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Two striking
spalliere (paintings made to be shown at shoulder height) depict the pursuit of Daphne by Apollo. The first presents her asleep in a rural scene, dress falling open at the thigh where a zagging gold thread strains to keep the folds together. Apollo stands over her, leaning on a staff, head in profile, gaze intent on the recumbent figure. His impending act of predation we know, as fifteenth-century viewers would have known from their Ovid, that this balmy scene of visual consumption portends attempted rape is touched off by a moment of calm spectatorship. Apollo is all action in the next panel, chasing Daphne with arm outstretched as her limbs begin to transform into the woody roots of a tree, but the first painting strikes me as the more ominous of the pair. It implicitly enlists us as Apollo’s accomplices. Looking at a painting of a sleeping woman is uncomfortably analogized to sexual assault.
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Apollo. Preview and subscribe here.
If you’re looking for the opposite of social distancing – and who isn’t, these days? – then Alice Neel is there for you. There, that is, at the Metropolitan Museum of Art, which has recently opened a full-scale survey of this greatest of 20th-century portraitists (‘Alice Neel: People Come First’; until 1 August). Go if you can, and revel in the sheer presence of so many unmasked faces, so many interesting humans – the encounter with each one unforgettable.
The timing of the show could not be better. Newly decamped from the Breuer building on Madison Avenue, and finally emerging from months of reduced visitation, the Met – again, like all of us – could use a shot in the arm. Neel most definitely provides it. Over the course of her long career, she was wildly out of step with prevailing tendencies. Only now are we finally catching up to her, at last able to see her paintings as the bracingly essential works that they always have
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Installation view, Never Done: 100 Years of Women in Politics and Beyond at Skidmore s Tang Museum.
Each week, we search for the most exciting and thought-provoking shows, screenings, and events. In light of the global health crisis, we are currently highlighting events in person and digitally, as well as in-person exhibitions open in the New York area. See our picks from around the world below. (Times are all EST unless otherwise noted.)
Marina Abramović,
The Hero (Family story of my father who was a hero in the Second World War in Yugoslavia) (2001). Photo courtesy of the National Museum of Women in the Arts, Washington, DC.
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