art

But the primary focus of the show is a far-reaching exploration of how such personal portraiture has been transformed over the decades.  It comprises not only choice works from Academy members, but entries from places as far-flung as Palestine, Lebanon, Iran and China.  Perhaps the biggest and most welcome surprise is the extent of entries from women—62 such artists represented from 30 different countries in all.  

Cultural appropriation is a dicey subject, not least because there are no given parameters of what can be considered appropriation. This while some hold that it is impossible to “steal” forms of a culture in itself, and that the imitation of it is a human phenomenon that should, in fact, be celebrated.  The term has also become a point of origin for other, wider discussions, including those of race relations and even sexuality.  

While it sounds typical – Western male artist enters “exotic” land to bring stories back home – one must remember that at the time of Riboud’s creations, the metropolitan West, in the fallout of the World Wars, was just starting to gain a real appreciation for what Asia had to offer. Yet Riboud deters from juxtaposing the differences in cultures as a way to highlight both sides’ strengths. 

From her small town beginnings in the Jewish Poland of 1872, Helena Rubinstein grew a cosmetics empire that spanned four continents.  By her death in 1965 at 92, this self-made magnate of beauty had not only amassed a world-class collection of Western, African and Oceanic art, but transformed how millions of women thought about themselves.  The Jewish Museum’s gorgeously-mounted exhibit, Helena Rubinstein: Beauty is Power, is aptly titled.  

Government officials and world institutions are even worse when it comes to self-censorship. On Feb 5, 2003, before then Secretary of State Colin Powell in his infamous WMD speech at the United Nations in New York, U.N. officials rushed to cover up the giant tapestry version of Pablo Picasso's anti-war mural "Guernica." Powell held up a little vial and told the world that, had that vial really contained WMD, it could kill tens of thousands. He managed to convince the already paranoid public that US invasion Iraq is a must. 

Altina, a film by Peter Sanders, is a documentary valentine to his artist grandmother.  It may not solve the riddle about the woman behind the cat’s eye frames she invented, but it’s a lively enough pastiche of the turbulent 20th century she inhabited.  Through newsreels, archival home videos and close-up glimpses from some of the people whose lives she touched, we can enjoy the journey.  

The Met’s own collection of El Greco’s religious paintings, portraits, and the incomparable rare landscape of the artist’s, The View of Toledo, is the finest outside of the Prado’s in Madrid.  Added to this, the generous loans of six other works from the Hispanic Society of America make this a special treat for the viewer. (Concurrently, three El Greco pictures which cannot be removed, are on view at The Frick Collection.) The comprehensive display can be seen in one room and if at first, it may not seem expansive enough for the jaded gallery-hopper, it is truly an embarrassment of riches.  

The approach of Seymour Boardman (1921-2005) to visual structure evolved from his earlier works which evidenced a concern with expressive painted surfaces. After losing the use of his left hand during World War II, Boardman resumed his art studies in France from 1946-1949. “Visual structure” played a major role in his approach. Boardman moved from the use of gestural paint strokes to formally composed canvases that are specific in the use of color, shape placement, and line.