Página inicial

Como atiçar a brasa


julho 2021
Dom Seg Ter Qua Qui Sex Sab
        1 2 3
4 5 6 7 8 9 10
11 12 13 14 15 16 17
18 19 20 21 22 23 24
25 26 27 28 29 30 31
Pesquise em
Como atiçar a brasa:

junho 2021
abril 2021
março 2021
dezembro 2020
outubro 2020
setembro 2020
julho 2020
junho 2020
maio 2020
abril 2020
março 2020
fevereiro 2020
janeiro 2020
novembro 2019
outubro 2019
setembro 2019
agosto 2019
julho 2019
junho 2019
maio 2019
abril 2019
março 2019
fevereiro 2019
janeiro 2019
dezembro 2018
novembro 2018
outubro 2018
setembro 2018
agosto 2018
julho 2018
junho 2018
maio 2018
abril 2018
março 2018
fevereiro 2018
janeiro 2018
dezembro 2017
novembro 2017
outubro 2017
setembro 2017
agosto 2017
julho 2017
junho 2017
maio 2017
abril 2017
março 2017
fevereiro 2017
janeiro 2017
dezembro 2016
novembro 2016
outubro 2016
setembro 2016
agosto 2016
julho 2016
junho 2016
maio 2016
abril 2016
março 2016
fevereiro 2016
janeiro 2016
novembro 2015
outubro 2015
setembro 2015
agosto 2015
julho 2015
junho 2015
maio 2015
abril 2015
março 2015
fevereiro 2015
dezembro 2014
novembro 2014
outubro 2014
setembro 2014
agosto 2014
julho 2014
junho 2014
maio 2014
abril 2014
março 2014
fevereiro 2014
janeiro 2014
dezembro 2013
novembro 2013
outubro 2013
setembro 2013
agosto 2013
julho 2013
junho 2013
maio 2013
abril 2013
março 2013
fevereiro 2013
janeiro 2013
dezembro 2012
novembro 2012
outubro 2012
setembro 2012
agosto 2012
julho 2012
junho 2012
maio 2012
abril 2012
março 2012
fevereiro 2012
janeiro 2012
dezembro 2011
novembro 2011
outubro 2011
setembro 2011
agosto 2011
julho 2011
junho 2011
maio 2011
abril 2011
março 2011
fevereiro 2011
janeiro 2011
dezembro 2010
novembro 2010
outubro 2010
setembro 2010
agosto 2010
julho 2010
junho 2010
maio 2010
abril 2010
março 2010
fevereiro 2010
janeiro 2010
dezembro 2009
novembro 2009
outubro 2009
setembro 2009
agosto 2009
julho 2009
junho 2009
maio 2009
abril 2009
março 2009
fevereiro 2009
janeiro 2009
dezembro 2008
novembro 2008
outubro 2008
setembro 2008
agosto 2008
julho 2008
junho 2008
maio 2008
abril 2008
março 2008
fevereiro 2008
janeiro 2008
dezembro 2007
novembro 2007
outubro 2007
setembro 2007
agosto 2007
julho 2007
junho 2007
maio 2007
abril 2007
março 2007
fevereiro 2007
janeiro 2007
dezembro 2006
novembro 2006
outubro 2006
setembro 2006
agosto 2006
julho 2006
junho 2006
maio 2006
abril 2006
março 2006
fevereiro 2006
janeiro 2006
dezembro 2005
novembro 2005
outubro 2005
setembro 2005
julho 2005
junho 2005
maio 2005
abril 2005
fevereiro 2005
janeiro 2005
dezembro 2004
novembro 2004
outubro 2004
setembro 2004
agosto 2004
julho 2004
junho 2004
maio 2004
As últimas:

janeiro 17, 2012

Met Gears Up to Be a Player in Contemporary Art por Carol Vogel, The New York Times

Matéria de Carol Vogel originalmente publicada no jornal The New York Times em 10 de janeiro de 2012.

Sending a signal that it intends to become a serious competitor in the field of contemporary art for the first time in half a century, the Metropolitan Museum of Art has recruited a prominent London curator to oversee a new department devoted to art of the 20th and 21st centuries. She is Sheena Wagstaff, chief curator of Tate Modern since 2001, who has been responsible for programming there and for helping to organize exhibitions devoted to artists like Roy Lichtenstein, Barnett Newman, Jeff Wall and Eva Hesse.

Ms. Wagstaff’s appointment was approved by the Met’s board on Tuesday afternoon. It comes as the institution prepares to take over the Whitney Museum of American Art‘s Marcel Breuer building, at Madison Avenue and 75th Street, in 2015, when the Whitney opens its new museum in the meatpacking district of Manhattan. The Met plans to use this Breuer landmark as an outpost for Modern and contemporary art while it renovates its existing Modern and contemporary art galleries.

The appointment is accompanied by a significant reorganization of the museum’s leadership by the Met’s director, Thomas P. Campbell. It reverses a decision made in 2004 by his predecessor Philippe de Montebello to put Modern and contemporary art into the same department with 19th-century European paintings: that meant French Impressionist and post-Impressionist artists were managed by the same curators who handled contemporary masters like Jasper Johns, Lichtenstein and Ellsworth Kelly. That move was seen as diminishing the museum’s emphasis on contemporary art, which has long been its weakest link.

Except for a brief period in the 1960s when Henry Geldzahler was hired as the Met’s first 20th-century curator, the museum has never been able to compete seriously with giants of contemporary art like the Museum of Modern Art in New York or, more recently, Tate Modern in London.

And not everybody thinks it should; some critics and scholars think it is impossible to identify the greatest work of the present, to have the kind of historical perspective that is crucial to the Met’s judgment of its other collections.

Holland Cotter, a chief art critic for The New York Times, wrote in July: ”What we don’t need from the Met because we get it from so many other sources, is a preponderance of Now. We don’t need, in the Breuer building, four floors of the same sort of contemporary art that we see everywhere else in town, just so the Met can say that it has it, that it’s up to market speed.”

But the Met doesn’t intend to be like everyone else. When Mr. Campbell became director three years ago he vowed to put contemporary art back more prominently on the Met’s map, but in his own way.

First, in May, he finalized plans to operate the Breuer building for at least eight years. Then, last month, the director of the combined 19th-century and contemporary art department, Gary Tinterow, resigned from the Met to become director of the Museum of Fine Arts, Houston, creating the opportunity to hire Ms. Wagstaff and to reorganize. Mr. Campbell said he planned to put 19th-century paintings back into the department of European paintings under the direction of Keith Christiansen, its chairman.

“I’ve been conscious since I became director that a timely recalibration of Modern and contemporary art — not just art of the West, but globally — was something we had to do,” Mr. Campbell said in a telephone interview. “The opportunity to take over the Breuer building is very exciting. It gives us space to show Modern and contemporary art in the context of our encyclopedic collections.”

Mr. Campbell said that well before Mr. Tinterow’s resignation he had been discussing with him the possibility of dividing the departments. While there were many good candidates to run the new department, he said Ms. Wagstaff, who is 55, “was the most outstanding.”

“Sheena has scholarly, curatorial, programming and administrative experience,” Mr. Campbell said. “We need somebody who can reach out to the community with authority and who is well known to colleagues here and abroad.”

Ms. Wagstaff also has experience working with architects, as she did with Herzog & de Meuron as they developed their vision for an expanded Tate Modern. Perhaps even more important, she comes with deep knowledge of the Whitney, having done postgraduate curatorial studies there in its Independent Study Program in the early 1980s.

In a telephone interview Ms. Wagstaff echoed Mr. Campbell’s mission to present new art in a bigger way. “The global context is increasingly important to all of us as we live in an increasingly complex world,” she said. “And contemporary art is a great enabler to make sense of that world.”

While Ms. Wagstaff declined to say what specific ideas she has for the Met in her new job, she did say that she hoped the museum would be “in the vanguard of reinventing a new understanding of what art means, having a dialogue with the past and the present, the most vital conversation we can have today.”

Mr. Campbell said Ms. Wagstaff’s appointment was just the beginning of an effort to build a heftier curatorial staff with all kinds of expertise in contemporary art. “This won’t be the only hire,” he said. “If we build up the right team, we will have the potential to grow our collections thoroughly and embrace European and non-Western art.”

Mr. Campbell also explained that he would fortify the Met’s curatorial staff working with its renowned collection of Impressionists and post-Impressionists after the departure of Mr. Tinterow, a leading scholar in the field. “We want to sustain energy in that area, too,” he said.

Ms. Wagstaff is the fourth curator that Mr. Campbell has hired away from a major London museum. Two years ago he brought in Sheila R. Canby from the British Museum to run the Met’s Islamic art department. In July 2010 he hired Xavier F. Salomon, the former chief curator of the Dulwich Picture Gallery in London, to be a curator in the department of European paintings, and this summer he announced that Luke Syson, curator of Italian paintings before 1500 and head of research at the National Gallery in London, would become the Met’s curator in charge of European sculpture and decorative art; he replaces Ian Wardropper, who became director of the Frick Collection in October.

When asked about his penchant for London-based curators, Mr. Campbell, who is British but has lived and worked in New York for 17 years, said: “Sheila Canby is American, and Xavier Salomon is Italian. Since I became director, there have been people retiring and others moving on. I’ve made 12 executive department head appointments and many of them from American museums.”

Asked why he chose Ms. Wagstaff over the scores of talented American curators to choose from, Mr. Campbell said: “Sheena is knowledgeable and well respected in the community. There was chemistry.”

Posted by Patricia Canetti at 12:39 PM