These are grand themes hinging on the black and gay experience in America. Yet I have reservations about Ligon’s work. His technical range is severely limited, and for all the inarguable righteousness of his project, I cannot help but feel his work is overly self-referential, lacking the universality of great art.
Glenn Ligon: America
Through June 5 at the Whitney Museum of American Art, 945 Madison Ave. at 75th Street. 212-570-3600. www.whitney.org.
Picasso: Guitars 1912-1914
This exhibit at the Museum of Modern Art meticulously chronicles Picasso’s daily progress as he put the guitar motif through its cubist paces in a profusion of drawings, collages and paintings. Scores of graphic works and paintings are bracketed by two groundbreaking sculptural constructions: a cut-paper guitar and a sheet-metal version, both of which belong to the museum.
The constructions were groundbreaking because they are the first sculptures made by combining components rather than by the traditional methods of carving, modeling or casting. They represent a kind of three-dimensional extension of cubist imagemaking.
Cubism holds such iconic status in the history of art because it was a wholly new approach to visual representation. Until then, artists represented objects as they appear to the eye as seen from one angle. Picasso represented things as they appear from multiple angles, and also as they are known to the mind, a combination of aspects — seen and intuited — that include what lies behind surfaces.
In other words, a cubist guitar is represented as an accumulation of its visual and material attributes — the pattern of the instrument’s wood, the curving silhouette of its side, the cylindrical recess of the sound hole, the vertical of its stringed fret board, the boxlike depth of its body. It was a rethinking of perception and epistemology expressed through innovative and often beautiful visual representation of mass and space.
It’s wonderful to have so many of the guitars together, but the curators are so involved with sequencing Picasso’s works that they never step back to articulate what was so innovative about cubism itself. That’s a problem because many viewers don’t understand what’s significant about these somewhat difficult works. But here’s a chance to look over Picasso’s shoulder as he writes that new artistic philosophy.
Picasso: Guitars 1912-1914
Through June 6 at the Museum of Modern Art, 11 W. 53rd St. 212-708-9400. www.moma.org.
Three shows at the Met
The guitar theme continues at the Metropolitan Museum of Art with an exhibition about stringed-instrument-making through the ages, with special attention to a family of luthiers from Italy who migrated to New York and continue to craft fine instruments today. Another show gathers together several versions of Cezanne’s paintings of peasants sitting around a table playing cards, as well as studies of the individual sitters.
In the Asian wing is furniture, decorative screens and architectural elements from a part of the Forbidden City in Beijing created by 18th-century emperor Qianlong as a retirement retreat. He never moved in, and the long-vacant buildings were only recently restored, prompting this traveling show of exquisite woodcarvings inlaid with mother-of-pearl and intricate enamels, paintings on glass, thrones and other luxury goods that illustrate the cost-is-no-object opulence of the powerful imperial court. Look for the recurring motifs of pine, plum blossoms and bamboo, three plants that flourish in winter and represent hope for the emperor’s productive life in retirement.
Guitar Heroes; Cezanne’s Card Players; The Emperor’s Private Paradise
Through July 4, May 8 and May 1, respectively, at the Metropolitan Museum of Art, 1000 Fifth Ave. at 82nd Street. 212-535-7710. www.metmuseum.org.
Kaufman is an art critic and reporter whose In View blog is hosted by Artinfo.com.
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