WE ARE SO FAMILIAR WITH ALEXANDER CALDER’S kinetic mobiles and painted stabiles, we forget that he was also a prolific portraitist. Throughout his career, Calder (1898-1976) portrayed entertainment, sports, and art-world figures, including Josephine Baker, Jimmy Durante, Babe Ruth, and Charles Lindbergh, as well as colleagues , Fernand Léger, and Saul Steinberg, among others. Herewith, the museum’s introductory précis:

Typically, Calder worked in the unorthodox medium of wire, a flexible linear material, which he shaped into three-dimensional portraits of considerable character and nuance.

Roger Scruton’s Olympia

Maureen Mullarkey

March 1, 2011

ROGER SCRUTON’S HANDBOOK OF ESSAYS, Beauty (2009), is more appealing in its parts than in the overarching thrust of his argument. His insistence that beauty—the quest for and recognition of it—is a function of the rational mind rings off key. Few of us are unfamiliar with the experience of being overwhelmed by beauty of some kind. At the same time, what moves one of us, however deeply, does not necessarily move another, equally rational, fellow. But setting argument aside for the moment, Beauty, like everything else Scruton writes, is worth reading, worth owning. Continue Reading

Sacred and Profane, Mainly

Maureen Mullarkey

February 20, 2011

HOW TO BEGIN? Objects of Devotion and Desire: Medieval Relic to Contemporary Art does not make it easy. I could take the high road and start this way: “Memory of the sacred lingers even among secular moderns who proclaim themselves celebrants of a totally profane world.” Or I could be up front about the unbearable shallowness of being (an academic in the arts) that skews its subject into a myopic caricature of religious culture. The exhibition concerns itself with correspondence between certain contemporary artworks and ancient reliquaries. Continue Reading

French Pictorial Art in 1500

Maureen Mullarkey

February 18, 2011

SATCHEL PAIGE WAS THE GREATEST PITCHER in the old Negro Leagues before he graced the Major Leagues in 1948. He was fond of advising younger ballplayers: “Don’t look over your shoulder. You might see someone gaining on you.” That comes to mind every so often in Chelsea where it is impossible not to meet waves of artists watching what the next guy is doing. Time out, fellas, please. Monitoring one’s contemporaries has certain career uses. But in today’s anything-goes production climate, there is little for the spirit to feed on. Continue Reading

Michael Fried & Caravaggio

Maureen Mullarkey

January 5, 2011

DOES MICHAEL FRIED LIKE ART? Anyone who has dragged themselves through his Absorption and Theatricality has to wonder. It is tempting to push the question a bit further and ask just what it is that he sees when he looks at art. Too often, it seems as though he sees only himself and his own position as a disciple of Clement Greenberg. Fried is the celebrity art historian at Johns Hopkins University and director of its Humanities Center. His latest text, The Moment of Caravaggio, is here on my desk. Continue Reading

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Calder at the National Portrait Gallery

Roger Scruton’s Olympia

Sacred and Profane, Mainly

French Pictorial Art in 1500

Michael Fried & Caravaggio

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