Saturday, June 27, 2015

Patricia Cronin's Memorial to a Marriage, from 2001 to 2015

Patricia Cronin, Memorial to a Marriage, Woodlawn Cemetery, 2001- 
now replaced with bronze version
Interview and article in Hyperallergic, 2011

In July 2012, my old blog Beth New York celebrated the marriage of New York artists Patricia Cronin and Deborah Kass, whose personal commitment inspired Cronin's sculpture Memorial to a Marriageinstalled in Woodlawn Cemetery, the Bronx, in 2002. The marble mortuary sculpture was meant to accomplish in death what seemed to be impossible in life.

On June 26, 2015, Cronin's sculpture was transformed from an agent for hope to a true memorial for the struggle to achieve the right to marry whomever one chooses. And it immortalizes a reality: "Love is Love."  

 Patricia Cronin, Memorial to a Marriage, 2002 in her exhibition: Bodies and Soul, Conner Gallery, Washington, DC , Febuary 4 - March 10, 2012

One day, when the struggle for the right to same-sex marriage is a distant memory, Cronin's Memorial will preserve the tireless efforts that brought us tears of joy yesterday. Hopefully, the original marble carving will be acquired by a major museum (the Met, Smithsonian or the Whitney Museum of American Art) so that its personal and political history is always remembered.    


And now a word or two about this beautiful work of art:

Gustave Courbet, The Sleepers, 1866

Memorial to a Marriage is based on Gustave Courbet's Sleepers or Sleep (1866) and Cronin's abiding interest in America's 19th century neo-classical movement.  Patricia Cronin studied and appropriated Harriet Hosmer's work for her exhibition Harriet Hosmer: Lost and Found, at the Brooklyn Museum (June 2009-January 2010).

Harriet Hosmer, Beatrice Cenci, 1856.

For more information on this sculpture, please read this article on Sculpture Magazine, January-February 2003.

Patricia Cronin's most recent work is Shrine for Girls, 2015, on view in the Church of San Gallo, during the 55th Venice Biennale.  Clarity Haynes' interview with the artist was published in Hyperallergic early this month. 

For more information on Patricia Cronin's work, please visit her website: 
(Artist Clarity Haynes' website is:

Best wishes for Pride Weekend!
Beth New York

aka Beth S. Gersh-Nesic, Ph.D.
Director, New York Arts Exchange

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Friday, June 19, 2015

Last Call: Yinka Shonibare closes at James Cohan June 20 - come join us for a farewell tour

Yinka Shonibare, Rage of the Gods, 2015
James Cohan Gallery, 533 West 26th Street, NYC

Yinka Shonibare has decided that the gods are not crazy, but mad! They rage at our abuse of the planet's bounty. Mortalized into female form, the artist drives his point home through the glamour and grace of ballerinas accompanied by lethal weapons: a gun, a knife and a sword. The effect is classic Shonibare, a theatrical seduction delivering a serious exhortation: "People get real, stop ruining the earth."   

Yinka Shonibare, Poseidon, 2015

In previous exhibitions, Shonibare addressed the geo-political issues of our time. This exhibition targets another universal, the degradation of the environment due to our profligate human habits. We are the cause of our own demise. And, as classical mythology has taught us, we will be punished by the gods for our hubris.  In this particular show, Zeus, Poseidon and  Apollo have descended from Mount Olympus, in fetching tutus - truly eye candy for the fashion junky - to convey Shonibare's concerns.

Yinka Shonibare, Apollo, 2015

These lithe deities, accompanied by little Butterfly Childr[en] (a boy and girl) in Victorian dress, seem to dance around in youthful merriment, spreading the news of glitter and doom. Photographs of a woman crowned with Medusa snakes seem to provide a silent keening for salvation. Dance, song and visual spectacle animate this potent ensemble throughout the galleries. We are entertained by their beauty; we are intoxicated once again by Shonibare's incomparable creativity and meticulous execution. The artist and his crew have done good - visually and morally. The mixture of western tropes and Dutch/African fabrics continues to speak of Shonibare's signature hybridity. Luscious - always luscious - to behold.

Zeus and Poseidon in Rage of the Gods, 2015

But the introduction to the exhibition is not so pretty: an ungainly Refugee Astronaut trudges through an imagined future of the earth's environmental devastation.  He or she carries the bare necessities of our bygone existence - including a pot for tea, reflecting the English side of Shonibare's bicultural background (born in London, he moved to Lagos, Nigeria when he was three, and then returned to London to study art).

Yinka Shonibare, Refugee Astronaut, 2015

The themes for the exhibition are "rage" and "escape" - the gods rage and the children/astronaut escape. We are nudged into reflection, accountability. Only the Caravaggesque Medusas - North, South, East and West - register the urgency this artist hopes to bring to our attention.  

detail of Refugee Astronaut

Can art save the world?  Well, Shonibare tries his best to make it so.  I appreciate the effort and applaud the diligence and care that he brings to his sincere objectives.

Yinka Shonibare, The Rage of the Gods, closes at James Cohan Gallery, 533 West 26th Street, on Saturday, June 20th.
(His exhibition at Morris-Jumel Mansion, West 160th Street and Jumel Terrace, continues through August 31st.  A review of the Morris-Jumel installations is forthcoming.)

Best wishes to the fathers of art as we celebrate Father's Day 2015,
Beth New York

aka Beth S. Gersh-Nesic
Director, New York Arts Exchange

My Purchase College class will meet at James Cohan at 1 pm on June 20th. Please let me know if you would like to join us for a discussion and tour of other Chelsea galleries.

Tuesday, June 16, 2015

Last Call: The Demoiselles Staring Back at the Fleming Museum, through June 21st

Pablo Picasso, Les Demoiselles d'Avignon, 1907,
Photographed by Beth Gersh-Nesic, January 1, 2015

Staring Back: The Creation and Legacy of Picasso's Demoiselles d'Avignon, will close at the Fleming Museum, University of Vermont, on Sunday, June 21st.  It's been a splendid run - full of innovative, educational content delivered by state-of-the-art gadgets.  Millennial museum practice at its best.
Not the least of all the exhibition's virtues is the display of contemporary art which brings Picasso's masterpiece into the present.

Damian Elwes, Picasso's Studio at the Bateau Lavoir, 1908, 2008
oil on canvas, collection of the artist

We begin with Damian Elwes' work, an interpretation of  the Demoiselles in Picasso’s Bateau Lavoir studio.  In this regard, Elwes wills himself to connect with Picasso’s biography and the history of the work as well.
Elwes explains his work:
There is only one existing photo of  Les Demoiselles d'Avignon in Picasso's Bateau Lavoir studio, and it shows that the top half  of the painting was sometimes covered by a cloth. This was presumably done because the masked faces caused too many unwanted reactions. In my painting, I have removed the cloth which is lying on the floor.  A further influence on Demoiselles  was El Greco's The Opening of the Fifth Seal which was owned by the Spanish painter Zuloaga. Picasso had visited his friend, Zuloaga during the creation of Demoiselles and seen the angularity in the El Greco painting. This same angularity is especially visible in the draperies surrounding the Demoiselles. So, I decided to reference this influence by making the cloth under the table resemble the cloth on the floor in The Opening of the Fifth Seal. . .

In a sense, I am appropriating Les Demoiselles d'Avignon and all the other artwork in the painting, but I never thought of it in those terms. The way I see it, I am taking paintings that I love and putting them into a different context in a new image. This is a way to give them added meanings. The new context happens to be the same one in which they once existed. My paintings are about creativity. I never try to paint an exact replica of any of these masterpieces because that would be dull. Instead, I try to leave their paintings unfinished because that makes them lively and different from the images that we know so well. I started painting studios at the beginning of my career as a way to learn from artists, and it is still the case that I learn so much from each studio painting. 

Elwes, therefore, opens the door to understanding an artwork in terms of its life in the studio, the fruit of the artist’s labors and numerous influences that accumulate throughout the years.

Sophie Matisse, De-Moiselles, 2007
oil on canvas, Collection of Mr. and Mrs. Harvey Blau
Courtesy of Sophie Matisse, copyright 2015 Artists Rights Society, New York

Sophie Matisse, on the other hand, considers contextualizing the Demoiselles in terms of absence.  Herein she emphasizes the background composition minus the gals which overlap and disassemble sharp folds that crystallize around their bodies.  In front of Sophie-Matisse’s De-moiselles (2007), standing at a distance, we can detect a humanoid configuration on the left, curled into an upright recumbent pose, pierced with openings that frame clouds floating through blue skies.  Painted to celebrate the Demoiselles’ 100th anniversary, Matisse’s De-Moiselles  harkens back to the Salon Cubists’ rules that seem to lean heavily on Picasso’s 1908 early Cubist endeavors, such as Three Women and the Rue-de-Bois landscapes.[1]   Sophie Matisse emphasizes formalism over iconography, abstraction over figuration, reminding us that Picasso’s Demoiselles almost tiptoed over the thin line that separates the two.

Kathleen Gilje, Demoiselles, 2007
oil on linen, courtesy of the artist

Kathleen Gilje’s Demoiselles (2007) also celebrates the 100th Birthday of these celebrated broads.  Here only two of the five are on view.  Gilje proceeds from the opposite direction of Matisse, humanizing Picasso’s prostitutes by bringing them back to us as curvaceous tantalizing women. Gilje imagines full-bodied studio models inspired Picasso’s geometricized bordello wenches.  Far from shocking, Gilje choses to make her female figures robustly real in the Courbet sense of the term.  They are unidealized, a bit rough around the edges, fleshier than conventional classical nudes, adorned with a floral tatt,  and utterly self-possessed in their poses and womanliness – decidedly missing in the original.  Unlike Picasso’s dems, they do not stare down with hypnotic eyes that seem to cast an evil spell.  Instead, they gaze without seeing – appearing a bit distracted and unwilling to reciprocate through ocular penetration.

Having reconstituted the Demoiselles as recognizable women, the artist explains why she concentrated only on one pair in the painting: “By only doing the right side of the painting I could play with the space in my own way and create my own dynamic movement. I was telling the story and creating a bit of theater. It was a stage setting or a tableau vivant.” 

Gilje considers Picasso’s painting in terms of the women whose human qualities are purposely suppressed and deformed in the original.  In this way, rather than address Picasso’s project as an  abstract problem, the development of a new artistic vocabulary, which Sophie Matisse’s work seems to do, Gilje returns to the reality of studio life (like Elwes), but in her mind the working models become a behind-the-scenes narrative, an aspect of the work that needs to be acknowledge and dignified.  Modeling, like painting, is hard work – and “working women” is the metaphor for all who try to please for a living.    Here too Gilje tries to restore the inspiration for Picasso’s art, real women who led real lives, as Janie Cohen so poignantly pays homage to the women who posed for the photographs that also inspired the Spanish artist. (Her essay is published in the exhibition catalog.)

Léonce-RaphaelAgbodjelou, a renowned photographer from Benin, who exhibits in London, created a series of portraits entitled Les Demoiselles de Porto Novo, the city in Benin where Agbodjelou was born.  Son of celebrated photographer Joseph Moise Agbodjelou (1912-2000), an artist who belonged to the Picasso-dominated generation, Léonce-Raphael makes his own way through hybridizing real women (not depicted women, as we find in Gilje) hidden behind an African mask covering their faces.  The visual impact is chilling, instantly calling to mind Picasso’s original work and colonialist sources. 

Kieron Le Vine wrote in “Arts and Culture,” Another Africa:
Agbodjélou’s compositions, in triptychs and singular images, use architecture to allude to the subject matter – the history of the coloniser and the colonised.  The atmosphere that emanates from vacant passageways and sitting rooms is no mistake; both location and subject are meticulously orchestrated.
The set upon which these Demoiselles manifest has been in Agbodjélou’s family since its creation in 1890. Erected during the era of French colonial rule, it was built by Afro-Brazilians artisans who were amongst those repatriating to Porto-Novo. They encompassed only a sliver of the millions that were taken from the Bight of Benin as slaves.
The model’s very presence in the house conjugates a memorable juxtaposition. They stand bare-breasted and masked, a diligent combination of vulnerability and anonymity that simultaneously attracts and deflects the gaze. Their disguise, as selected by Agbodjélou from surrounding villages, submerges the models within the mystery of Vodun. This spiritual facet of Beninese life maintains forward momentum in the present day.  As misplaced as these quasi-modern women may seem in such a colonial shell, all are integral components of Porto-Novo.  In assembling all of these channels, Agbodjélou composes an aesthetic history encompassing the local people and the past they share.[2]

Thus, as we study Léonce Raphael Agbodjelou’s individual composites and compositions, we might think of Salmon’s description in his “Anecdotal History of Cubism”: “It was about the masks that are almost free of any humanity.”[3]  Here the dehumanization is meant to come from colonialist oppression. 
Julien Friedler, Demoiselles d'Avignon, 2005
(in the Fleming exhibition the version of 3 unpainted bronzes is installed)
Courtesy of the artist and Gabrielle Bryers Fine Art and Production, LLC
Julien Friedler’s polychrome sculpture Demoiselles d’Avignon (2005) is also shocking.  Above is an individual example of a series of seated figures inspired by the demoiselle on the lower right of the canvas.  Friedler’s lewd ladies raise their upright middle-fingers to offer their sentiments, full frontal, knees open wide to display their white vagina-dentatae (a conflated eye and mouth), the sites of sexual gratification.  They are fierce!
Friedler is a follower and former patient of the famous psychoanalyst Jacques Lacan,  He earned a degree in philosophy from the Sorbonne and then ethnography from the University of Brussels.  His work is considered “neo-expressionist.”  In his response to Picasso's Demoiselles, one action seems to speak for all five vixens.

George Biddle, Europa, 1926
lithograph, courtesy of the Museum of Fine Arts, Boston, gift of L. Aaron Lebowich, 50.360
Photograph, copyright Museum of Fine Arts, Boston

George Biddle, Carlo Maria Mariani  and Stas Orlovski address the Demoiselles in terms of the iconic pose of the middle figure on the left as we look at the painting.  The artists mission seems to reference the painting in terms of synecdoche – the part representing the whole. 
Stas Orlovski’s work engages us with the recognizable individual iconographic motifs, which have entered our popular culture vocabulary.  

Orlovski elaborates:
It's difficult to avoid Picasso because he shows up everywhere - even in the cubist/suprematist/folk mash-up of my mid-century Russian children’s books. The pervasiveness of Picasso in many of the sources I was looking at (Cubism, Dada, Surrealism, graphic design, printmaking, collage, early film) ultimately lead me to consider his iconography. 
I began specifically referencing Picasso's Demoiselles by way of a lithograph by a lesser known 20th century American artist named George Biddle. About 15 years ago a friend gave me a portfolio of various prints that included Biddle’s Europa.  Dated 1926, it depicts 6 stylized nude female figures, one of which is riding a bull, inside an imaginary landscape. The iconic poses and bull motif suggested that Biddle was wrestling with his own relationship with Picasso. I was struck by the conversation that was taking place within this modest print. “Europa's” awkward (in a good way) attempt to negotiate the space between figuration, abstraction, allegory and social realism provided an entry point into Picasso’s vocabulary. 
I returned to Europa  for years without knowing why, or what to do with it. In hindsight, I think Europa echoed my own negotiation with Picasso. Demoiselles intrigued me because I was searching for an iconic figurative form to occupy the spaces/landscapes/gardens in my work. Eventually I began appropriating some of the Demoiselles figures into my drawings, paintings, prints and finally into my animations. I turned the figures into silhouettes, cut-outs, shapes, containers and vessels. I placed them into various spaces, created patterns out of them and projected images inside them. Ultimately, the Demoiselles inspired figures became central characters/actors in my animations. The drawing in this show is a product of a stop-motion sequence from my first animated project entitled Nocturnes

Stas Orlovski, Figures,  2012
ink, charcoal, gesso and Xerox transfer on paper
Courtesy of the artist and Mixed Greens, NYC

It is through Stas Orlovki that one can appreciate the contribution of George Biddle, who studied art in Paris at the Académie Julian in 1911 and the Philadelphia Academy of Art in 1913 and 1914.  He returned to Europe in 1914 and studied art in Munich and Madrid.  During World War I he joined the US armed forces, then settled as a civilian in France in 1924. In 1928, he traveled to Mexico to work with Diego Rivera.  Biddle is best remembered for his role in advocating for government funding for the arts.  He knew Franklin Delano Roosevelt at Groton and corresponded with the president during the Depression, perhaps influencing the creation of the Federal Art Project and the Works Progress Administration.  He went on to serve on the U.S. Commission of Fine Arts, from 1953 to 1955.  How then did he come to appropriate a figure from the Demoiselles, if indeed he did?

My guess is that he found in Henri Matisse’s, Pablo Picasso’s and Paul Gauguin’s figures a similar standing nude female figure with arms lifted, stretched seductively over her head (the Ariadne pose).  The presence of this figure in Europa in 1926, as Stas Orlovski describes, testifies to the enormous influence of the Modernists masters, whose motifs became the touchstones of twentieth-century avant-garde art.  I cannot say if indeed Biddle saw Picasso’s Demoiselles d’Avignon in Architectural Record in 1910 or Salmon’s exhibition in 1916 or La révolution surréaliste in 1925.  All of these opportunities were within his reach before he painted Europa.

Carlo Maria Mariani, Untitled, 2007
watercolor, pencil, wash, and collage on paper
Collection of Liz and Scott Evans, NYC

Carlo Maria Mariani too isolates the iconic pose of the central figure on the left, known as the seductive Ariadne position, with forearm raised, armpit exposed, usually arranged as a sleeping nude, similar to Giorgione’s SleepingVenus (1510).   In Mariani’s Untitled (2007), the artist pairs the central left nude in the Demoiselles with a detail from Jean-Auguste-Dominique Ingres’ La Source, created between 1820 and 1856.  Ingres’ classical nude is a nubile damsel, doe-eyed and desirable, whose fertility abides in ever-flowing water from her enormous vase, lifted by her right arm over her back to her left shoulder, to empty its contents. Her expression is anodyne; her body round and full – quite the opposite of Picasso’s flat, angular figure. 

The tension between the two invokes an expected frisson of disorientation, as one traditional beauty competes with the modernist femme fatale.  This is Mariani’s point: to reinvigorate modern art through classical/academic allusions.   Which one is the more powerful on contact?  Which one is more powerful in the history of art?  Only the art historians can say for sure.  As for the rest of us, we can only marvel at how quickly Picasso’s women became iconographically significant (a mere fifty or so separates the academic master from the modernist giant, and only one hundred from Picasso to Mariani).  The comparison affirms Picasso’s deliberate challenge to his artistic forefathers.

Gerri Davis, Bordel, 2010
oil on linen, collection of the artist, New York

Gerri Davis challenges all of modernism itself as she embarks on her own journey to artistic mastery.  She is on a quest that requires delving deep into the caldron of the art-giants, attempting a baptism by fire.   The artist explains:
The Demoiselles d’Avignon marked a turning point when paintings ceased to be thought of as windows that we look through, and began to be seen as planes that we look at. When I began my life as a painter, Picasso’s pivotal piece was a point of entry into the discourse of contemporary painting.  I studied his work by interacting with it as a painter, by painting it.  I wanted to engage his interplay of iconography and abstraction, where figure and void exchange places and symbols assume statures according to their importance. He exposed his inner daemons for us in his petite bordel, exposing the disdain he felt for his own desire. Here the elder Pablo is stripped bare, his wares on display above a labia-like shellfish garden.  It is ultimately an exorcism of venerated misogyny by a young woman more historically suited to be the muse than the painter – it’s as if the puppet has stepped out of the proscenium and taken hold of the strings.

One wonders if this Semele may self-destruct on her way to reaching Picasso’s revelations.  Or might we consider her Zeus himself, throwing his father off his back to make way for the next generation, as indeed Zeus’ father Cronos killed his own father Uraneus, which gave us Aphrodite.  Through destruction there is creation.

But Davis’ work is not violent or mean-spirited. It questions the powers that be in art by dissecting the greatest influences on her generation. In this way, she has decided to unman the Titan-art forces, render them impotent in her series of tired old Picasso-lookalikes, whose sexual potency seems no longer active. Her work is a metaphor that subverts the popularized Picasso persona, the macho man, thus dismantling the extraordinary charge that still operates in the original quintet of his making.

Yet for all the transgressive iconography, the colors remain luscious, incandescent and sexy. There is energy in the light that ascends from the forms, something mystical and wondrous generating from the Demoiselles’ its fiery “stone.”

Jackson Tupper, Sophie/Diana 2012
archival pigment print, diptych, courtesy of the artist

And finally Jackson Tupper, the youngest member of this exhibition, pays homage to the Spanish master in a mannered Cubist confection based on the magic of photography and other skills.   The female form rhymes with the camera, yet her eyes are closed while the camera's eye "stares back." The act of looking (or not looking) is on view.  Should we consider this deft Photoshop manipulation an impersonal antidote to the aggressive "mirada muerta" (deadpan stare) of Picasso's central figures? Or is this a denial of ocular intercourse, reminiscent of voguing.  It seems to say, "She couldn't care less about you," much in the same spirit as her Picasso sisters.

We have surely moved on since the Demoiselles had their say about sexuality.  And yet it never ceases to astonish me that Les Demoiselles d’Avignon remains a touchstone for artists emerging into the sunlight of their own careers.  They have taken the full measure of this work and projected it further into the unknowable future – its infinitude assured for the centuries ahead.
C’est plus que voir,
C’est concevoir.[4]

(To see photographs of the exhibition, please click on the link to my previous blog post: Picasso in Vermont.)

Catalogue with essays by Janie Cohen, Laura Blereau and Beth S. Gersh-Nešić,
Price: $20. Order from The Fleming or from Amazon
Au Revoir, Staring Back,
Beth New York
aka Beth S. 
Gersh-Nešić,, Ph.D.
Director, New York Arts Exchange

[1] Gleize and Metzinger’s Cubist Studio in Jacques-Emile Blanche's  Académie  de la Palette, 1912-14. 
[3] André Salmon, “Anecdotal History of Cubism,” in La Jeune Peinture française, translated by Beth S. Gersh-Nešić, in André Salmon on French Modern Art (New York and London: Cambridge University Press, 2005), p. 51.
[4] André Salmon, Peindre, p. 36 : “To paint !/Is more than seeing,/To paint/Is conceiving.” translated by Beth S. Gersh-Nešić

Tuesday, June 9, 2015

Last Call: "Sculpture in the Age of Donatello" at the Museum of Biblical Art through June 14th

Donatello, Prophet Habbakah (Lo Zuccone - Melon Head), 1423-35
Image Courtesy Opera di Santa Maria del Fiore / Antonio Quattrone

The Museum of Biblical Art will close their magnificent exhibition of 15th century Florentine master sculptors this Sunday, June 14th.  Composed of 23 works and a model of the famous dome of the Cathedral in Florence, this extraordinary opportunity captures the flowering of the Italian Early Renaissance as it embraced the humanistic expressions of Greco-Roman art.. (For those who read Ross King's wonderful book Brunelleschi's Dome, this exhibition is especially welcome.)

Detail from Donatello, Sacrifice of  Isaac, c. 1421
Image Courtesy Opera di Santa Maria del Fiore / Antonio Quattrone

MoBIA explains: "This tightly focused exhibition features works all created as components of larger programs for the exterior and interior of the Cathedral from around 1400 until 1450. They include statues and reliefs by Nanni di Banco and Donatello from the lateral entry known as the 'Porta della Mandorla'; two larger-than-life seated evangelist figures made to flank the church’s main western portal, again by Nanni and Donatello; two of Donatello’s life-size figures of Old Testament personages from the Bell Tower; and three of the hexagonal reliefs carved by Luca della Robbia to complete a fourteenth-century series of scenes of Florentine life, also from the Bell Tower. In addition, the exhibition includes the two bronze heads with which Donatello adorned his 'cantoria', or singing gallery, inside the Cathedral in 1439. Also on view will be two Brunelleschi wood models of the dome—one relating to the overall structure and the other to the titanic lantern—and three early fifteenth-century stone reliefs derived from scenes on Ghiberti’s first bronze doors for the Baptistery facing the Cathedral.  

Donatello, St. John the Evangelist, c. 1408-11
Image Courtesy Opera di Santa Maria del Fiore / Antonio Quattrone

"The significance of the exhibition derives in part from its single-site specificity. Sculpture in the Age of Donatello brings together objects made for the same location by artists who knew each other personally, offering a moving, close-up look at the project which more than any other shaped the early Florentine Renaissance: the completion of 'Il Duomo'."

Nanni di Banco, St. Luke, c. 1408
Image Courtesy Opera di Santa Maria del Fiore / Antonio Quattrone
  • Nanni di Banco
    Saint Luke, c. 1408
    Image Courtesy Opera di Santa Maria del Fiore / Antonio Quattrone

The installation of the works is outstanding.  And a film leads you through the Duomo in a manner that is breathtaking.

You will not want to miss this extraordinary collection of truly beautiful works of art.

(MoBIA is not far from the Museum of Art and Design, at Columbus Circle.  At MAD you will find Pathmakers, on women designers, which is excellent! Pathmakers closes on September 30th.)

Beth New York

aka Beth S. Gersh-Nesic, Ph.D.
New York Arts Exchange