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ArtJune 1999 Exhibition note by Mario Naves On Hans Hofmann, at the Metropolitan Museum of Art, New York The physical symbol of France is a cock wrote Hans Hofmann (18801966) in 1949, punning on the words double meaning in English while likening the strength, tenacity, and courage of the School of Paris to a more than obvious priapism. Surely, there have been more elegant metaphors in the history of art, yet the vulgarity of Hofmanns statement is indicative of his earthy and robust sensibility. Hans Hofmann in the Metropolitan Museum of Art is a small show that captures the go-for-broke nature of this pivotal figure in twentieth-century American art. The exhibition contains about a dozen paintings, a gallery of drawings, and a sampling of studies by his students, including Lee Krasner, Fritz Bultman, and Myron Stout. Hofmanns status as a teacher is, of course, legendary and has often colored his reputation as a painter. Is Hofmanns artistic achievement hampered by pedagogy, as ... 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 51 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/hanshofmann-naves-2846
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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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