‘THE SENSES: DESIGN BEYOND VISION’ at the Cooper Hewitt, Smithsonian Design Museum (through Oct. 28). There’s a serious, timely big idea at this exhibition: As social media, smartphones and virtual reality make us ever more “ocularcentric,” we have taken leave of our nonvisual senses — and need to get back in touch, literally. Thus “The Senses” features multisensory adventures such as a portable-speaker-size contraption that emits odors, with titles like “Surfside” and “Einstein,” in timed combinations; hand-painted scratch-and-sniff wallpaper (think Warhol’s patterned cows but with cherries — cherry-scented, naturally); and a device that projects ultrasonic waves to simulate the touch and feel of virtual objects. The show also presents commissions, videos, products and prototypes from more than 65 designers and teams, some of which address sensory disabilities like blindness and deafness, including Vibeat, which can be worn as a bracelet, brooch or necklace and translates music into vibrations. And if you bring the kids, they will likely bliss out stroking a wavy, fur-lined installation that makes music as you rub it. (Michael Kimmelman) ‘SOUL OF A NATION: ART IN THE AGE OF BLACK POWER’ at the Brooklyn Museum (through Feb. 3). It will be a happy day when racial harmony rules in the land. But that day’s not arriving any time soon. Who could have guessed in the 1960s when civil rights became law, that a new century would bring white supremacy tiki-torching out of the closet and turn the idea that black lives matter, so beyond obvious, into a battle cry? Actually, African-Americans were able to see such things coming. No citizens know the national narrative, and its implacable racism, better. And no artists have responded to that history-that-won’t-go-away more powerfully than black artists have. More than 60 of them appear in this big, beautiful, passionate show of art that functioned as seismic detector, political persuader and defensive weapon. (Cotter) ‘THROUGH A DIFFERENT LENS: STANLEY KUBRICK PHOTOGRAPHS’ at the Museum of the City of New York (through Oct. 28). This exhibition of the great director’s photography is essentially Kubrick before he became Kubrick. Starting in 1945, when he was 17 and living in the Bronx, he worked as a photographer for Look magazine, and the topics he explored are chestnuts so old that they smell a little moldy: lovers embracing on a park bench as their neighbors gaze ostentatiously elsewhere, patients anxiously awaiting their doctor’s appointments, boxing hopefuls in the ring, celebrities at home, pampered dogs in the city. It probably helped that Kubrick was just a kid, so instead of inducing yawns, these magazine perennials struck him as novelties, and he in turn brought something fresh to them. Photographs that emphasize the mise-en-scène could be movie stills: a shouting circus executive who takes up the right side of the foreground while aerialists rehearse in the middle distance, a boy climbing to a roof with the city tenements surrounding him, a subway car filled with sleeping passengers. Looking at these pictures, you want to know what comes next. (Arthur Lubow) ‘TOWARD A CONCRETE UTOPIA: ARCHITECTURE IN YUGOSLAVIA, 1948-1980’ at the Museum of Modern Art (through Jan. 13). This nimble, continuously surprising show tells one of the most underappreciated stories of postwar architecture: the rise of avant-garde government buildings, pie-in-the-sky apartment blocks, mod beachfront resorts and even whole new cities in the southeast corner of Europe. Tito’s Yugoslavia rejected both Stalinism and liberal democracy, and its neither-nor political position was reflected in architecture of stunning individuality, even as it embodied collective ambitions that Yugoslavs called the “social standard.” From Slovenia, where elegant office buildings drew on the tradition of Viennese modernism, to Kosovo, whose dome-topped national library appears as a Buckminster Fuller fever dream, these impassioned buildings defy all our Cold War-vintage stereotypes of Eastern Europe. Sure, in places the show dips too far into Socialist chic. But this show is exactly how MoMA should be thinking as it rethinks its old narratives for its new home next year. (Farago) Last Chance‘CASANOVA’S EUROPE: ART, PLEASURE, AND POWER IN THE 18TH CENTURY’ at the Museum of Fine Arts, Boston (through Oct. 8). Europe in the 18th century: the age of Enlightenment, an age of adultery. This vivacious exhibition uses Casanova, Venice’s most famous lover boy and the author of a 3,700-page autobiography, as a contextualizing force for gloriously ornate furniture and costumes, not to mention paintings of amorous aristocrats and pornographic drawings of lovers in laugh-out-loud configurations. After a year of #MeToo revelations, the show might at first seem ill-timed, yet Casanova (whose image never appears, except in an introductory wall display) is not really the show’s subject. He’s more of a conceit to rethink 18th-century art — too often dismissed as dainty — as something more worldly, more swashbuckling, more free. (Farago) Powered by WPeMatico The post 22 Art Exhibitions to View in NYC This Weekend appeared first on OriginalArt. via OriginalArt https://ift.tt/2N4TsfX
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