• Addison Gallery of American Art with Stella Prime: Prints from an American Master

    Mark Favermann

    Frank Stella, ‘Steller’s Albatross from Exotic Bird Series,’ 1977, lithograph, screenprint on white Arches 88 paper mould-made paper, 33 7/8 x 44 7/8 in., National Gallery of Australia, Canberra, purchased 1979. © 2017 Frank Stella / Artists Rights Society (ARS), New York

    ‘Frank Stella Prints’ offers an unusually illuminating perspective on the career of virtuoso artist, Frank Stella, who helped define the perimeters of American art over the past five decades. The show focuses on his printmaking, and its over 100 works on paper suggest the ways his highly experimental approach transformed our understanding of the traditional print.

    This elegant and comprehensive exhibition, the artist’s first major print retrospective since 1982, also offers up a clear view of Stella’s stylistic evolution — a series of reinventions that morphed from the minimalist geometric abstraction of his early years to an effervescent complexity of his later gestural work. (more…)

  • ‘The School For Lies’ at Shakespeare Theatre, Washington, D.C: “Rippingly Appropriate” for 2017

    Amy Henderson

    l to r: Gregory Wooddell as Frank, Cameron Folmar as Clitander, Liam Craig as Acast and Tom Story as Oronte. All photos by Scott Suchman, unless otherwise noted.

    Egad–imagine life riven by “fake news,” “alternate facts,” and boorish behavior?! Playwright David Ives has, and he has now wickedly transformed this thought into a gleeful roast. His new play, The School for Lies, is loosely based on Moliere’s mid-seventeenth century caricature of French oafishness, The Misanthrope, and it is one of the funniest productions ever concocted. It is the perfect antidote for our dreary times. (more…)

  • “Markus Lüpertz, Threads of History” Jointly at Washington’s Hirshhorn & Phillips

    Elaine A. King

    Seldom do museums in Washington, D.C. engage in collective undertakings, in spite of their eminence and professional staff.  Unexpectedly, the Smithsonian’s Hirshhorn Museum and Sculpture Garden and The Phillips Collection have chosen to work in partnership on complimentary exhibitions showcasing the works by the German painter Markus Lüpertz.  This is the first official alliance between the two venues.  The Hirshhorn’s exhibition titled “Markus Lüpertz: Threads of History,” curated by Evelyn Hankins, focuses on Lüpertz’s early work from 1962 to 1975, in the context of post-war Germany; while Dorothy Kosinski, director of the Phillips Collection, curated “Markus Lüpertz,” offers a retrospective of the artist’s five-decade oeuvre.

    Above, left: Markus Lüpertz, Stil: Eins-Zehn VII—große Form mit Linie 2 (Style:  One-Ten VII—Large Shape with Line 2), 1977. Oiland distemper on canvas, 63 3/4 x 51 1/4 in. Private collection © 2017 Artists Rights Society (ARS), New York /VG Bild-Kunst, Bonn.


  • Roman Ruins: Update on a Once Great Beauty

    Paula Spurlin Paige

    On a recent sunny September afternoon, I stood on one of the hills of Rome with a group of Italians, looking across the brown Tiber (below) to the old orange buildings of Trastevere. A bright green bird, maybe some sort of parrot, swooped over the river toward a row of darker green umbrella pines. Modern Rome has few birds, except for sparrows and pigeons, and precious little quiet, so we stood for a while and drank it in. (more…)

  • ‘Matisse in the Studio,’ at Boston’s Museum of Fine Arts: Vibrant Beauty

    Mark Favermann

    French artist Henri Matisse (1869-1954) was a seminal influence on 20th Century Art, a creative spirit who helped define the century’s revolutionary approach to the visual. The MFA’s Matisse in the Studio – the only venue in North America where this exhibition will be shown – is the first major international show to examine how the objects in the artist’s personal collection played in powerful role in shaping his art. It is a fascinating look at how the objects he regarded with affection effected a great artist’s oeuvre. (more…)

  • Editor’s Letter: May, 2017

    Richard Friswell


    “History never really says goodbye. History says, ‘See you later.’” 
                        ~Eduardo Galeano

    Left: Frank Duveneck, study for, Guard at the Harem (1888). Collection Asian Art Museum, San Francisco

    Art Preserves the Historical Record: Muslim Slaves in 19th Century America

    First, a little background…

    Slavery is as old as civilization. The capture, sale and exploitation of slave labor had been a burgeoning business for the nations of Europe and Africa—then the center of the known world—and beyond, throughout recorded history.

    So when slavery arrived on the shores of the American colonies, it was merely a natural progression of a widely recognized and accepted practice. It is important to note, at this point, a detail about exploration and settlement of the North American continent in the 400 years since its “discovery”, up until the Civil War. After the vast landfall’s presence was known for certain, this “New World” was invaded by three principle groups—each with its own agenda. (more…)

  • 217 Films Releases “America Rising: The Arts of the Gilded Age”—Brilliantly Conceived

    Richard Friswell

    Caricature of Mark Twain, soon after the publication of ‘The Gilded Age- A Tale of Today’ (1873), co-authored with Charles Dudley Warner.

    Mark Twain wasted little affection on the extravagances of Victorian America. Boisterous lifestyles and conspicuous consumption followed hard on the heels of a dreadfully protracted Civil War. In its aftermath, industrial innovation, commercial and urban expansion fueled both a new, burgeoning middle and astronomically-rich industrial class. Across the Atlantic during the same period (1870-90s), the French had their own term for these times: La Belle Epoch. Soured by its implications for our own societal values, Twain disparagingly referred to it as the “Gilded Age.”  The good news, of course, was that American exceptionalism was coming into its own, as a nation and its inchoate culture began to emerge from under the dominant shadow of its mentor—Western Europe. But, that shift toward cultural autonomy and global dominance was a trend that only historical perspective now confirms. For cultural observers of the time, like Twain, the old world order was slipping away, life moving at breakneck and confusing speed toward an ill-defined future and an ebullient new century. (more…)

  • “Other Than Honorable” at Rochester’s Geva Theatre: A Lasting Impression

    Herbert Simpson

    Jessiee Datino with Jason Kolotouros in “Other Than Honorable” at Geva Theatre Center. (All photos by Huth Photography)

    I think this is an important play. It has won acclaim in development around the country, clearly knocked out the opening night audience on its world premiere at Rochester, New York’s Geva Theater Center, and is most certainly headed for a Broadway debut.  Some of award-winning, fearless Jamie Pachino’s hard-hitting script and trail-blazing director Kimberly Senior’s showy, theatrical second act may get more subtly tuned-up first, but ‘Other Than Honorable’ is sure to make a lasting impression and win awards. (more…)

  • Washington’s Ford’s Theater with “Ragtime”: Resonates with Our Time

    Amy Henderson

    Cast of the musical “Ragtime” at Ford’s Theatre, directed by Peter Flynn. All photos by Carol Rosegg.

    From the opening notes of its come-hither “Prologue,” the new Ford’s Theatre production of Ragtime is an immersive experience. This historic Washington, D.C., theater is intimate: the stage sits close to the audience, and actors at times run back-and-forth along the aisles. Ford’s also has a unique identity no other theater can offer, because hovering over all the action is the Presidential Box where Lincoln was shot. The legacy of his injunction to find “the better angels of our nature” gives this production of Ragtime a particular poignancy. (more…)

  • Broadway’s LuPone and Ebersole in “War Paint”: Double Display of Delicious Divadom

    Edward Rubin

    Patti LuPone (Helena Rubenstein)and Christine Ebersole (Elizabeth Arden) in ‘War Paint.’ Photos by Joan Marcus.

    It’s no surprise that Patti LuPone and Christine Ebersole, two of Broadway’s most beloved Tony-winning performers, each with their own cadre of diehard followers, are filling the seats at Broadway’s Nederlander Theater. It is equally unsurprising that the audience goes over the moon after each Scott Frankel (music) and Michael Korie (lyrics) War Paint song that they sing. And there are some twenty of them. They must realize that this is History in the Making, heaven-sent if you will, for having two knock ‘em dead Broadway stars singing their hearts out for the price of one, is a treat of great and rare proportion. (more…)