The Bronx Architecture of the Arts

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In her career survey, “Image of an Image,” Rochelle Feinstein, a Bronx native, proves that she can do aloof about annihilation with painting. She can account history or acquaint a joke. She can alchemize linen, photographs, newspapers, agenda and photocopies into art. She can advise you article about attractive and life. (Until recently, Ms. Feinstein was a assistant of painting at Yale.)

This artist, a adept with color, is a ball New Yorker. She sprays and squeezes paint, and stains with it. Several works feel like odes to blush annal or to the blush access art acceptance apprentice in school. Her jokes are aphotic and wry. A black-and-white painting with big, beefy belletrist advertises “The Estate of Rochelle F.” (2009-10), a admonition of how artists (and decidedly women) are generally accustomed alone posthumously.

A aberrant ache runs through some of the works as Ms. Feinstein grapples with and battles the armament aggravating to shut bottomward painting in favor of added media. “El Bronco” (1994) appearance a abrupt white annoy book careening angular bottomward a atramentous canvas, comatose to Barnett Newman’s color-field “zip” paintings and Robert Rauschenberg’s 1953 accumbent annoy mark on cardboard — but additionally to O.J. Simpson’s Ford Bronco and the murders and bent balloon that polarized this country about ancestral curve in the mid-1990s.

“Love Vibe” (1999-2014) is a daisy-chain mural of six ablaze green- and-white paintings with janky atramentous argument that reads, “love your work” — except that the words arise in reverse, as if apparent in a rear-view mirror. It is a advertence to the way artists accidentally — conceivably insincerely — acclaim one another’s efforts. It additionally feels like a adulation letter to painting and conceivably alike to the eyewitness since, who knows? Maybe Ms. Feinstein loves our assignment — attractive at, contemplating, autograph about her paintings — as abundant as we adulation hers. MARTHA SCHWENDENER

Through March 3. 1040 Grand Concourse, the Bronx; 718-681-6000, bronxmuseum.org.

The Morgan Library & Museum

The aboriginal of the fall’s abundant architecture exhibitions centers on a distinct Mannerist masterpiece: Jacopo da Pontormo’s beauteous “Visitation” (1528-30), which depicts the affair of the Virgin Mary and her age-old accessory Elizabeth. Both are abundant (Elizabeth with John the Baptist); anniversary is accompanied by a changeable attendant. It was accomplished for a blue-blooded ancestors in Carmignano, Italy, area it hangs aloft the altarpiece in the archdiocese church. The Morgan has installed the painting similarly, in the chapel-size Clare Eddy Thaw Gallery. I acclaim sitting on the bank provided and gazing upward, as if from the aboriginal pew.

“Visitation” is a knockout, over nine anxiety high. The four women are above than life, dwarfing two tiny men who are arresting in the panel’s lower larboard corner, cutting white masks and lounging in advanced of a building. The assignment evinces Pontormo’s appropriate airiness of action and expression, best of all in the affair eyes and beautiful, affable easily of Mary and Elizabeth. Additionally characteristically, the abstracts float added than stand, their calmness allegory with the bouncing of their garments, which reflect the artist’s avant-garde affection for aciculate hues and acid pairings.

Revived by contempo conservation, Pontormo’s colors assume advisedly provocative, alike today; they’re as abundant characters as the women, abnormally Elizabeth’s excellent blooming dress and orange robe, and the hot blush over olive blooming beat by Mary’s attendant. Mary wears a ablaze blush clothes mostly covered by her commonly dejected robe, which actuality has a blow of topaz. ROBERTA SMITH

Through Jan. 6. 225 Madison Avenue; 212-685-0008, themorgan.org.

New-York Actual Society

Betye Saar, now 92, has been authoritative important and affecting assignment for about 60 years. Yet no big New York architecture has accustomed her a abounding retrospective, or alike a cogent one-person show, back a 1975 abandoned at the Whitney Architecture of American Art. As the New-York Actual Society’s exhibition “Betye Saar: Keepin’ It Clean” demonstrates, the institutional blank is abnormally baffling, as her primary capacity — ancestral amends and feminism — are absolutely attuned to the present moment and, indeed, to every American moment aural memory.

Ms. Saar grew up in the Watts area of Los Angeles, watching the immigrant Italian artisan Simon Rodia assemble his aces architecture from atom materials. An appointment with Joseph Cornell’s art in the aboriginal 1960s assertive her that aggregation could be carefully scaled and politically pointed. By then, she was already circuitous in the Atramentous Arts and women’s movements. Her 1972 advance piece, “The Liberation of Aunt Jemima,” merges the two by transforming the racist average of the animated atramentous assistant into an armed abandon fighter.

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In the appearance at the New-York Actual Society, which comes from the Craft & Folk Art Architecture in Los Angeles, the aforementioned amount appears, admitting the capital adapted aspect is different: the old- age-old board washboard, already a calm basic and now an aged artifact. Generations of women, amid them servants, acclimated it to accumulate things clean, admitting afterwards actuality able to abolish the stains of racism and sexism from their lives. But in the present of Atramentous Lives Amount and #MeToo, the attempt to do so goes on. “Extreme Times Call for Extreme Heroines” is the appellation of a assignment in the show. Addition should active the above art architecture on the adverse ancillary of Central Park that there’s one such charlatan here. HOLLAND COTTER

Through May 27. 170 Central Park West; 212-873-3400, nyhistory.org.

A able appearance on the religious functions of aboriginal Netherlandish art, “The Charterhouse of Bruges” has been army in a arcade no above than a covering closet — admitting a added apt allegory may be to a monk’s cell.

Bruges, which now attracts tourists with a aftertaste for aqueduct cruises and Belgian chocolate, was in the 1440s amid Europe’s best activating cities for art and commerce. It was additionally home to a austere Carthusian order, adherent to silence, whose leader, Jan Vos, commissioned paintings by two of Bruges’s best artists for the order’s charterhouse, or monastery. They are reunited here: the Frick’s own gem-hard “Virgin and Child with St. Barbara, St. Elizabeth and Jan Vos,” apparently amorphous by Jan van Eyck and accomplished by his branch afterwards his death, and addition account of the Virgin and the abbot by Petrus Christus, lent by the Gemäldegalerie in Berlin. In both we see Vos in a begrimed hooded robe, admiration afore Mary, his beard acutely tonsured.

A lover of Netherlandish painting could absorb canicule allegory these two Flemish artists’ administration of tempera, their abundant cityscapes, their affliction for Mary’s ringlets or Vos’s cloak. But the accuracy of this show, organized by the adolescent babysitter Emma Capron, is that it looks above anatomy to affairs of use. The above Van Eyck was for accessible adherence — admirers who said the “Ave Maria” afore it would get 40 canicule deducted from their time in affliction — while the Petrus Christus, no bigger than a area of apart leaf, could be bound or alike kissed during prayer. And added altar here, including a tiny, hinged board adoration bean that opens to acknowledge a carefully carved angelic scene, extend our appearance of European religious art above painting. These works were meant for so abundant added than aloof our gaze. JASON FARAGO

Through Jan. 13. 1 East 70th Street, Manhattan; 212-288-0700, frick.org.

Institute for the Study of the Age-old World

In 1830, a Norman agriculturalist alive a new allotment of acreage abreast the apple of Berthouville bashed up 50 pounds of age-old Roman silver. The hoard, which was eventually acquired by the Bibliothèque Nationale de France, came to be accepted as the “Berthouville Treasure.” Having been active on the area of a temple to Mercury, it included a cartoon of the god, which, at about two anxiety tall, is one of the bigger such pieces to survive from antiquity.

It is amid dozens of works now on affectation in “Devotion and Decadence: The Berthouville Treasure and Roman Affluence From the Bibliothèque Nationale de France,” highlighting the achievements of age-old silversmiths.

Bright and aflame in a climate-controlled vitrine afterwards a yearslong attention at the Getty, naked except for his emblematic agents entwined with snakes, the amount bears a analytical affinity to Michelangelo’s “David”: His beat-up arch is hardly oversize, and his able-bodied anatomy stands in a attenuate contrapposto. But while he cuts an affected contour and is an amazing archetype of metalwork, what’s absolutely arresting about him is how accustomed he looks: Forth with erotically themed bubbler bowls, formed platters busy with busy allegorical scenes, and a accumulation of broken-off argent cup handles, the cartoon evokes a absent apple of affluence in which alike bigoted households were able-bodied abounding with absurd objets d’art.

Another Mercury figure, which survived in fragments, was reassembled in the 19th aeon with beeswax. The wax may accept originally been brave to alloy in with the silver, but time has blurred it, so the amount is now at already a window into age-old abundance and 19th-century architecture practice. WILL HEINRICH

Through Jan. 6. 15 East 84th Street, Manhattan; 212-992-7800, isaw.nyu.edu.

Grey Art Gallery, New York University

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The artworks best associated with Italian neorealism are heart-wrenching movies that dramatize the hardships of postwar life. This exhibition makes the case for an Italian neorealist photography movement that may not accept produced masterpieces at the aforementioned rate, but was added absolute and beneath abrupt than its accurate counterpart.

Consisting of 174 pictures by 73 photographers, forth with blur clips, books and newsmagazines, “NeoRealismo” begins with Fascism. Mussolini’s bogus populism and propagandistic adumbration set the date for the decades afterwards the war, back the romanticization of accustomed Italians who were appetite to body up their lives and nation became added expansive. Franco Pinna’s 1952 photograph of a woman said to be the boondocks witch, who’s pictured reverently, like a saint, and Chiara Samugheo’s arresting 1955 alternation of women who are declared as bedevilled authenticate an embrace of the country in all its idiosyncrasies.

People are the assault affection of “NeoRealismo.” They’re apparent abutting up, in portraits answerable with intimacy, and far away, askew by adverse environments. We see them in the streets or assuming concrete labor, rarely in their homes. Neorealism was absorbed in clandestine activity alone insofar as it accompanying to a public, aggregate one — a assumption summed up by Mario Ingrosso’s 1952 photographs of an alfresco bells procession. (In one, the helpmate crosses a beck while addition holds the basal of her dress.)

In this regard, the movement was actually a political project. Yet the arch images still attach to aesthetic concerns, like Nino Migliori’s “People of Emilia. Summer’s Evening” (1953), with its affluent caliginosity and quiet composition. In some cases, the photographers alike let in a almighty bit of ambiguity. A pitch-perfect 1960 account by Gianni Berengo Gardin captures a well-dressed brace benumbed a scooter accomplished a architecture on whose bluff is printed a crumbling Fascist slogan: “Noi siamo contro la adventures comida,” or, “We’re adjoin the adequate life.” JILLIAN STEINHAUER

Through Dec. 8. 100 Washington Aboveboard East, Manhattan; 212-998-6780, greyartgallery.nyu.edu.

Cooper Hewitt, Smithsonian Design Museum

This architecture excels at exhibitions that border with somewhat cabalistic advice embodied by visually admirable objects, and few capacity authorize for that access like color. This appearance is all the added absorbing because the about 200 items on view, which ambit through centuries, accept been fatigued about absolutely from the Cooper Hewitt’s all-inclusive holdings.

They are supplemented by about 40 illustrated books from the Smithsonian Libraries, including a attenuate archetype of “The Abundant Art of Ablaze and Shadow,” of 1671, in which Athanasius Kircher diagramed the basics of the blush spectrum (minus violet) for the aboriginal time, and J.C. Le Blon’s groundbreaking “Coloritto, or, The Harmony of Colouring in Painting,” of 1725, which laid the foundation for blush printing. But the uses of blush in absolute activity is the capital adventure here, approved primarily by one small, admirable alignment afterwards another.

There are access to be made, like one amid a carved bark covered box from 18th-century China and a alpine blooming urn in 3-D printed nylon. And there are encompassing adventures to be had, including an anteroom whose walls are covered in “Scenic Wallpaper” (also digital), advised in 2017 by Carnovsky. The presentation seems to crave 3-D glasses but ancestor into focus already you footfall inside. Access and convenance frequently appear calm with abnormal clarity. One archetype is the 2012 affection absolute from the Index Collection that fabulously illustrates the tonal gradations of blush press — monotone, duotone and multitoned — from anemic to intense. Think ombre. ROBERTA SMITH

Through Jan. 13. 2 East 91st Street, Manhattan; 212-849-8400, cooperhewitt.org.

Joseph Tetteh Ashong, bigger accepted as Paa Joe, makes coffins. Afterwards confined a continued apprenticeship with his accessory Kane Kwei, who is accustomed with popularizing the use of allegorical board coffins in Ghana in the 1950s, Paa Joe became the country’s pre-eminent funerary carpenter, axis out bags of blithely black lions, soda bottles, and automobiles for bodies to be active in. Best of his animated pieces adore the ablaze of day for alone a few hours afore they abandon into the ground. But in 2004, Paa Joe was commissioned by the art banker and gallerist Claude Simard to accomplish casket-size balk models of 13 above Gold Coast bondservant forts.

The seven of these that are now on affectation at the American Folk Art Architecture don’t attending like monuments to animal misery. For one thing, they’re all afresh corrective and immaculate, clashing the originals. Paa Joe additionally has a cartoonist’s allowance for transmuting alike the best circuitous and barbarous actual into a airy announcement of his own aesthetic temperament. Architecture is aeroembolism and abbreviated, and a arrangement meant to advance alloyed stonework looks added like aerial rashers of bacon. That’s not to say that the complication is elided: Anniversary archetypal carries the names and dates of all its European occupiers (“1653 Sweden 1665 Britain”) as able-bodied as an humble aperture labeled “Gate of No Return,” and the subtext of a abreast African brainwork on the bondservant barter is as abundant as can be. It’s aloof that the work’s conceptual weight doesn’t bassinet its cutting beheld pleasure. WILL HEINRICH

Through Feb. 24. 2 Lincoln Square, Manhattan; 212-595-9533, folkartmuseum.org.

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Guggenheim Museum

As you acme the Guggenheim’s ambagious rotunda, it is as if the exhibition of the Swedish artisan Hilma af Klint (1862-1944) had aback exploded into 28 fragments, drop baby abstruse paintings beyond the walls. This is R.H. Quaytman’s “ x, Chapter 34,” a alternation of works fabricated in 2018 in acknowledgment to af Klint’s bulk from the aftermost century.

Ms. Quaytman is the absolute artisan to acknowledgment af Klint. One of the arch lights of abreast post-Conceptual painting, she additionally organized a appearance of af Klint’s assignment at MoMA PS1 in 1989. Af Klint formed in series, and Ms. Quaytman works in what she calls “chapters.” And area af Klint took orders from alcohol she claimed to accept contacted through séances and added abstruse techniques, Ms. Quaytman, for this project, has adopted af Klint as her college power, alive in a added secular, channeled collaborative vein.

Each bay in the Guggenheim’s high circling appearance a painting with a white amphitheater in a abysmal azure square. These feel like portals, absent suns or abstracted eyes, but they additionally answer af Klint’s “SUW/UW Series” (1914-15), in which, cartoon from acumen and Rudolf Steiner’s anthroposophy, she advised painting as a agent for amalgamation religions and abstract systems. In a adjacent bank text, Ms. Quaytman comments on how af Klint, alive like a “mad scientist,” was able to accompany both rational and automatic commonsense to adjure invisible, abstract ideas.

In added muted, post-Minimalist panels, Ms. Quaytman borrows af Klint’s allegorical vocabulary, including the handwritten “ ” and “x” on the aboriginal folio of af Klint’s notebooks. Thoughtful and methodical, “x , Chapter 34” is a quiet show, a absolute coda to af Klint. Area that Swedish artisan offers a bright, activating symphony, Ms. Quaytman responds with a spare, aseptic and hardly anomalous accent poem. MARTHA SCHWENDENER

Through April 23. 1071 Fifth Avenue; 212-423-3575, guggenheim.org.

Cooper Union, 41 Cooper Gallery

This presentation is beneath an exhibition than a applicant annal and account allowance and, in that, it is affectionate and inspiring. In posters, magazines, books and videos, it provides a actual overview of the printed amount that was advised by women over the accomplished aeon or so to accompany the liberties continued accorded to men.

Its agitate begins with an appliance for acceptance to the New York Academy of Design for Women, which was allotment of the Cooper Institute, as Cooper Union was initially called. That is followed by an amplification of a advertisement agreeable women to the “First Feminist Mass Meeting” at Cooper in 1914. That assemblage was organized by the Heterodoxy Club of New York, founded in 1912 and abiding into the 1940s. In between, the appearance abstracts the access of Marxism and the accumulated agitation for women’s and civilian rights.

Discoveries accommodate the astonishing woodcuts of Lucia Vernarelli, a affiliate of the Redstockings; Faith Ringgold’s 1971 affiche in abutment of Angela Davis, “America Free Angela”; and newsletters from the Lesbian Herstory Archives, including one canonizing Audre Lorde (1934-1992).

The appearance ends with a big, adventurous new banderole by the Guerrilla Girls, whose handsome, absolutely advised posters accept pelted the art apple with alarming facts about the demographics of arcade rosters and architecture collections for over four decades. But the assault affection of the affectation may be several continued tables’ account of feminist abstract that affection such abstract as Simone de Beauvoir’s “The Second Sex,” and contempo additions like the impressively blubbery “Feminist Manifestos: A Global Documentary Reader,” edited by Penny A. Weiss and appear this year by the New York University Press. Thrillingly, all the books are accessible for browsing and reading. ROBERTA SMITH

Through Dec. 2. 41 Cooper Square, Manhattan; cooper.edu.

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