November 14, 1993 |
If Sherrie Levine were a writer, her creative method might be regarded as chutzpah-enriched plagiarism. But Levine is a visual artist, and the visual arts have always been much more permissive about borrowing. For the most part, Levine's art is not only derived from that of other artists, it is their work. She has never pretended otherwise. She has always acknowledged her sources, which include U.S. photographer Walker Evans, Russian painter Kasimir Malevich and French Dada master Marcel Duchamp.
February 13, 1994 |
Great museum collections often have their roots in great personal collections assembled by individuals of exceptional taste and discernment. For example, two major bequests in the early 1950s gave the Philadelphia Museum of Art a strong position in early modern art. One is the Louise and Walter Arensberg collection. The Arensbergs were not only pioneering collectors of artists such as Constantin Brancusi and Marcel Duchamp, they presided over a cultural salon in their Manhattan apartment that included writers and musicians as well as artists.
March 30, 1987 |
WITH THEIR HANDS, a group of blind Japanese students examines Marcel Duchamp's "Bicycle Wheel" at the Philadelphia Museum of Art. The students, who won a Japanese contest for plastic works, are touring museums in the United States because Japanese museums do not offer any "touch" privileges. During the weekend, they also visited the Rodin Museum.
October 2, 1998 |
You spill your wastebasket onto the floor. And what have you got? A work of art, that's what. If you find that hard to believe, check out the exhibit titled "Joseph Cornell/Marcel Duchamp: In Resonance" opening Thursday at the Philadelphia Museum of Art. One work in that exhibit consists of 117 discarded items, including postcards, dry-cleaning receipts and assorted scraps that were piled into a box. As it happens, these scraps belonged...
June 3, 2011 |
Michael R. Taylor, the highly regarded curator of modern art at the Philadelphia Museum of Art, has been named director of the Hood Museum of Art at Dartmouth College. He will assume his new position in August, succeeding Brian Kennedy, who moved to the Toledo Museum of Art in September. Taylor, who was named the Art Museum's first modern art curator in 2004, said in a statement that he was "absolutely delighted" with his new position. The Hood's collection, he said, offered "exciting possibilities," particularly in the area of "student-driven exhibitions, which I believe hold the key to the museum's future success.
September 6, 2003 |
Ann Temkin, curator of modern and contemporary art at the Philadelphia Museum of Art, has been appointed curator of painting and sculpture at the Museum of Modern Art, New York, effective Oct. 1. Temkin, hired by the Art Museum in 1987 as an assistant curator, became head of the department then called 20th-century art in 1990. Sept. 25 will be her last day in that job. She said yesterday that it would be exciting to help MoMA figure out, "both from a conceptual and practical point of view," how to present the museum's matchless collection of modern art in its new building, now under construction.
April 17, 1999 |
Guitarist John Fahey - drifter, recluse, some say sorcerer - does for the blues, folk and other American primitive idioms what Marcel Duchamp did for nudes descending staircases. His celebrated playing illustrates the concentric circles of motion and being. Though Fahey has been hailed as one of the great finger-style guitarists of the 20th century, over his itinerant 40 years of music-making he has been riddled with the bite marks of as many mythical hellhounds on his trail as any Delta bluesman.
June 19, 1998 |
In contemporary art, context is all. Marcel Duchamp proved that definitively by exhibiting an ordinary urinal and demanding that we regard it as sculpture rather than as a utilitarian bathroom fixture. The context of Frozen, which involves a fatalistic performance artist in contemporary China, is rather more elusive. This profoundly troubling and pseudonymously made (for political reasons) film focuses on a Beijing artist who carefully plans his final work: suicide. Not by pills or blade, but by ice. He contrives to bury himself under a block of ice and die of hypothermia.
May 11, 2015 |
Writing and music have much in common, but the similarities that emerge when the two forms of communication are translated into graphic systems of color, as seen in the pairing of paintings by Gerard Brown and Melinda Steffy in "Chromography: Writing in Color" at Rowan University Art Gallery, are remarkable. Brown, a writer and a painter, has transformed writings by Robert Smithson, Judith Butler, Edith Wharton, and Richard Dawkins into his own paintings and prints of nautical signal flags arranged in tumbling-block patterns common to quilting.
November 9, 1990 |
Charles Dutoit, the Philadelphia Orchestra's summer music director, returned to the Academy of Music last night to begin his winter guest engagements. His program opened boldly with Edgard Varese's Arcana, which Leopold Stokowski and this orchestra introduced to the world 63 years ago, and which, given a few more performances, has the makings of a signature piece for the Philadelphians with Dutoit. The world still doesn't know Arcana well, which is likely one reason it still makes such a dazzling impression; another is its catapulting energy despite its considerable metallic and percussive weight.