It operates as a refuge for a civilizing element in short supply in contemporary America: honest criticism
ArtWhat a relief it is to take a trip uptown to the Studio Museum in Harlem for the exhibition To Conserve a Legacy: American Art from Historically Black Colleges. The Studio Museums sober and even reverential approach to the works of art currently in its care is in contrast to the trendy fripperies found at MOMA. The two hundred or so pieces on display are culled from the collections of Clark-Atlanta, Fisk, Hampton, Howard, North Carolina Central, and Tuskegee Universities. The show is a distinctly American one and includes a wide variety of figures like Georgia OKeeffe, Josef Albers, Alfred Stieglitz, Arthur Dove, and Charles Demuth. The conservative aspect of the show refers not only to an artistic and historical consciousness, but also to a practical one: as one of the shows initiatives, a training program for the preservation and rehabilitation of art has been instituted. ... 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 17 June 1999, on page 50 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/conservealegacy-naves-2845
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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. Webcasts
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