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Patricia Marroquin Norby is bringing a Native perspective to the Met
Patricia Marroquin Norby, the first full-time curator of Native American art at New Yorks Metropolitan Museum, left, with Sylvia Yount, curator in charge of the museums American wing, June 6, 2021. Jeremy Dennis/The New York Times.
by Elizabeth Pochoda
(NYT NEWS SERVICE)
.- Big, bold and by many accounts about time, the Metropolitan Museum of Arts 56-word land-acknowledgment plaque, placed on its Fifth Avenue facade in May, honors the Indigenous peoples past and present (principally the Lenape) whose homeland the institution occupies.
Visitors to the Met, or the Art Institute of Chicago, or any of the other museums where land acknowledgments greet them, may well wonder how these sentiments, crafted with extreme care and usually in consultation with Indigenous communities, fit with galleries containing some two centuries of art depicting Native Americans as occasionally brave, sometimes demonic and most
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.- This summer, the McNay Art Museum presents two exhibitions of works on paper from American artists who helped shape the Conceptual and Op art movements; John Baldessari: California Dreaming and Optical Dazzle: Op Art at the McNay. This selection of works is offered at a timely moment, as two of the prolific artists featured died in 2020, just months apart from one another. These exhibitions also feature a new acquisition and a rarely-seen sculpture. On view through September 5, 2021 in the Charles Butt Paperworks Gallery, Optical Dazzle: Op Art at the McNay investigates the sensation of looking at art. Short for Optical Art, Op art emerged in the 1960s as a distinct style of art that creates the sense of illusion or movement. By the end of the decade, artist Richard Anuszkiewicz (pronounced Ah-nu-skey-vich) was one of the leading Op painters in America. The artists small, jewel-like prints on view at the McNay present color
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