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Their doors are closed, but the art lives on — online. The city’s museums are sharing their treasures virtually, whether it’s a festival of home movies from Moma or a curated cocktail hour from the Frick Collection. Their Instagram accounts are full of so many tours, talks and craft activities that it’s overwhelming That’s why …
Their doors are closed, but the art lives on — online. The city’s museums are sharing their treasures virtually, whether it’s a festival of home movies from Moma or a curated cocktail hour from the Frick Collection. Their Instagram accounts are full of so many tours, talks and craft activities that it’s overwhelming That’s why we asked a few curators to cull through their collections and pick a couple of pieces that bring them joy. With any luck, they’ll lift your spirits, too.
Venice and a Mystery
Lisa Small, senior curator of European art at the Brooklyn Museum, chose two impressionist works she loves.
Pierre-Auguste Renoir’s “Still Life with Blue Cup” (circa 1900)’
“Many impressionists did still lifes as a study for a bigger painting, but also because they were easy to sell! They’re charming and very small. This one’s just 6 by 13 inches. Renoir was a master colorist: Look at the oranges and yellows of the peaches next to the green of the figs and the blue of the cup . . . In 1974, someone stole this painting off the wall. There were no clues, no leads. Two or three years later, a mysterious parcel was mailed to the Brooklyn Museum — no return address, nothing, just the painting. It was examined very carefully to make sure it wasn’t damaged or a replica, but it was perfectly fine. An unsolved mystery!”
Claude Monet’s “The Doge’s Palace” (1908)
“Monet went to Venice toward the end of his career. So many artists had painted it by then, it was daunting, but he went and was blown away . . . The Doge was the leader of Renaissance Venice, and his palace was a major piece of architecture. Monet likely painted it while sitting in a boat in the canal, across from its Gothic facade. Look at how the light plays off the water — Monet used these incredible greens, yellows and blues to capture it. You get a sense of what it would be like to stand there and feel the wind ruffling the water. It’s transporting and joyful: The palace is still there, something we can return to.”
Kitchen Magic
Jennie Goldstein and Elisabeth Sherman, assistant curators of the Whitney Museum’s “Making Knowing: Craft in Art, 1950-2019,” describe two works in their show.
Liza Lou’s “Kitchen” (1991-96)
“This is a life-size replica of a kitchen completely encrusted in glass beads that she hand-applied with tweezers and glue, one by one, over five years. The oven and refrigerator are found [objects]; other elements were made of wood and papier-mâché. When you’re standing in front of it, it simply shimmers — the dishes in the sink, the Lay’s potato chips on the counter. Liza Lou wanted to take a space that was ordinary but also one that’s ignored, that’s associated with women and everyday drudgery, and make that space sparkle.”
Elaine Reichek’s “Sampler (Kruger/Holzer)” (1998)
“Women used to practice their stitches on samplers, using letters of the alphabet and digits from 1 to 9. Elaine made one, incorporating texts from [artists] Barbara Kruger [‘I shop, therefore I am’] and Jenny Holzer [‘Abuse of power comes as no surprise’]. So many people are working from home or forced to stay at home now, and they want to connect by making things: They’re working on jigsaw puzzles, making sourdough starters, learning how to sew. Elaine made this in 1998. She’s probably in her studio in Harlem making something now!”
Gods and Healing
Elena Pakhoutova, curator of Himalayan art at the Rubin Museum, picked two works she finds most uplifting.
Ganesha sculpture
“This was made in the 11th century in central India and it’s quite big, about 4 feet tall and 27 ¹/₂ inches wide. Ganesha is the son of Hindu gods, and he’s beloved in India because he’s considered to be someone who clears all obstacles. Creative people like him because he likes the arts. He’s usually surrounded by musicians. In the lower corners, there are drummers and other musicians [to] accompany him as he dances and eats. He’s very jovial — a god who enjoys himself and is full of life.”
“Palace of the Buddha, Bhaisajyaguru, Master of Remedies”
“This is the first painting of 79 illustrations that explain the fundamentals of Tibetan medicine. This one depicts Buddha in his palace on top of a mountain surrounded by a lush, green forest, and all the plants there are medicinal. We’re all now stuck inside four walls, so imagine yourself here, walking along these beautiful plants, along streams and rocks, flowers and birds. I really want to be there right now!”
