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On "Paul Klee—Philosophical Vision: From Nature to Art," which opened at the McMullen Museum of Art, Boston College on September 1 and remains on view until December 9, 2012.
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Paul Klee (1879–1940) may have protested that “we are much too concerned with biography in art,” but this revealing exhibition shows that even the most imaginative artist can’t escape the influence of his own life and times. The show is organized into eight thematic sections, tracing “the artist’s dialogue with nature,” “the drama of existence,” and “movement, flight, and the balance of forces,” as Klee explored them over the decades.
In the satirical etching Comedian (1904), a rumpled-faced actor in a plumed helmet sports a mask that looks much like his own face. Klee, an accomplished violinist and music critic, was also an avid operagoer who considered opera the highest form of theater. This grotesque buffo character presents a maddeningly inconclusive image, but we can still delight in its expressionism and the energy of its pul ...
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This article originally appeared in The New Criterion, Volume 31 November 2012, on page 46
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On "Wynn Bullock: Revelations" at the High Museum of Art, Atlanta
Review of "Forrest Bess: Seeing Things Invisible” at the Hammer Museum, Los Angeles
Reviews of “The EY Exhibition: Late Turner—Painting Set Free” at Tate Britain, London & “Constable: The Making of a Master” at the Victoria and Albert Museum, London.
by Mario Naves
On "Cubism: The Leonard A. Lauder Collection" at The Metropolitan Museum of Art.
by Karen Wilkin
On “Goya: Order and Disorder,” at the Museum of Fine Arts, Boston.
The Walter Duranty Prize for Journalistic Mendacity
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