Grace GLUECK
21 articles
Blues and Greens on Reds
By Grace GLUECK
ONE of the brightest stars in "The Responsive Eye," the big optical art show that opens Thursday at the Museum of Modern Art is Richard Anuszkiewicz, who might already be called an op old master.
New York Times • page X19 • 1,195 words
MUSEUM CHOOSES HEAD FOR DIVISION; William Rubin Curator of Painting and Sculpture
By Grace GLUECK
The Museum of Modern Art has taken the first step in a long-awaited reorganization of its department of painting and sculpture. It has named William Rubin, formerly a professor of art history at Sarah Lawrence College, as curator.
New York Times • page 34 • 746 words
Art: Rauschenberg's Latest Bit of Technological Tinkery Bows at the Modern
By Grace GLUECK
STEP into a big, dark room. Stamp your feet. Clap your hands. Shout. Murmur. Thump the wall. Every time you make a noise, the panels of a large electronic construction that shares the room with you light up, revealing images of wooden chairs.
New York Times • page 94 • 754 words
An Erotic Auto, A Roomful Of Fog
By Grace GLUECK
WHEELS whirring, computers purring, lasers beaming, motors steaming, a pair of art-technology shows have clanked into not one but two local arenas -- the Brooklyn Museum and the Museum of Modern Art (Brooklyn opens Tuesday, MOMA next day).
New York Times • page D30 • 1,189 words
New York Sculptor Says Intrepid Put Art on Moon
By Grace GLUECK
Ever since the first sputnik orbited, a New York sculptor named Forrest Myers has yearned to plant a work of art on the moon.
New York Times • page 19 • 668 words
Modern Museum to Drop Fee on Mondays
By Grace GLUECK
In an effort to make its facilities "available to more members of the community," the Museum of Modern Art will suspend its $1.50 admission fee, the highest of any museum in the country, one day a week. Starting Feb. 9, the museum will be open free every Monday from 2 P.M. until 9 P.M.
New York Times • page 28 • 511 words
Mark Rothko, Artist, A Suicide Here at 66; Mark Rothko, Abstract Expressionist, Is Suicide in His Studio
By Grace GLUECK
Mark Rothko, a pioneer of abstract expressionist painting who was widely regarded as one of the greatest artists of his generation, was found dead yesterday, his wrists slashed, in his studio at 157 East 69th Street. He was 66 years old. The Chief Medical Examiner's office listed the death as a suicide.
New York Times • page 1 • 1,302 words
Works of Bearden and Hunt Are Displayed; Scenes of Negro Life Depicted by Painter
By Grace GLUECK
This is the year of the black art show and, with a number of institutions around the country already having recognized that fact, could the Museum of Modern Art be far behind? Certainly not. By way of proof, it currently double-bills the ouevres of two well-known Afro-Americans, the New York painter-collagist Romare Bearden and the Chicago sculptor Richard Hunt. Both shows open tomorrow.
New York Times • page 50 • 602 words
For Hightower, a Museum Crisis Wanes
By Grace GLUECK
"The Museum of Modern Art will be around for a while," prophesies John Hightower, its director for nearly 15 months. "And hopefully," he adds with a small smile, "I will be, too."
New York Times • page 22 • 1,548 words
Princeton Sets Up Photo Arts Chair
By Grace GLUECK
When Peter C. Bunnell set out to study the history of photography only a dozen years ago, there was really no place to go.
New York Times • page 54 • 764 words
Art People; When Is a Book Not a Book?
By Grace GLUECK
BOWING A VIOLIN with a built-in speaker while wearing ice skates embedded in blocks of ice, Laurie Anderson gave several outdoor "concerts" in Genoa, Italy, in 1975. "Between songs I talked to passers-by about the parallels between skates and violin-playing: balance; blades over a surface, simultaneity," she writes in her just-published "Notebook," which records several such excursions on the violin.
New York Times • page 73 • 1,172 words
Cornering the Cezannes That Shaped Modern Painting; Cornering the C zannes
By Grace GLUECK
In the fashion of any large and ex pensive spectacle, the long-her alded "C zanne: The Late Work" which opens Friday at the Museum of Modern Art presented its producer, William Rubin, with a real cliff-hanger. After much delay, would the Italian Government commit tee that must approve the lending of im portant works even by private citizens grant the loan of a key Cezanne painting requested a year ago from a collection in Milan?
New York Times • page D1 • 2,332 words
State's Highest Court to Weigh Modern Museum Building Plan; The Whitney Joins the Suit
By Grace GLUECK
A crucial court hearing that will affect plans by the Museum of Modern Art to build its controversial 42-story apartment tower has been set for Nov. 27 by the State Court of Appeals. On that day the museum will present arguments attempting to overthrow a lower court's decision that found "unconstitutional" special state legislation ...
New York Times • page 57 • 640 words
Modern Museum Will Get $17 Million for Air Rights; Work to Begin This Month
By Grace GLUECK
The Museum of Modern Art has arranged to sell its air rights for $17 million to a developer who will construct a 44story apartment tower above the museum building. The sale of the air rights, the culmination of a three-year effort, will help finance a complex expansion plan by the museum.
New York Times • page 1 • 1,324 words
Art: Chagall's Prints At Modern Museum
By Grace GLUECK
SO prolific is the 92-year-old maestro Marc Chagall that they say the sun never sets on his exhibitions, and in New York we now have the second one this year (a show of new paintings took place last ...
New York Times • page C28 • 1,086 words
Video Emerges as a Fine Arts Movement; Museum of Modern Art Whitney Museum The Kitchen Global Village Anthology Film Archives Downtown Center P.S.1
By Grace GLUECK
Five television screens. On each runs a continuous image of weaving: linen and wool fibers; a loom manipulated by hands and feet; the designs made by...
New York Times • page C18 • 1,574 words
The talk of Houston
By Grace GLUECK
THE recent appointment of Barbara Rose, the art historian and critic, as curator of exhibitions and collections at the Museum of Fine Arts in Houston, has set off a little controversy in that upand-coming culture center. It's not only that Miss Rose will retain her job in New York as art editor of Vogue, touching down in Houston for one week every month. It's also that last week, a story in The Houston Post by Mimi Crossley, art critic for the paper, reported that a month before Miss Rose's hiring, the museum acquired five paintings from her husband, the songwriter Jerry Leiber, for an unconfirmed purchase price of $80,000.
New York Times • Arts • page 21 • 1,196 words
ART: KIESLER'S 'GALAXY,' SURREALIST OPERA SET
By Grace GLUECK
EVERY so often, there surfaces a marvelous work that serves to remind us of the big bang of Surrealism and its effect on New York artists during the 1940's. Such a work is the late Frederick Kiesler's ''Galaxy,'' an austerely brilliant stage set made for the 1948-49 production of the Darius Milhaud opera, ''Le Pauvre Matelot,'' at the Juilliard School of Music. That set and nine other Surrealist-influenced sculptures by David Hare done between 1944 and 1959 make up the cast of ''Two Installations,'' the current show at the Grey Art Gallery of New York University, 33 Washington Place (through Aug. 13). The Kiesler set, owned by the late Nelson A. Rockefeller and recently found in storage, is a single open unit of carved, interlocking wood sections. On a three-part base of timbers, four skeletal, sea-worn posts hold up four driftwoody crosspieces, each member a fusion of plant and crustacean forms of authentic Surrealist pedigree. The set was aptly described by the late Alfred Barr Jr., founding father of the Museum of Modern Art, as ''architecture for sky gazers ... its caryatids are a dolphin's spine, a hippo's campus, a lobster's claw and an ichthyosaur caressed by a boomerang.''
New York Times • Arts • page 27 • 1,270 words
ART: LEE KRASNER FINDS HER PLACE IN RETROSPECTIVE AR MODERN
By Grace GLUECK
FOR years, the name Lee Krasner didn't mean a lot in the art world. A dedicated painter herself, she was much better known as Mrs. Jackson Pollock, and for too long after his death, as Lee Krasner Pollock, the artist's widow. There were even those who said that she couldn't get a show were it not for the Pollock connection, a whispering campaign of which Krasner was bitterly aware. Yet she kept on painting, as she had always done, and gradually her work - and her name - emerged from the background to which her husband's fame had consigned it. Now, ''Lee Krasner: A Retrospective'' at the Museum of Modern Art, her first full museum retrospective, clearly defines Krasner's place in the New York School. She is a major, independent artist of the pioneer Abstract Expressionist generation, whose stirring work ranks high among that produced here in the last half-century. It's a pity she couldn't have lived to experience the triumph of her opening at the Modern this week, although by the time of her death in June, at 75, she had the satisfaction of knowing that many who mattered to her had come to believe in her work as strongly as she did.
New York Times • Arts • page 31 • 1,688 words
ART: THE AMERICAN PRE-RAPHAELITES
By Grace GLUECK
''PAINT the leaves as they grow! If you can paint one leaf, you can paint the world,'' wrote the English critic John Ruskin in his epic ''Modern Painters.'' And in the mid-19th century, a small group of American artists took the advice to heart, rendering Nature close up with such fidelity as to make today's Photo-Realism look - well, out of focus. They came to be known as the American Pre-Raphaelites, and their work - celebrating Ruskin's bless-every- blade-of-grass esthetic - left something of a mark on American landscape and still-life painting. Now ''The New Path: Ruskin and the American Pre-Raphaelites,'' the first show to study this short-lived movement in depth, has been mounted by the Brooklyn Museum, where it will run through June 10 before moving to Boston.
New York Times • Arts • page 24 • 1,476 words
HERBERT BAYER, 85, A DESIGNER AND ARTIST OF BAUHAUS SCHOOL
By Grace GLUECK
Herbert Bayer, a painter, architect, graphic and industrial designer and one of the last ''masters'' of the Bauhaus, the influential design school founded by Walter Gropius in 1919 at Weimar, Germany, died yesterday at his home in Montecito, Calif. He was 85 years old and had been in poor health for some time. Although he had shown widely as a painter, sculptor, tapestry maker and photographer, it was his work in graphic and industrial design that was best known to the general public. His pioneering experiments in typography, layout and design helped elevate the style and tone of American advertising. Arriving in New York in 1938 as a refugee from Nazi Germany, he made an immediate impact here as the designer of a comprehensive exhibition on the Bauhaus for the Museum of Modern Art, followed by two other exhibitions dealing with the art of World War II.
New York Times • Arts; Obituaries • page 6 • 757 words