There’s an extraordinary opportunity, in Washington, D.C. at the moment, to study major paintings by Mark Rothko in three museums with varying lighting conditions. Some artists are particularly concerned with how their work is lit, and Mark Rothko was one of them. As Tom Hess told the story, Phillip Guston remembers the time when he and Rothko went to see the installation of one of Rothko’s shows at Janis. They strolled into the gallery and Mark, without a word, switched off half the lights. When Janis emerged from his office, the three of them chatted a bit and, in a ... More » »
The only thing dull about The Robert and Jane Meyerhoff Collection at the National Gallery of Art: Selected Works (NGA) through May 2, 2010 is the exhibition title. I’d rather call it, with apologies to Wallace Stevens, Ten Ways of Looking at a Painting, with further apologies for the handful of drawings, prints and 3-dimensional works; it is overwhelmingly a paintings exhibition. The works, some already donated, the remainder promised to the NGA, are superb and the curatorial decisions intelligent, provocative and subtle. Harry Cooper, curator of modern and contemporary art, arranged ten sections, each labeled with a subject to ... More » »