Visit Now | Met Breuer

STEFANO TONCHI’S DAY DATE GO-TO IS NEW YORK CITY’S NEWEST CONTEMPORARY ART PLAYER.

The Met Breuer. Courtesy of The Metropolitan Museum of Art 2016.

The Met Breuer; Courtesy of The Metropolitan Museum of Art © 2016.

Filled to the brim with cultural relics from worlds past, The Metropolitan Museum is New York’s art-minded crown jewel; its storied walls encompassing everything from ancient Greece to fashion’s most influential moments. So, what happens when the crown jewel decides to branch out into contemporary and modern art? It takes over a building on Madison Avenue and dedicates the space to exactly that, naturally. Just about ten blocks and a century away from the its Fifth Avenue flagship, the Met Breuer opened its doors last month, marking the third location for the museum mega-group (they also own and operate the Cloisters). Offering a mash-up of rotating exhibitions, live performances, artist commissions, residencies and educational initiatives, the brand-new space has quickly skyrocketed to “gallery go-to” for many of the city’s art admirers (including CITIPHILE and W Mag Editor-in-Chief Stefano Tonchi who recommends visiting MB for a date). At the moment, the museum has its two opening exhibitions on display including Unfinished: Thoughts Left Visible running through the beginning of September and Nasreen Mohamedi running until early June.  Take a look below for more information on both shows.

unfinished

Clockwise from L to R: Vincent van Gogh’s “Street in Auvers-sur-Oise” (circa 1890), Leonardo da Vinci’s “Head and Shoulders of a Woman (La Scapigliata)” (circa 1500-1505), Pablo Picasso’s “Carafe and Candlestick” (circa 1909), Rembrandt’s “The Great Jewish Bride” (circa 1635), Paul Cézanne’s “Gardanne” (circa 1885-1886), Andy Warhol’s “Do It Yourself (Violin)” (circa 1962).

Unfinished: Thoughts Left Visiblethrough September 4
The past often informs our present and future, and in art, it’s no different. Drawing on The Met’s vast classical archives then in order to interpret a contemporary art trend through the lens of its predecessors isn’t only fitting, it’s transcendent. Exploring the idea of incomplete or “unfinished” works, the museum presents masterpieces as far-reaching as Cézanne and Rembrandt to Pollock and Rauschenberg— the former left unfinished either intentionally (a practice called non finito) or not (possibly due to a death or abandonment of the work), while the latter spotlight the modern distinction between “making” and “un-making” (where a work calls upon its viewers to finish the piece for themselves). The exhibition features almost 200 pieces— from both the Met’s personal collection and high-profile national and international loans—shedding light on a unwonted idea: the symbiotic relationship of past (classical) and present (contemporary) art.

2. Untitled, ca. 1975

Nasreen Mohamedi, Untitled ca. 1975.

Nasreen Mohamedithrough June 5
A departure from the usual suspects in contemporary art (which are overwhelmingly Western), Mohamedi is an Indian artist ingenious at capturing the beauty of minimalism— both in photograph and illustration. A leading voice in international modernism, her work also happens to satisfy the Met Breuer’s public mission to present a global point of view in exploring the contemporary art marketplace. Her pencil and ink renditions— a collection of sharp lines and angular planes— are both exacting and delicate, recalling the balance between rigidity and simplicity in mediums like architecture, sheet music and engineering. The near perfection of the pieces is what draws the most attention—with lines almost never deviating from the perfectly straight (the hand-drawn designs appear computer-generated). The exhibition features over 130 paintings, drawings, photographs and diary extracts spanning her entire career.

Met Breuer, 945 Madison Avenue; 212.535.0177, metmuseum­.org. CP

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