The New Criterion
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ArtJune 2006 Exhibition note by Marco Grassi On "Veronese's Allegories: Virtue, Love & Exploration in Renaissance Venice" at the Frick Collection. Initiated over a decade ago by its former Director Samuel Sachs, and continued by his successor, Anne Poulet, the Frick Collection has sponsored a series of small, “focused” exhibitions that have added considerably to New York’s cultural landscape. The pace of these undertakings has progressively increased as has their scope and ambition—limited only by the space available in the magnificent Carrère and Hastings-designed hôtel particulier. New Yorkers should be grateful that they are being offered such a steady stream of thoughtfully arranged and intelligently curated “memoranda” in the visual arts. As appropriate adjuncts to the Frick’s permanent collections, these exhibits pertain principally to European painting, sculpture, and drawing, from the fifteenth through nineteenth centuries. Currently arranged in the spacious central rotunda ... 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 24 June 2006, on page 49 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/exhibition-note-3-2429
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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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