Tag Archives: Metropolitan Museum of Art


Linda Nochlin had a towering, completely ferocious, revolutionary intellect. The magnitude of her intelligence—well, there are very, very few people like that. She literally changed everything. I think that with her essay “Why Have There Been No Great Women Artists?” in 1971, she made women’s and queer studies possible because of how she reformulated the question. She shifted the focus from subjective experience toward an interrogation of the material aspects of culture: What were the conditions that make things the way they are? By restructuring cultural history, she also gave those of us who were marginalized by it a new way to look at literature and other disciplines. — Deborah Kass

Nochlin—the late scholar, critic, and curator—is the subject of an exhibition at NMWA. See link below for details.


Through October 8.

National Museum of Women in the Arts

1250 New York Avenue, NW, Washington, DC.

From top: Linda Nochlin in front of Philip Pearlstein, Richard Pommer and Linda Nochlin, 1968, photograph by Adam Husted, image courtesy and © the artist and the photographer; Deborah Kass, Orange Disaster (Linda Nochlin), 1997, image courtesy and © the artist; Artnews, January 1971, Women’s Liberation, Women Artists and Art History: A Special Issue, cover painting is Marie Denise Villers, Young Woman Drawing, 1801, Metropolitan Museum of Art, New York City, cover image courtesy and © the publisher; 1959 art history class at Vassar with Professor Nochlin, Class of 1951, image courtesy and © Vassar College; Women Artists: The Linda Nochlin Reader (2015), edited by Maura Reilly, cover image courtesy and © Thames & Hudson; Nochlin in Paris in 1978, photograph by Marion Kalter, image courtesy and © the photographer.


Wangechi Mutu’s project for the façade niches at the Metropolitan Museum of Art—a series of four bronze sculptures titled The NewOnes, will free Us—is nearing the end of its run. Originally extended through June 8, a new closing date will be announced soon.


Metropolitan Museum of Art

1000 Fifth Avenue (at 82nd Street), New York City.

Wangechi Mutu, The NewOnes, will free Us, Metropolitan Museum of Art, September 2019–June 2020. Fourth from top: Mutu in 2019 at the Walla Walla Foundry, applying patina to The Seated III. Images courtesy and © the artist, the Walla Walla Foundry, and Gladstone Gallery.


If [Peter Zumthor’s] new design is built, LACMA can no longer be associated with other encyclopedic museums in the United States that shaped their collections in the 19th and 20th centuries, including the Metropolitan Museum of Art in New York, the Chicago Art Institute, and the Detroit Institute of Arts Museum. Zumthor’s diminished plan would force it to shed the encyclopedic collections that are the very soul of the museum. It commits the original architectural sin of narcissism, of architecture for the sake of architecture.

This let-the-public-chew-concrete moment is all the more shameful because LACMA has gone ahead with demolition just as COVID-19 has taken over the country, state, county, and city, closing down all but essential activities. The administrations of two other museums under construction in Los Angeles — the Academy Museum of Motion Pictures and the Lucas Museum of Narrative Art in Exposition Park — have had the common decency to stop construction, admitting they are non-essential projects, and, hence, not worth risking the health of construction workers. Under the phony pretense that it suddenly cares for the public after having ignored public opinion for over a decade, LACMA claims its intent is to infuse (mostly public) money into the local economy, as though suddenly this deeply selfish boondoggle had an altruistic purpose: job creation. — Joseph Giovannini*

As an imaginary counter to what Giovannini calls LACMA director Michael Govan’s “fait accompli,” the Citizens’ Brigade to Save LACMA accepted proposals from twenty-eight international architectural firms and collections, choosing six final designs in two categories: “Existing Buildings” and “Ground Up.”

The six designs are by Barkow Leibinger, Berlin, with Lillian Montalvo Landscape Design; Coop Himmelb(l)au, Vienna; Kaya Design, London; Paul Murdoch Architects, Los Angeles; Reiser + Umemoto, New York City; and TheeAe (The Evolved Architectural Eclectic), Hong Kong.

See link below for details.

LACMA not LackMA

*Joseph Giovannini, “Demolition Under Cover of Covid-19,” Los Angeles Review of Books, May, 1, 2020.

This week, Los Angeles Times art critic Christopher Knight won the Pulitzer Prize for his series of articles criticizing Zumthor’s design and Govan’s advocacy of it.

From top, designs by: Re(in)novating LACMA, by Reiser + Umemoto, New York (2); Unified Campus, by Paul Murdoch Architects, Los Angeles (2); HILLACMA, by TheeAe (The Evolved Architectural Eclectic), Hong Kong (2); LACMA Wing, by Coop Himmelb(l)au, Vienna; Reimagining / Restructuring, by Saffet Kaya Design, London (2); Tabula LACMA, by Barkow Leibinger, Berlin, with Lillian Montalvo Landscape Design (2). Images courtesy and © the architects and the Citizens’ Brigade to Save LACMA.


In conjunction with her Met Breuer retrospective, Vija Celmins will join curator Ian Alteveer for a public conversation at the Met Fifth Avenue.


Thursday, October 10, at 6:30 pm.

Grace Rainey Rogers Auditorium

Metropolitan Museum of Art

1000 Fifth Avenue (83rd Street entrance), New York City.

See Susan Tallman on Celmins.

Vija Celmins, from top: the artist at Gemini G.E.L. in Los Angeles, 2002, photograph courtesy and © Sidney B. Felsen; To Fix the Image in Memory, 1977–1982, stones and painted bronze, eleven pairs; Night Sky #15, 2000–2001, oil on canvas; Japanese Book, 2007–2010, oil on canvas; Untitled (Moon Surface #1), 1969, graphite on acrylic ground on paper; Heater, 1964, oil on canvas; Shell, 2009–2010, oil on canvas; Suspended Plane, 1966, oil on canvas; Vase, oil on canvas; Lamp #1, 1964, oil on canvas; Envelope, 1964, oil on canvas; Untitled (Ocean), 1977, graphite on acrylic ground on paper. Images courtesy and © the artist and Matthew Marks Gallery.


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The opportunity to experience the iconic, very contemporary work of Leon Golub at the current Met Breuer show is enhanced by the exhibition of work executed during the last ten years of his life.

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LEON GOLUB – RAW NERVE, through May 27.

MET BREUER, 945 Madison Avenue (at 75th Street), New York City.


See: mondediplo.com/golub


Top: Leon Golubcrylic on linen, 89 3/5 × 99 2/5 inches.

Above: Leon Golub, Interrogation, 1992. Both images above courtesy the Metropolitan Museum of Art.

Below: Leon GolubBite Your Tongue, 2001, acrylic on linen, 87 × 153 inches. The Estate of Leon Golub, courtesy Hauser and Wirth.

All images © The Nancy Spero and Leon Golub Foundation for the Arts/Licensed by VAGA, New York.



Leon Golub