This week’s Modern Art Notes Podcast spotlights “Manet: Portraying Life,” a new exhibition of Edouard Manet’s portraits opening Sunday at the Toledo Museum of Art. It is the first exhibition devoted to Manet’s portraiture. Toledo organized the exhibition in association with the Royal Academy in London, where it will travel next.
This is a detail from Manet’s famous The Railway (1872-73) at the National Gallery of Art. If the model — Victorine Meurent — looks familiar, it’s because you’ve seen her in many other Manet paintings, including here and here and most famously here. Meurent is best remembered today as a model, but she was also a painter whose had work accepted into the Salon. The Railway is the last Manet painting for which Meurent modeled; her first appearance in a Manet is included in the Toledo show as well.
My guests are exhibition co-curator Lawrence Nichols, the senior curator of European and American painting and sculpture before 1900 at Toledo and Gary Tinterow, the former head of 19th-century, modern and contemporary art at the Metropolitan Museum of Art in New York and now the director of the Museum of Fine Arts, Houston. While at the Met, Tinterow was the curator of the 2002 exhibition “Manet/Velazquez: The French Taste for Spanish Painting.”
Download the program to your PC/mobile device. Subscribe to The Modern Art Notes Podcast via iTunes or RSS. See more images of Manets discussed on the program.
This week’s Modern Art Notes Podcast spotlights “Manet: Portraying Life,” a new exhibition of Edouard Manet’s portraits opening Sunday at the Toledo Museum of Art. It is the first exhibition devoted to Manet’s portraiture. Toledo organized the exhibition in association with the Royal Academy in London, where it will travel next. Manet’s The Smoker (detail, above) is included in the show.
My guests are exhibition co-curator Lawrence Nichols, the senior curator of European and American painting and sculpture before 1900 at Toledo and Gary Tinterow, the former head of 19th-century, modern and contemporary art at the Metropolitan Museum of Art in New York and now the director of the Museum of Fine Arts, Houston. While at the Met, Tinterow was the curator of the 2002 exhibition “Manet/Velazquez: The French Taste for Spanish Painting.”
Download the program to your PC/mobile device. Subscribe to The Modern Art Notes Podcast via iTunes or RSS. See more images of Manets discussed on the program.
Image: Edouard Manet, The Smoker (detail), 1866. Collection of the Minneapolis Institute of Arts.
This week’s Modern Art Notes Podcast spotlights “Manet: Portraying Life,” a new exhibition of Edouard Manet’s portraits opening Sunday at the Toledo Museum of Art. It is the first exhibition devoted to Manet’s portraiture. Toledo organized the exhibition in association with the Royal Academy in London, where it will travel next.
My guests are exhibition co-curator Lawrence Nichols, the senior curator of European and American painting and sculpture before 1900 at Toledo and Gary Tinterow, the former head of 19th-century, modern and contemporary art at the Metropolitan Museum of Art in New York and now the director of the Museum of Fine Arts, Houston. While at the Met, Tinterow was the curator of the 2002 exhibition “Manet/Velazquez: The French Taste for Spanish Painting.”
Download the program to your PC/mobile device. Subscribe to The Modern Art Notes Podcast via iTunes or RSS. See more images of Manets discussed on the program.
This week’s Modern Art Notes Podcast features artist Josiah McElheny. A survey of McElheny’s work is on view through October 14 at the Institute of Contemporary Art/Boston. Titled “Some Pictures of the Infinite,” it was curated by Helen Molesworth.
Concurrently, this McElheny, Crystalline Landscape After Hablik and Luckhardt III, is included in “Color Ignited: Glass 1962-2012” at the Toledo Museum of Art. The show is on view through Sept. 9. Consider: Czech artists such as Wenzel Hablik and Wassili Luckhardt avoided communist censors by exploring abstraction in a seemingly benign medium: Glass.
McElheny was the recipient of a 2006 MacArthur ‘genius’ fellowship. He has been the subject of solo exhibitions at the Whitney Museum of American Art and at the Museum of Modern Art.
Download the program directly to your PC/mobile device. Subscribe via iTunes, RSS. See images of artworks discussed on the show.
This week’s Modern Art Notes Podcast features artist Fred Wilson and was taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” The exhibition celebrates the 50th anniversary of the Studio Glass movement and the TMA’s role in it. The show includes work by Wilson, Dan Flavin, Josiah McElheny and more. (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Wilson is best known for his works made not out of pigment-and-canvas or glass, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often reinforced by collections and displays of cultural objects.
This year marks the 20th anniversary of the first and most famous of Wilson’s collection interventions, the landmark “Mining the Museum” show Wilson created at the Maryland Historical Society in conjunction with The Contemporary in Baltimore. On this week’s show Wilson tells a couple stories from “Mining the Museum,” including about the remarkable, unlikely link between his experience at the Maryland Historical Society and the silver and shackles in this installation, Metalwork, 1723-1880 (1992). (This image is also on the back cover of a new book of writings on Wilson’s work, “Fred Wilson: A Critical Reader,” edited by Doro Globus.)
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
This week’s Modern Art Notes Podcast features artist Fred Wilson and was taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” The exhibition celebrates the 50th anniversary of the Studio Glass movement and the TMA’s role in it. The show includes work by Wilson, Dan Flavin, Josiah McElheny and more. (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Wilson and I begin the show by discussing his recent shift toward object-making, and in particular his use of glass, such as in To Die Upon A Kiss (2011). Wilson became especially interested in Shakespeare’s “Othello” while working in Venice and the final words Othello speaks make up the title of this piece. (Also discussed on this week’s program: Wilson’s interest in Shakespeare.)
Wilson is best known for his works made not out of pigment-and-canvas or glass, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often re-inforced by collections and displays of cultural objects.
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
This week’s Modern Art Notes Podcast features artist Fred Wilson and was taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” The exhibition celebrates the 50th anniversary of the Studio Glass movement and the TMA’s role in it. The show includes work by Wilson, Dan Flavin, Josiah McElheny and more. (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Wilson is best known for his works made not out of pigment-and-canvas or bronze, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often re-inforced by collections and displays of cultural objects. This year marks the 20th anniversary of Wilson’s landmark “Mining the Museum” exhibition at the Maryland Historical Society, an exhibition that was organized by Lisa Corrin for Baltimore’s The Contemporary Museum kunsthalle. Wilson has exhibited widely across the United States and has represented the United States at the Cairo Biennial (1992) and at the Venice Biennale (2003).
One of the works Wilson exhibited in Venice in 2009 was Iago’s Mirror, which the TMA acquired last year. Wilson and I recorded this week’s show while sitting in front of it. [Image above: Wilson, courtesy TMA/Andrew Weber.]
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
This week’s Modern Art Notes Podcast features artist Fred Wilson and was taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” The exhibition celebrates the 50th anniversary of the Studio Glass movement and the TMA’s role in it. The show includes work by Wilson, Dan Flavin, Josiah McElheny and more. (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Among the pieces we discuss on this week’s show is Iago’s Mirror (2009, above, click to expand), which is in the collections of the Toledo Museum of Art and the Museum of Fine Arts, Boston. It’s remarkable… and on this week’s MAN Podcast, Wilson tells the story of his interest in Shakespeare as well as how he conceived and created the piece.
Wilson is best known for his works made not out of glass, pigment-and-canvas or bronze, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often re-inforced by collections and displays of cultural objects.
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
This week’s Modern Art Notes Podcast features artist Fred Wilson and was taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” The exhibition celebrates the 50th anniversary of the Studio Glass movement and the TMA’s role in it. The show includes work by Wilson, Dan Flavin, Josiah McElheny and more. (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Among the pieces we discuss on this week’s show is Drip Group (2010, above), and Wilson’s black-glass tear pieces… and what color the glass really is. (Hint: It’s not black.)
Wilson is best known for his works made not out of pigment-and-canvas or bronze, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often re-inforced by collections and displays of cultural objects.
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
This week’s Modern Art Notes Podcast features artist Fred Wilson and was taped live at the Toledo Museum of Art to celebrate the opening of “Color Ignited: Glass 1962-2012.” The exhibition celebrates the 50th anniversary of the Studio Glass movement and the TMA’s role in it. The show includes work by Wilson, Dan Flavin, Josiah McElheny and more. (Toledo has long been one of the world’s glass-manufacturing powerhouses.)
Wilson is best known for his works made not out of pigment-and-canvas or bronze, but with museum collections. His work with his materials raises questions about historical narratives we’ve been taught, narratives that are often re-inforced by collections and displays of cultural objects. This year marks the 20th anniversary of Wilson’s landmark “Mining the Museum” exhibition at the Maryland Historical Society, an exhibition that was organized by Lisa Corrin for Baltimore’s The Contemporary Museum kunsthalle. Wilson has exhibited widely across the United States and has represented the United States at the Cairo Biennial (1992) and at the Venice Biennale (2003).
One of the works Wilson exhibited in Venice in 2009 was Iago’s Mirror, which the TMA acquired last year. Wilson and I recorded this week’s show while sitting in front of it. [Image above: Wilson, courtesy TMA/Andrew Weber.]
To download the program directly to your PC/mobile device, click here. To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Images of artworks discussed on the program are here.
