The Tea and Coffee Piazza sets, produced in limited editions of ninety-nine, with three artist’s proofs, were a critical success. The project served to introduce Michael Graves to the Alessi “stable,” while traveling exhibits informed museum patrons on the ways that high art and industrial design could form working partnerships. Mendini’s original conception was vindicated.
Art & Design
Art Review: Alessi: Ethical and Radical at the Philadelphia Museum of Art
by Ed Voves
November 30th, 2010
Vandalism in the Name of the Lord: Kathleen Folden and “The Misadventures of Romantic Cannibals”
by Holly Hunt
November 14th, 2010
On October 6, 2010, Kathleen Folden, identified in the media as a 56-year-old truck driver from Kalispell, Montana, smashed her way into a display case at the Loveland Art Museum in Loveland, Colorado with a crowbar. Her purpose was to destroy a work of art, a multi-panel lithograph by Enrique Chagoya entitled “The Misadventures of Romantic Cannibals.”
Art Review: Michelangelo Pistoletto Exhibitions at the Philadelphia Museum of Art
by Ed Voves
November 3rd, 2010
Pistoletto first gained prominence in the world of art in the early 1960′s with his Quadri Specchianti. These “mirror paintings” positioned life-sized and astonishingly lifelike images of people on highly polished sheets of stainless steel.
Christo in Colorado
by Holly Hunt
November 1st, 2010
“Over the River” would consist of 5.9 miles of silver fabric draped like an intermittent canopy along a 42-mile stretch of the Arkansas River as it flows through the mountains approximately 100 miles southwest of Denver. The two artists are famous for wrapping landmarks such as the Reichstag in Berlin, the Pont-Neuf in Paris, and the islands of Biscayne Bay in similar lengths of fabric.
Art Review: Chaos and Classicism: Art in France, Italy and Germany, 1918-1936
by Ed Voves
October 4th, 2010
Chaos and Classicism tells the story of good intentions that went terribly wrong. After the carnage of trench warfare, sensitive spirits in Europe craved artistic depictions of beautiful bodies, unscathed by shrapnel, and timeless, uncluttered architecture inspired by the Greek and Roman past. Yet, it was not long before this craving for life-affirming art was transformed into the soulless ideology of Mussolini’s Fascist Italy and Hitler’s Third Reich.
Art Review: Charles Deas and 1840s America at the Denver Art Museum
by Holly Hunt
September 13th, 2010
Viewed in context with Deas’s other works, Prairie on Fire brings together a number of themes that ran through his all-too-brief career – his talent for narrative and action, often with gothic overtones, his projection of established American myths, dreams, and nightmares onto the newly opened spaces of the American West, and an intensity and ambiguity of feeling that may hint at his own troubled inner state.
Art Review: Energy Effects at the Museum of Contemporary Art, Denver
by Holly Hunt
August 18th, 2010
The exhibition brings such elements together to form a compelling meditation on the extreme reaches of art, technology, and militarism, and on the role of the vast, sun-struck spaces of the American West as an arena for all these forces.
Art Review: An Eakins Masterpiece Restored: Seeing “The Gross Clinic” Anew
by Ed Voves
July 27th, 2010
The image of Dr. Gross evoked memories of scenes of carnage which Americans, north and south, were trying to forget. Many were not happy to be reminded. In a controversy lasting over the next few years, newspapers and art journals weighed in, with a growing body of negative judgments deflating Eakins’ hopes of a major triumph. The Art Interchange editorialized that “although vigorously treated…” The Gross Clinic “ought never to have left the dissecting room.” “Power it has,” the New York Times proclaimed, “but very little art.”
The Most Offensive Painting Ever Made
by Alix McKenna
July 15th, 2010
Yiull Damaso has achieved a true artistic milestone. He has created what is quite possibly the most offensive image ever made. The BBC reports that the forty-one year old South African artist is completing a large painting depicting former South African president and Nobel Laureate, Nelson Mandela as a corpse in the process of being dissected.
Larry Rivers, NYU, and Child Pornography
by Alix McKenna
July 9th, 2010
How should we respond, however, when sexual abuse is the subject of a piece and a means by which it is created? A recent scandal involving the archives of the late pop artist, Larry Rivers is forcing us to engage with this issue.
Paul Emmanuel: Transitions: Identity Construction in South Africa
by Alix McKenna
June 29th, 2010
As Emmanuel watched black and white soldiers go through the same seminal moment of transition, he discovered that the process now represented community building, national pride, and the overcoming of past evils rather than prejudice, violence and control.
Art Review: Late Renoir at the Philadelphia Museum of Art
by Ed Voves
June 28th, 2010
In the case of the Museum of Modern Art in New York, some were even put up for sale. In 1989, after Renoir’s Reclining Nude (1902) was sold by MOMA, the museum’s chief curator, Kirk Varnedoe, made a comment revealing the extent to which Renoir’s reputation had fallen. ”There are many people who would like the painting very much,” Varnedoe said of Renoir’s Reclining Nude, “but it simply didn’t belong to the story of modern art that we are telling.”
Art Review: Dr. Lakra at the ICA, Boston
by Katherine Hollander
June 24th, 2010
A quartet of anatomical drawings from Munich, printed perhaps a hundred years ago, are especially lovely. Lakra has “tattooed” the forearms and torsos with pale blue marks; he has also transformed a man into a saint, blending science and religion, art and iconography, showing that decoration can sanctify or vandalize.
Art Review: A Visual Alphabet: Herbert Bayer’s Anthology Paintings at the Denver Art Museum
by Holly Hunt
June 23rd, 2010
Student and then teacher at the legendary Bauhaus school, Bayer exercised his talents in fields as diverse as typography, architecture, and sculpture. He designed covers for Harper’s Bazaar, and applied his graphic talents to toothpaste and nose drops, moving easily from the cultural hothouse of Weimar Germany to the postwar corporate America of Don Draper.
Art Review: Object, Image, Collector at the Museum of Fine Arts, Boston
by Katherine Hollander
June 9th, 2010
It’s the photoetching, a 1974 work called “The Train,” that is really breath-taking. It seems to take on the complicated issues of the African Diaspora, the art it produced, and Western views of that art, as well as presenting a moment from the struggle for Civil Rights. The faces that look out at us from the page are communicative and knowing, their gazes complicated and reproachful, and the liquid softness of the watercolor combines with the horizontal lines of the etching to create a beautiful, powerful work you can stand in front of for a long time.

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