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The Paris Review - Postcards from Ellsworth

“Kelly began to suspect postal workers of stealing the postcards.”

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Editors' Picks: 17 Events for Your Art Calendar This Week, From Louise Bourgeois's Painting at the Met to the Public Art Fund's Party

Editors' picks including new shows for Louise Bourgeois, Renee Cox, Breyer P-Orridge, and Jean-Michel Basquiat.

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What My Mentor, Paula Rego, Taught Me About Feminism, Drawing, and the Potential of a Well-Told Story

What My Mentor, Paula Rego, Taught Me About Feminism, Drawing, and the Potential of a Well-Told Story
artnet.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from artnet.com Daily Mail and Mail on Sunday newspapers.

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A New Show of Leo Steinberg's Print Collection Reveals the Critic's Deep Appreciation for the Medium's 'Circulating Lifeblood of Ideas'

Unknown Netherlandish Artist,
Landscape with Elisha Mocked after an engraving by Schelte Bolswert after a painting by Peter Paul Rubens, and after an engraving by Nicolaes Ryckmans after a design by Pieter de Jode I (1640-52). Courtesy of the Blanton Museum of Art.
Few art critics can afford to seriously collect art. And those that do don’t collect like Leo Steinberg did. The Russian-born writer, one of the most influential of his generation, amassed a trove of some 3,500 prints before his death, in 2011—a time when the medium was often overlooked, undervalued, and ripe for reassessment.
Steinberg’s contributions to art history wouldn’t have been the same without his hobby, argues a new exhibition at the Blanton Museum of Art in Austin, Texas. It’s through this conceit that the show, “After Michelangelo, Past Picasso: Leo Steinberg’s Library of Prints,” seeks to unpack the tricky legacy left behind by the era-hopping thinker, outsider academic, and iconoclastic critic with an artist’s eye.

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Snøhetta Introduces New Transformative Architectural and Landscape Features to Austin's Blanton Museum of Art

Centered on the Moody Patio, a gathering space between the existing structures, the proposal generates “
15 elegant, petal-shaped structures, creating a shade canopy at the southern edge of the Blanton’s campus”. Inspired by the initial vault-design of the museum, the addition will create a visual identity for Blanton. Changing the experience of visitors, the new architectural elements will highlight accesses. In addition, “
to amplify the Blanton’s popular and innovative music programming, the design incorporates two raised platforms on the Moody Patio to stage live music and other performances”.
The Blanton holds a prominent place at the intersection of the new Texas Capitol Complex, and it also serves as the gateway to the university campus. Our inventive landscape and reimagined building entrances fulfill that promise. Snøhetta’s design expands the museum’s world-class art collection beyond the museum’s galleries and creates a highly visible public place of— and for—the arts and Austin. -- Craig Dykers, founding partner of Snøhetta and alumnus of the UT School of Architecture.

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