I nudi di Gustav Klimt, Egon Schiele, e Pablo Picasso al Met Breuer di New York.

Estate voglia di sole, ti spiagge e di corpi nudi al vento, devono aver pensato al Met, e così voilà ti organizzano una bella mostra sui nudi (ma poco assolati) della collezione Scofield Thayer.

Gustav Klimt, Egon Schiele e Pablo Picasso sono gli autori delle opere selezione, cinquanta stupendi disegni legati dal tema che manifestano anche una complessa e intimi lettura della fisicità nei primi decenni dello scorso secolo.

CS

This exhibition at The Met Breuer presents a selection of some fifty works from The Met's Scofield Thayer Collection—a collection that is best known for paintings by artists of the school of Paris, and a brilliant group of erotic and evocative watercolors, drawings, and prints by Gustav Klimt, Egon Schiele, and Pablo Picasso, whose subjects, except for a handful, are nudes. The exhibition is the first time these works have been shown together, and provides a focused look at this important collection; it also marks the centenary of the deaths of Klimt and Schiele.

An aesthete and scion of a wealthy family, Scofield Thayer (1889–1982) was co-owner and editor of the literary magazine the Dial from 1919 to 1926. In this avant-garde journal he introduced Americans to the writings of T. S. Eliot, Ezra Pound, D. H. Lawrence, Arthur Schnitzler, Thomas Mann, and Marcel Proust, among others. He frequently accompanied these writers' contributions with reproductions of modern art. Thayer assembled his large collection of some six hundred works—mostly works on paper—with staggering speed in London, Paris, Berlin, and Vienna between 1921 and 1923. While he was a patient of Sigmund Freud in Vienna, he acquired a large group of watercolors and drawings by Schiele and Klimt, artists who at that time were unknown in America.

When a selection from his collection was shown at the Montross Gallery in New York in 1924—five years before the Museum of Modern Art opened—it won acclaim. It found no favor, however, in Thayer's native city, Worcester, Massachusetts, that same year when it was shown at the Worcester Art Museum. Incensed, Thayer drew up his will in 1925, leaving his collection to The Metropolitan Museum of Art. He withdrew from public life in the late 1920s and lived as a recluse on Martha's Vineyard and in Florida until his death in 1982.

Accompanied by a catalogue.

Visitors are advised that some images in this exhibition contain explicit erotic content.

Cospirazioni al Met Breuer

Il Met Breuer dal 18 Settembre avvia la mostra “Everything Is Connected: Art and Conspiracy” che affronta il grande tema della cospirazione, che sia politica, culturale ideologica.

Il progetto copre gli ultimi cinquant’anni, dal 1969 al 2016 con oltre settanta opere di trenta artisti internazionali.

CS

For the last 50 years, artists have explored the hidden operations of power and the symbiotic suspicion between the government and its citizens. Opening at The Met Breuer on September 18, Everything Is Connected: Art and Conspiracy will be the first major exhibition to tackle this perennially provocative topic. Covering the period from 1969 to 2016 and featuring 70 works by 30 artists working in a range of media—from painting and sculpture to photography, video, and installation art—Everything Is Connected will present an alternate history of postwar and contemporary art that is also an archaeology of our troubled times.

The exhibition is made possible by Andrea Krantz and Harvey Sawikin.

Additional support is provided by James and Vivian Zelter.

There are incontrovertible aspects of the postwar period that created a fertile ground for the figure of conspiracy to loom so large. Foremost among these is the dramatic expansion in size and complexity of Western democracies and their attendant bureaucracies. Accordingly, the exhibition will focus on conspiracy in the West and stops short of the 2016 U.S. presidential election.

Tracing the simultaneous development of two kinds of art about conspiracy, the exhibition will be divided into two parts. The first is comprised of works by artists who hew strictly to the public record, uncovering hidden webs of deceit—from the shell corporations of a New York real estate conglomerate to the vast, interconnected networks encompassing politicians, businessmen, and arms dealers. The second part will feature artists who dive headlong into the fever dreams of the disaffected, creating fantastical works that nevertheless uncover uncomfortable truths in an age of information overload and weakened trust in institutions.

Many of the featured artists occupy tangential if not adversarial positions in relation to the movements with which they are commonly associated. By injecting the relatively apolitical styles of Pop, Conceptualism, and Appropriation Art with the normally veiled or repressed real-world content that invisibly shapes experience, they take a less passive and ironic and more proactive stance against the consumerism, bureaucracies, and mass media that are the inescapable givens of modern life.

The exhibition will be accompanied by the installation Jane and Louise Wilson: Stasi City on view in the Joyce and Robert Menschel Hall for Modern Photography at The Met Fifth Avenue from September 18, 2018 through March 31, 2019. Jane and Louise Wilson's (British, born 1967) Stasi City (1997) is widely considered one of the most important works of video art of the last half-century, advancing the medium to a newly theatrical and immersive experience. Filmed during a fellowship in Berlin in 1996, this four-channel video installation is a dizzying tour of the former headquarters of the East German secret police ( Staatssicherheit) housed behind a nondescript row of buildings in the former East Berlin.

Everything Is Connected: Art and Conspiracy is curated by Doug Eklund, Curator in the Department of Photographs, and Ian Alteveer, Aaron I. Fleischman Curator, Department of Modern and Contemporary Art, with assistance from Meredith Brown, Research Associate in the Department of Modern and Contemporary Art, and Beth Saunders, Assistant Curator in the Department of Photographs, all at The Met.

The exhibition will be accompanied by a catalogue published by The Met and distributed by Yale University Press.

The catalogue is made possible by the Samuel I. Newhouse Foundation, Inc.

Programs

Programs and events will include a dedicated Teen Studio on December 1 and Family Tours on October 13 and December 8.

The exhibition will be featured on the Museum's  website, as well on  Facebook,  Instagram, and  Twitter using the hashtags #MetArtandConspiracy and #MetBreuer #MetArtandConspiracy 

Il corpo nella scultura dal 1300 a oggi

Image: Greer Lankton (American, 1958-1996). Rachel (detail), 1986. Papier-mâché, metal plates, wire, acrylic paint, and matte medium. 28 × 21 × 11 in. (71.1 × 53.3 × 27.9 cm). Collection Eric Ceputis and David W. Williams, promised gift to the Art Institute of Chicago.

Il corpo umano è sempre al centro dell'attenzione di tutti noi, che sia pornografia o arte, ci affascina e rimane un punto di riferimento nell'immaginifico. Il mezzo più adatto è sempre stata la scultura e il Met di New York, negli spazi del Breuer, quest'anno organizza una bella mostra tutta dedicata a questo tema, con un arco temporale alquanto ampio, dal 1300 a oggi. 

CS

Seven hundred years of sculptural practice—from 14th-century Europe to the global present—will be examined anew in the groundbreaking exhibition Like Life: Sculpture, Color, and the Body (1300–Now). On view at The Met Breuer from March 21 through July 22, 2018, the exhibition will explore expanded narratives of sculpture through works in which artists have sought to replicate the literal, living presence of the human body. A major international loan exhibition of approximately 120 works, Like Life will draw on The Metropolitan Museum of Art’s rich collection of European sculpture and modern and contemporary art, while also featuring a selection of important works from national and international museums and private collections. 

The exhibition is supported in part by the Jane and Robert Carroll Fund and The Modern Circle.

Just how perfectly should figurative sculpture resemble the human body? Histories and theories of Western sculpture have typically favored idealized representations, as exemplified by the austere, white marble statuary of the classical tradition. Such works create the fiction of bodies existing outside time, space, and personal or cultural experience. This exhibition, by contrast, will place key sculptures from different eras in conversation with each other in order to examine the age-old problem of realism and the different strategies deployed by artists to blur the distinctions between original and copy, and life and art. Foremost among these is the application of color to imitate skin and flesh. Other tactics include the use of casts taken from real bodies, dressing sculpted figures in clothing, constructing movable limbs and automated bodies, even incorporating human blood, hair, teeth, and bones. Uncanny in their approximation of life, such works have the potential to unsettle and disarm observers, forcing us to consider how we see ourselves and others, and to think deeply about our shared humanity.

Juxtaposing well-known masterpieces with surprising and little-seen works, the exhibition brings together sculptures by artists from Donatello, El Greco, Anna Morandi Manzolini, Jean-Léon Gérôme, Antonio Canova, Auguste Rodin and Edgar Degas to Louise Bourgeois, Meret Oppenheim, Isa Genzken, Charles Ray, Fred Wilson, Robert Gober, Bharti Kher, Duane Hanson, Jeff Koons and Yinka Shonibare MBE, as well as wax effigies, reliquaries, mannequins and anatomical models. Together these works will highlight the continuing anxieties and pleasures attendant upon the three-dimensional simulation of the human body.

Exhibition Credits

Like Life: Sculpture, Color, and the Body (1300–Now) is curated by Luke Syson, Iris and B. Gerald Cantor Chairman of European Sculpture and Decorative Arts, and Sheena Wagstaff, Leonard A. Lauder Chairman of Modern and Contemporary Art, both at The Met, with Brinda Kumar, Assistant Curator of Modern and Contemporary Art, The Met, and Emerson Bowyer, Searle Associate Curator of European Painting and Sculpture at the Art Institute of Chicago, with the assistance of Elyse Nelson, Research Associate, European Sculpture and Decorative Arts, The Met. 

It will be accompanied by a catalogue featuring essays by leading scholars and perspectives of contemporary artists.

The catalogue is made possible by the Mary C. and James W. Fosburgh Publications Fund.

The exhibition will be featured on the Museum's website, as well as on Facebook, Instagram, and Twitter using hashtag #MetLikeLife.

###

Apre il Met Breuer

Il Metropolitan Museum il 18 Marzo apre un nuovo spazio con un ricco programma di arte moderna e contemporanea,  si tratta del Met Breuer su Madison Avenue e la 75th Street.

Questo nuovo spazio espanderà l'attenzione del Met per nuove serie di mostre, performance, commissioni per giovani artisti, residenze, e iniziative didattiche.

English

The Metropolitan Museum of Art's modern and contemporary art program is expanding to include a new series of exhibitions, performances, artist commissions, residencies, and educational initiatives in the landmark building designed by Marcel Breuer [BROY-er] on Madison Avenue and 75th Street. Opening to the public on March 18, 2016, The Met Breuer will provide additional space for the public to explore the art of the twentieth and twenty-first centuries through the global breadth and historical reach of the Met's unparalleled collection.