ArtMay 2002 Exhibition note by Mario Naves On “H. C. Westerman” at the Hirshorn Museum & Sculpture Garden, Washington, D.C. About eight years ago, I had a memorable and somewhat apprehensive conversation with a close friend, a painter. At the time, his wife was expecting their first child and the topic of discussion was parenthood. I asked if he had considered how the responsibilities of being a father might alter the diligent schedule he kept at the studio. He replied that this was a concern, but that his plan was basically to take the child to the studio with him. When I pointed out that young children are rarely content to sit and entertain themselves for hours on end, my friend answered that this problem was taken care of. All that was needed to keep a child occupied, I was told, was a playpen, a sack full of feathers, and a bucket of molasses. When I asked which child-care expert recommended this unconventional brand of behavioral enrichment, he replied: H. C. Westermann. At the time of this conversation, the artist H. C. W ... 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 20 May 2002, on page 53 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/Exhibition-note-1971
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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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