It would be hard to conceive of a more controversial figure in the Nazi inner circle than Albert Speer. One of Hitler’s closest confidantes, Speer was a master architect who had the ear of the failed-artist-turned-Führer. He was an integral part of the totality that was Nazi Germany, the chief creator of the Nazi public aesthetic, as well as the minister of armaments and munitions from 1942 on. Yet Speer was one of the very few high-ranking Nazis to declare his own guilt and shame publicly and to reveal the inner workings of the German government under Hitler in his memoirs.
Mel Bochner’s ‘Strong Language’ show challenges our notions about reading and seeing.
Mel Bochner’s new show at The Jewish Museum involves a lot of reading. The more than 70 drawings and paintings are lists of synonyms, portraits conveyed with words, texts with philosophical leanings and emoticons, too.
“Other Primary Structures” at The Jewish Museum can be seen as a nod to the institution’s past. The museum staged a major exhibit of minimalist sculpture called “Primary Structures: Younger American and British Sculptors” in 1966.
Glimpses into the graphic novelist’s unique world where pictures and text ‘Co-Mix.’
As a young boy, Art Spiegelman would copy cartoon strips about Little Lulu and Donald Duck. By 14, he was illustrating his own stories with homemade comics, and at 15 he created and distributed his own satire magazine, Blasé. The magazine had edge; a young woman on the cover of a 1964 edition is asked, “What’s a nice girl like you doing on a cover like this?”
Who would have expected The Jewish Museum to host an avant-garde fashion show during the Performa festival or invite Lena Dunham to host a Purim party at the Park Avenue Armory? The 109-year-old institution — led by its new director, Claudia Gould — has been shaking things up and increasing its relevance. The shift in exhibitions and programming has been alienating to more than a few longtime members who feel they do not connect with the roster. For its part, the museum is showing that it is trying to reach a greater balance by continuing to offer familiar names such as Chagall, albeit in a new light. It continues to offer mainstay family programs and daytime lectures.
What is beautifully presented in “Art Spiegelman’s Co-Mix: A Retrospective” at The Jewish Museum, in addition to original drawings from the “Maus” series, is the enormous range of work that Spiegelman produced beyond those volumes. Included are comic books, magazine illustrations, children’s books illustrations, political satire, trading cards and stickers, New Yorker covers, and even a collaboration with the dance group Pilobolus and a stained glass window for The High School of Art & Design, just to name a few.
Multimedia installation is not a novelty on the contemporary art scene. Even the inventive fusing of avant-garde couture, architecture and video is not without precedent. However, The Jewish Museum’s exhibition “threeASFOUR: MER KA BA,” is hallowed ground. This is space made sacred by its fervid devotion to intricate detail and the purity of its spiritual vision. The effect is disorienting and ethereal.
Contemplating the iconic painter’s ‘displaced’ years, when his central metaphor was the crucifixion.
Jewish Week Book Critic
For many, Marc Chagall’s paintings are easy to love. His vibrantly colored landscapes are dreamscapes full of life and longing, with many motifs drawn from his observant home in the Russian town of Vitebsk.
Tonight at 11:57, and every night through the end of August, those passing through Times Square will have the opportunity to see artist Jack Goldstein’s film “The Jump” on more than 15 large digital screens, usually displaying ads.