Word: museumize
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...Language of Color” is the comprehensive epitome of the maxim “show, don’t tell,” with its digital media, still-life photos, and taxidermy specimens. The exhibit, which is on display at the Harvard Museum of Natural History through Sept. 6, 2009, is an engaging, in-depth examination of color in the animal world that looks at both its purpose and uses. Upon entering the exhibit, the first thing to catch the eye is a display box containing stuffed birds, where the electric, turquoise-shaded feathers of the Spangled Cotinga bird...
Memorable Claxton images include a young Charlie Parker in the Claxton home, John Coltrane in the Guggenheim Museum and Art Pepper walking up a steep hill on his release from prison. Claxton's last assignment was a cover portrait of Bob Dylan for the just-released album Tell Tale Signs...
...hilly village in a dark room. The village has no geographical coordinates, and no people live there. Its name is simply “Place (Village),” and, as a work of art, it forms the cornerstone of Rachel Whiteread’s eponymous exhibit at the Museum of Fine Arts in Boston, on display from Oct. 15th through Jan. 25th.The dollhouses fit together snugly, forming an eye-pleasing, three-dimensional patchwork of windows, roofs, and lights that gleam from small light bulbs and ceiling fixtures inside the homes. A few of the houses face outward, their innards...
Photographer Lyle Ashton Harris discussed his exploration of self through art in a lecture at the Sackler Museum yesterday. Harris, an artist and professor at NYU, opened his exhibition “Sketches from the Shore” at the Rudenstein Gallery in the W.E.B. Du Bois Center. The collection, his most recent body of work, consists of 13 photographs and a collage taken in Ghana over the past few years. His subject is the complexity of modern African culture, which he expresses through his images, as in one photograph of people in tradition dress talking on cell phones. Harris...
Like the world outside the theater, the modern audience for ballet has almost unanimously decided that ours is an era for change, that ballet should not be a museum of artifacts but rather a constantly evolving gallery of new acquisitions. This is largely why the young choreographer Christopher Wheeldon was brought into the New York City Ballet as its resident choreographer in 2001. Widely heralded as the heir to the great neo-classical choreographer George Balanchine, he was entrusted with transforming the company for our post-Balanchine century creating what he called “a world that...