ArtTitian With the exception of the museum personnel whose livelihood depends on them, nobody likes a crowd at an art exhibition. Aesthetic experience isn’t encouraged by peering over the shoulders of a half-a-dozen onlookers, the tinny squawk of audio tours, or waiting on what are often onerous lines. Looking at a painting or sculpture is a one-to-one encounter that benefits from an unimpeded view, an amplitude of time, and peace and quiet. That these attributes are absent from the typical blockbuster show doesn’t mean that a real engagement with art is impossible. Only a cynic could claim that the nuances of a Leonardo drawing couldn’t make themselves known through a thicket of gallery-goers. Nor do I want to insinuate that the glories of art should be the purview of a privileged few. It’s just that there&r ... This article is available to subscribers and for individual purchaseSubscribe to TNC (Print and Online editions) Subscribe to TNC (Online only) This article originally appeared in The New Criterion, Volume 21 May 2003, on page 48 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/Exhibition-note-1743
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by Mario Naves On "Maurizio Cattelan: All" at the Solomon R. Guggenheim Musuem, New York. by Karen Wilkin On “Rembrandt and Degas: Two Young Artists” at the Sterling and Francine Clark Art Institute, Williamstown, MA. On "New Formations: Czech Avant-Garde Art & Modern Glass from the Roy and Mary Cullen Collection” at the Museum of Fine Arts, Houston. On “Ai Weiwei: Dropping the Urn, Ceramic Work 5000 B.C.–A.D. 2010” at the Victoria & Albert Museum, London & “The Flamboyant Mr. Chinnery: An English Artist in India and China” at Asia House, London.
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