Tyler Green
Art-focused Journalism by Tyler Green

Tyler Green Modern Art Notes

Wednesday links

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  • Robert Rauschenberg‘s Canyon (at right) is going to MoMA, partly in return for an exhibition about dealer/collector Ileana Sonnabend, reports Patricia Cohen in the NYT. Oddly, the NYT seems more concerned about Sonnabend’s name being stenciled onto a wall than it is about the museum possibly trading an exhibition about a dealer/collector for an artwork. To be clear: Exhibitions of works donated by a collector such as “The Smith Collection at MoMA” are an accepted, standard practice. Museums should certainly celebrate, research and present collection additions. But exhibitions that focus on a donor and not the art given by the donor are problematic. We’ll have to wait for MoMA’s planned 2013 Sonnabend exhibition to see if MoMA is presenting a show of works that Ileana Sonnabend gave to the museum, or if MoMA’s apparent trading of an exhibition about the donor for an art object (at least that’s how the NYT describes it)  is something else, an exhibition that would set a troubling new precedent.
  • Two strong best-of photobooks lists: One from Matthew Carson on the ICP Library’s blog and another from artist Alec Soth.
  • Is a reputed Alfred Sisley painting in the Indianapolis Museum of Art’s collection a fake? A collaboration between the IMA and grad students at IUPUI, brings us CSI: Impressionism. Two blog posts on the investigation, the first by IUPUI instructor Greg Smith and the second by grad student Ethan Charles Blocher-Smith, tell a great story.
  • Christopher Knight explains why more art museums should be free — and why more aren’t. And in the Dallas Morning News, Michael Granberry has some great national statistics on admission reveneus that put the Dallas Museum of Art’s big news in context.
  • Beth Harris and Steven Zucker explain how incoherent policies and practices for the distribution and use of JPEGs are damaging art history.
  • The Getty’s first online collection catalogue is, er, online. Is this the future of art, scholarship online?
  • The Carnegie International in catalogue covers.
  • Pretty much everything on William Poundstone’s Los Angeles County Museum on Fire site has been terrific lately. But especially don’t miss how a Dan Flavin finally found a corner in Pasadena and the Giotto Pacino show at the Getty.
  • Also slaying it: The ICP’s Fans in a Flashbulb.
  • With SFMOMA closing to expand in 2013, the museum’s Open Space blog has started a series in which it solicits ‘proposals for a museum,’ a re-imagining of art spaces. Don’t-miss stuff.
  • On Big, Red and Shiny, John Pyper not just on the Wadsworth Atheneum’s re-installation of Tony Smith Amaryllis, but with many more fascinating details on Smith and Amaryllis too.
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  1. Christopher Knight is right about the merits of free admission, but wrong that only a handful of art museums offer it. I’ve had wonderful visits to these collecting institutions over the past year: Cleveland Museum of Art, Nelson-Atkins Museum of Art, Saint Louis Museum of Art, Toledo Museum of Art, Rose Art Museum at Brandeis University, The Menil Collection, Virginia Museum of Fine Arts, Chrysler Museum of Art, North Carolina Museum of Art, Mildred Lane Kempner Museum of Art at Washington University, Crystal Bridges Museum of American Art, Amon Carter Museum of American Art, and the Des Moines Art Center. And that’s not counting the Smithsonian’s art museums.

  2. Peteykins says:

    JPEG images can be very good, and perfectly suited to print reproduction and high-level academic study. The problem is BAD JPEG images.

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