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ArtFebruary 2001 Exhibition note by Mario Naves Mario Naves on “The Draftsman’s Art: Master Drawings from the National Gallery of Scotland,” at the Frick Collection, New York. While I was leafing through the catalogue for “The Draftsman’s Art: Master Drawings from the National Gallery of Scotland,” a phrase leaped out at me. In the introduction, Michael Clarke, Keeper of the National Gallery of Scotland, writes of the “intimacy of intuition and appreciation between creator and viewer.” Although Clarke was specifically describing how we experience Old Master drawings, his statement is applicable to all forms and epochs of art (provided, of course, that we’re speaking of good art: a necessary hedge in this age of slippery standards). That a museum curator should underline and, implicitly, honor the significance of aesthetics may not seem like a big deal—it goes with the job, right? Yet the obviousness of Clarke’s statement shouldn’t shield us from its truth or rarity. In an age when art is too often an adjunct of fashion requiring only a token nod of approval, the reaffirmat ... 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 19 February 2001, on page 50 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/Exhibition-note-2254
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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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