Andrew Moore, House on Walden Street, East Side, 2008, Digital chromogenic print scanned from film negative

Andrew Moore’s must see photographs in Detroit Disassembled at the Queens Museum of Art capture the ruinous state of Detroit after the collapse of the automotive industry.  The colors are lush, the light, ecclesiastical; and Moore captures the intensity prescribed by Frederick H. Evans who urged photographers to “wait till the building make you feel intensely”. Continue Reading More »

Philip Evergood, list of contacts, ca. 1947.

It is hard to believe that the 1913 New York Armory Show took place less than 100 years ago.  The seminal show drew laughs for its paintings and denunciations for their degeneracy, while the  medium of photography, facilitated by Alfred Stieglitz, was inaugurated as a new art form, acceptable only as measured by proximity to the extreme paintings and sculptures on exhibit.

It is Picasso’s list of suggested artists for inclusion in the show, dated 1912, that makes a case for the subtleties that make this Morgan sleeper,  “To-dos, Illustrated Inventories, Collected Thoughts, and Other Artists’ Enumerations from the Smithsonian’s Archives of American Art”, a must-see for anyone interested in art history or contemporary art or both.  Through curatorial acumen, its 80 lists simultaneously remind us how different yet familiar at the same time the world is today from the one reflected in the exhibit. Continue Reading More »