Niki de Saint Phalle: Structures for Life
Until 6 September at MoMA PS1, 22-25 Jackson Avenue, Queens
Structures for Life at MoMA PS1 represents the first ever New York museum show for
The first solo museum show in New York devoted to the French-American artist Niki de Saint Phalle features art and ephemera from the wildly prolific artist, who worked across an array of mediums but is perhaps best known for her large, ebullient sculptures of women. In addition to sculptures, paintings, lithographs and jewellery, the real treat of the exhibition are the maquettes, photographs, and process videos from some of Saint Phalle’s most ambitious public projects, including playgrounds in Belgium and Jerusalem and a fountain in Paris. Among them are videos, photographs, drawings, models and other ephemera documenting the construction of Tarot Garden, Saint Phalle’s magnum opus which takes the form of a massive architectural park and sculpture garden outside of Rome, which the artist work
Woodmere Art Museum extends Group 55 and Midcentury Modernism in Philadelphia exhibition
Sanford Greenberg, No. 24, 1955. Oil on canvas, 14 1/4 x 20 in. (Woodmere Art Museum: Museum purchase, 2014)
PHILADELPHIA, PA
.- In 1955, a group of Philadelphia painters, architects, musicians, and dancers organized a series of exhibitions and public forums across the city, presenting their work as a catalyst for vigorous public dialogue about the role of art and science in the postwar era. Group 55, as they came to be known, included architect Louis Kahn, composer George Rochberg, and artists Quita Brodhead, Michael Ciliberti, Sam Feinstein, Sam Fried, Sanford Greenberg, Raymond Hendler, Jane Piper, and Doris Staffel.
The Union Moved. The Beloved Mosaic Mural Couldnât.
The architect David Adjaye spurred a painstaking re-creation of a doomed artwork for its new home â and added a homage to the unionâs place in social justice history.
Anton Refregier’s mosaic tile mural on the front of the Martin Luther King Jr. Labor Center on West 43rd Street, the former headquarters of 1199 S.E.I.U., awaits an uncertain fate. The center is named for King because of the long mutual support they enjoyed.Credit.Amr Alfiky/The New York Times
Published Feb. 23, 2021Updated Feb. 25, 2021
Not far from Times Square I walked west from Eighth Avenue on a recent afternoon to view a mural I had noticed on several occasions but never truly paused to appreciate.
Discussed in this essay:
Fierce Poise: Helen Frankenthaler and 1950s New York, by Alexander Nemerov. Penguin Press. 288 pages. $28.
Imagine, if you will, that it’s the year 1990, and you are flipping through the magazine
Art & Antiques. (Why you are doing this, I don’t know maybe you’re an art collector? Just imagine it.) You come across a photograph of a middle-aged white woman in a lemon-yellow sweater and low wedges. She’s perched inside some kind of gigantic wheeled frame, dark eyes cast to the side, laughing at a private joke. Cans of paint, buckets, and brushes, the tools of her trade, are organized on shelves beside her. She seems successful and, what’s more, adjusted to success happy, even carefree. On the floor is a work in progress, soupy reddish paint dotted with black specks. It vaguely resembles an exploded watermelon. “Every canvas is a journey all its own,” the text declares.
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