white neck. In contrast to the solemn abstract beauty of Basket of Wild Strawberries splashed on the Louvre's 1979 Chardin exhibition catalogue, this detail, taken from Girl with... Full Review
August 23, 2000
Thumbnail
Theodore Stebbins
Yale University Press, 2000. 496 pp.; 84 color ills.; 690 b/w ills. Cloth $75.00 (0300081839)
Theodore Stebbins
Yale University Press, 1999. 208 pp.; 112 color ills.; 30 b/w ills. Cloth $50.00 (0300081693)
Los Angeles County Museum of Art, May 28–August 13, 2000; National Gallery of Art, February 13–May 7, 2000; Museum of Fine Arts, Boston, September 29, 1999–January 17, 2000.
Martin Johnson Heade (1819–1904) marched to a different drum than his fellow American painters in the second half of the nineteenth century. When confreres explored mountain ranges, he discovered marshlands; when they settled in New York City to establish reputations, he continued a peripatetic existence; when others were repeating tired variations on a single theme, he struck out in new directions. His marsh scenes, storm paintings, orchid and hummingbird pictures, and late reclining floral... Full Review
August 23, 2000
Thumbnail
Maureen Hennessey
New York: Harry N. Abrams, 1999. Cloth (0810963922)
High Museum of Art, Atlanta, November 6, 1999–January 30, 2000; Chicago Historical Society, February 26–May 21, 2000; The Corcoran Gallery of Art, Washington, D.C., June 17–September 24, 2000; San Diego Museum of Art, October 28–December 31, 2000; Phoenix Art Museum, February 24-May 6, 2001; The Norman Rockwell Museum at Stockbridge, June 9–October 8, 2001; Solomon R. Guggenheim Museum, New York, November 7, 2001–February 11, 2002
Laurie Norton Moffatt, Director of the Norman Rockwell Museum at Stockbridge, forthrightly states her agenda in her essay "The People's Painter": "Norman Rockwell: Pictures for the American People invites reflection on Rockwell as a force in twentieth-century American art and culture" (24). Moffatt reorients the critical debate by emphasizing Rockwell's cultural influence, rather than dithering about his status as either an artist or an illustrator. The admixture of popular culture... Full Review
June 26, 2000
Thumbnail
Exhibition Schedule: Philadelphia Museum of Art, Philadelphia, PA, March 16-May 28, 2000; Museum of Fine Arts, Houston, TX, June 25-September 17, 2000
Cities as art centers have not always had the attention they deserve, especially in art exhibitions, because of the daunting problems of scale as well as the problems of representation of both the architectural environment and the unmovable monuments. There have been some truly notable exceptions, with particular relevance to this ambitious effort on Rome: Philadelphia's own Second Empire Paris exhibition as well as Detroit's 18th-Century Naples (1981). Once more Philadelphia has taken on a... Full Review
April 1, 2000
Jane R. Becker and Gabriel P. Weisberg, eds.
Rutgers University Press in association with Dahesh Museum of Art, 1999. 170 pp.; 31 color ills.; 61 b/w ills. Paper $35.00 (0813527562)
The Sterling and Francine Clark Art Institute, Williamstown, MA, October 2, 1999-January 2, 2000; The Dahesh Museum, New York, January 18-May 13, 2000;
"Our studio now enjoys the same advantages as the studio of the men, that is to say, we draw from the nude every day from the same model in the same pose as they do; consequently we can now paint compositions of more importance than before." So wrote the Ukrainian painter Marie Bashkirtseff in November 1880. The studio to which she referred was one of the ateliers of the Académie Julian, located in the center of Paris, where she had been studying since 1877. That the women of the Académie... Full Review
March 27, 2000
Thumbnail