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    Thaddeus Mosley Shapes Universes in Wood

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    In a spectacular exhibition at Karma Gallery, the 98-year-old artist makes hardwood sculptures that burst with vitality and variation.The first sculpture in Thaddeus Mosley’s spectacular show “Proximity” is an assembly of four roughly wishbone-shaped pieces of carved walnut that stands 6 ½ feet tall. He calls it “Arboreal Choreography.” Seen from the gallery’s front door it does indeed bring to mind a well-dressed dancer in a self-conscious pose, thumbs in braces, one toe raised. From the end of a nearby bench, though, it becomes a complex jungle of shadows, creases, cracks and reinforcements, with brown and off-white tones so rich and various that you’d almost think he painted them on. As you pass alongside, it all becomes something else again.Mosley, who was born in 1926, has also worked in assemblage, sourcing miscellaneous objects from a Pittsburgh junkyard owned by Andy Warhol’s brother; one piece in the current show is mounted on a found lamp stand. In the past few years he’s also taken up casting, and a group of his recent bronzes will soon be installed in City Hall Park in Manhattan. But since he started making sculpture in Pittsburgh in the 1950s, the Pennsylvania native has chiefly worked with hardwood, enlisting every last bit of its natural aesthetic splendor, as Noguchi did for stone.Mosley’s “Flight Form,” 2023, in which a rounded, hollow mass of dark brown walnut sits horizontally atop a ballet-toe-shaped column. via the artist and KarmaMany of the pieces in “Proximity” express more singular thoughts than “Arboreal Choreography.” There are stools, wooden embraces, and several notched spirals that culminate in a majestic, nine-foot-tall column topped by a jaunty half pipe. Two sculptures made of locust wood are so shiny and yellow that they call to mind glazed French confections, at least for the moment. (Exposure to the air will eventually turn them brown.) It’s not that any of these things are simple — you could almost see “Curvilinear Reach” in a graduate-level math course — just that they’re easily taken in as wholes. Still, even in the most straightforward pieces, Mosley weaves together heady pairs of opposites: stillness and motion, curves and straight edges, intimacy and grandeur, conscious intention and organic growth.“Sonic X24” leans back like a debonair narwhal, and in “Crossroads,” a blade-shaped length of walnut notches a semicircular piece that evokes a slice of melon. In “Flight Form,” a rounded, hollow piece of dark brown walnut sits horizontally atop a ballet-toe-shaped column.Viewed from the middle of the room, it brings to mind a flayed beef carcass of the kind that Chaim Soutine liked to paint, a bulging, numinous stand-in for the universe itself. But Mosley ends his universe with 12 square projections, as if to impose some human order and decision onto the natural world. From the other side the same form reveals a crackling cavity full of esoteric mystery.Thaddeus Mosley: ProximityThrough May 23, Karma Gallery, 549 West 26th Street, Manhattan; (212) 717-1671, karmakarma.org. More

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      Francis Wanted a Church of the Poor and Put It Into Practice

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      Around St. Peter’s Square, the pope offered services to the homeless and migrants, in ways that often did not go down well with his fellow clerics.Throughout his papacy, Francis was an outspoken advocate for the downtrodden. Shortly after he was elected in 2013 he said, “How I would like a church that is poor and for the poor.”But Francis, who died on Monday at 88, didn’t just pay lip service.When the vehicle carrying his coffin pulls up at the Basilica of Santa Maria Maggiore, where he will be buried on Saturday, a group of “poor and needy” people will be waiting on the steps, the Vatican said this week. After all, the statement added, the pope “had chosen the name Francis to never forget them.” St. Francis of Assisi renounced his wealth to live in poverty.Marginalized groups will be present at the funeral, the Vatican said Friday.One of the first people to pay their respects when Francis was brought to St. Peter’s Basilica on Wednesday was Sister Geneviève Jeanningros, who until last year lived in a camper in a fairground outside Rome, serving those in need. She was in regular contact with Francis, who visited the fairground, and images of her weeping in front of his coffin moved many.Sister Geneviève Jeanningros, center in blue, was one of the first people to pay their respects to Francis.Pool photo by Alessandro Di MeoCloser to his own home, Francis “strongly supported” transforming the Vatican post office located on the right side of the colonnade of St. Peter’s Square into a free medical clinic for the homeless and for undocumented migrants. The clinic opened in 2018 and averages 100 visits a day, said its director, Dr. Massimo Ralli.“It’s putting the Gospel into practice because caring for people is one of the aspects of charity,” said Dr. Ralli. “So it absolutely mirrors the message of the Holy Father toward the least.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Sculpture Museum in Dallas Names a New Director

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      Carlos Basualdo, a veteran curator who has spent most of his career at the Philadelphia Museum of Art, will take over the Nasher Sculpture Center next month.Carlos Basualdo visited Dallas for the first time in October with interest in seeing the Nasher Sculpture Center, a prized small museum. It mingles 20th-century European sculpture by Pablo Picasso, Constantin Brancusi and Alberto Giacometti with contemporary works by American artists like Arlene Shechet and Carol Bove.“I fell in love with the building and the garden,” said Basualdo, a veteran curator who has spent most of his career at the Philadelphia Museum of Art.He will be returning to the Nasher on May 12 with the title of director, his first time overseeing an institution.The Nasher is relatively intimate, with a collection of about 500 works and an annual operating budget of about $13 million, but it has long commanded an outsize reputation for its holdings. It is housed in a jewel of a building: a light-flooded, travertine-and-glass structure by Renzo Piano. From the museum’s entrance you can see, in a nearly seamless glance, through the interior and across the length of the sculpture garden out back.A sculpture by Otobong Nkanga at the Nasher, which has a collection of about 500 works.Nitashia Johnson for The New York Times“When I walked into the place, coming out of the street, it was super-powerful,” Basualdo said. “It’s open, it’s very present, it’s not ostentatious, it’s generous, it’s full of light.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Special St. Patrick’s Day Guest: the Head of King George V

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      At its show in Australia this weekend, the raucously political rap trio Kneecap brought what appeared to be the missing head of a King George V statue onstage.The irreverent, unrepentantly political Northern Irish rap trio Kneecap welcomed a special guest onto the stage of its show in Melbourne, Australia, over St. Patrick’s Day weekend: the head of King George V, which appeared to be a missing piece of a statue that was decapitated in the city last year.“Some madman dropped by with a huge King George’s head so he could hear a few tunes for our last Melbourne show!” the group posted on Instagram, alongside a photograph of the enormous bronze face onstage in front of one of the group members, Mo Chara.It was the latest twist in a monthslong mystery, after a towering statue of King George V in the King’s Domain area of Melbourne was decapitated and vandalized with paint last June, part of a wave of anticolonial vandalism that targeted imperial statues across the state of Victoria. The missing head seemed to briefly reappear in January, when a video posted on Instagram showed it on a barbecue grill, lit on fire. But it has been missing, again, ever since.“Allegedly his head was cut off last year in the city..…anyways he was put on stage for a few tunes and then whisked away,” the group wrote in its post. “Remember every colony can fall 🔥”.Kneecap — a trio composed of the West Belfast musicians Mo Chara, Moglai Bap and DJ Provai — has raucously burst into the mainstream over the past year with a critically acclaimed, truth-adjacent biopic. The group is known for its high-volume Republican politics and gleefully inebriated shows, in which its frontman, Bap, regularly appears shirtless and slugging from a bottle of Buckfast, the cheap tonic wine that is a universal Irish touchstone for a messy night out.Central to the group’s ethos are anti-colonialist politics and promotion of the Indigenous language. Bap, Chara and DJ Provai perform in both Irish and English, and they have spoken often about the importance of promoting and preserving the Irish language, which was banned across the island during British occupation.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Torlonia Marbles Are Coming to Museums in Chicago, Texas and Montreal

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      For the first time, the ancient marbles are traveling out of Europe to the United States and Canada, for a prolonged stint.Stashed away in a cavernous Roman deposit, hidden from the world for the better part of the last century, the Torlonia Collection — the largest collection of classical sculpture still in private hands — now appears to be continuing its jet-set itinerary that started in 2020.After a glittering debut in Rome, and star turns in Milan and the Louvre Museum in Paris, 58 of the sculptures belonging to the Torlonia family, based in Rome, will be showcased at the Art Institute of Chicago in March, and will then travel to the Kimbell Art Museum in Fort Worth and the Montreal Museum of Fine Arts.Dating from approximately the fifth century B.C. to the early fourth century, the works on view will include highlights of the Torlonia Collection, but also 24 sculptures that were specifically selected for the North American run by the co-curators Lisa Ayla Cakmak and Katharine A. Raff of the Art Institute of Chicago, after “multiple trips” to the Torlonia laboratory in Rome where the collection is being restored. (“A magical, once in a lifetime experience,” Cakmak said during a video interview.)Titled “Myth and Marble: Ancient Roman Sculpture From the Torlonia Collection,” the exhibition will “feel very different from the European presentations,” Cakmak said. For the curators, it has been important to make it clear “that this is a completely new project,” not just in how it “was presented in our interpretation and storytelling but also the checklist” of works, she added.The Torlonia Nile, formerly Barberini-Albani. Sculptures from the collection had been visible, off and on, until World War II. Then they fell out of sight.Lorenzo De Masi; via Torlonia FoundationIt is “intended to be for non-specialists,” people who “might not know much about the ancient world,” but would be interested in seeing what Marcus Aurelius, known to modern audiences through the first “Gladiator” film, actually looked like, said Cakmak. She added that a scholars day limited to experts was “in the planning stages.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Storm King to Begin 2025 With Nora Lawrence as Executive Director

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      The family-run Hudson Valley sculpture park inaugurates its 65th anniversary year with fresh leadership, a $53-million upgrade and new acquisitions.Storm King Art Center, the 500-acre outdoor museum, announced on Tuesday that Nora Lawrence, its artistic director and chief curator, will succeed its president, John P. Stern, as the institution’s leader in January. It also announced a series of commissions and acquisitions, and a solo show by the Brazilian visual artist Sonia Gomes.It is the first time that Storm King — founded in 1960 by Stern’s grandfather, Ralph E. Ogden, and father, H. Peter Stern, in New Windsor, N.Y. — will be stewarded by someone from outside their family.In choosing Storm King’s inaugural executive director, the board decided to forgo a typical search and unanimously select Lawrence, who rose through the ranks over 13 years, starting as an associate curator.From left, the artist Sarah Sze and Lawrence on the grounds of Storm King in 2021.Lila Barth for The New York Times“There is no one more qualified to take the helm than Nora Lawrence, with whom I’ve had the privilege of working closely and whose artistic vision has helped make Storm King the international destination that it is today,” Stern wrote in a statement. He took the reins from his father in 2008 and now, at age 64, will transition to a position as the board’s president and senior adviser; his two sisters also serve on the board of the nonprofit organization.The generational change — Lawrence is 45 — is part of the “transformation from Storm King being a wonderful, family-led organization to becoming increasingly a more public-facing organization in every way,” said Adam D. Weinberg, a Storm King board member, who stepped down as director of the Whitney Museum last year.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      From One Nonagenarian Artist to Another, a Tip of the Hat

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      Alex Katz admired a Mark di Suvero sculpture and gave it to the Brooklyn Museum. It now has pride of place in the museum’s 200th anniversary celebration.Consider two artists, now both in their 90s and both still working, who do not know each other personally despite coming up in the New York art scene around the same time.One of them, Alex Katz, became the painter of some of the most recognizable portraits of our age, the other, Mark di Suvero, a welder of huge steel sculptures that are ubiquitous wherever outdoor art is found.This is not a buddy comedy setup, but rather the philanthropic back story behind the recent permanent installation of a nearly 15-foot-tall abstract sculpture by di Suvero, “Sooner or Later” (2022), on the plaza in front of the Brooklyn Museum.The work is a gift to the museum from the Alex Katz Foundation, picked out by the painter himself, to honor the museum’s 200th anniversary.Katz, 97 and still making new paintings, went back to Paula Cooper Gallery three times to see it, before making the purchase; the gallery said that similar works are priced in a range from $3 million and $5 million.“I saw it in the window and thought it was fantastic,” said Katz, known for his striking, flattened and highly stylized portraits, frequently taking his wife, Ada, as a subject. (He had a large retrospective at the Guggenheim that began in 2022.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Collector Sues to Block Investigators From Seizing Roman Bronze

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      Lawyers for the collector, based in California, said the Manhattan district attorney’s office did not have the jurisdiction or the evidence to support seizing the ancient statue.A California collector has gone to court to block efforts by New York investigators to seize an ancient Roman bronze statue that they assert was looted from Turkey in the 1960s.In a federal court filing last week in California, lawyers for the collector, Aaron Mendelsohn, 74, disputed the evidence they said investigators had presented indicating that the ancient statue of a man was stolen from an archaeological site in Turkey. The lawyers said that investigators had no jurisdiction to seize items in California and so were overstepping their authority.It was the latest in a series of recent challenges to efforts by the Manhattan district attorney’s office to seize artifacts believed to have been looted. The Cleveland Museum of Art and the Art Institute of Chicago are also engaged in legal challenges with the investigators over items with disputed histories.In Mr. Mendelsohn’s case, his lawyers have accused the investigators of using the threat of prosecution to pressure their client into giving up the statue. In addition, they have argued that by pursuing the statue in a potential criminal proceeding, the investigators can avoid the fuller disclosure and access to evidence that would have been required in civil court.The district attorney’s office “has invoked New York criminal process in an effort to intimidate Mr. Mendelsohn into relinquishing the Bronze Male, without affording Mr. Mendelsohn a legitimate opportunity to fully explore the evidence that DANY claims casts doubt on Mr. Mendelsohn’s ownership or to litigate its true ownership,” Marcus A. Asner, a lawyer for Mr. Mendelsohn, wrote in court papers filed in U.S. District Court for the Central District of California, Western Division.The Manhattan district attorney’s office responded with a statement that said: “Our Antiquities Trafficking Unit has successfully recovered thousands of stolen antiquities that came through Manhattan from galleries, homes, and museums around the country. We will respond to this filing in court.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      At Los Angeles Galleries, Savoring the Waning Days of Summer

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      During an often quiet season in the art world, several outstanding solo shows and one group show offer a feast for the eye and the mind.Rick Lowe’s “Cavafy Remains,” 2024, acrylic on canvas, in the group exhibition “Social Abstraction” at Gagosian Beverly Hills.via Rick Lowe and Gagosian; Photo by Thomas DubrockThe traditional summer lull in the art gallery calendar typically spurs a rash of phoned-in group shows, a chance to drag unsold works out of storage and repackage them under limp catchall themes. Not so much this month in Los Angeles, where several eye-catching solo exhibitions feature artists who are overdue for a moment in the sun.On the evidence of these shows, there’s no single dominant trend in art right now, but rather a general sense of permission to take seriously a broad spectrum of artists and positions, especially those of older generations. In this late-summer heat, it’s a welcome respite.‘Magdalena Suarez Frimkess: The Finest Disregard’Through Jan. 25. Los Angeles County Museum of Art, 5905 Wilshire Boulevard, Los Angeles; 323-857-6000; lacma.org.Top to bottom: “Minnie Mouse Wearing Venice Canals Dress,” 2004; “Minnie Mouse Wearing Pineapple and Palm Tree Pattern,” 2005; “Minnie Mouse in a White Dress With Red Polka Dots,” 2007; “Minnie Mouse in a Green Dress With Pink Polka Dots,” 2007; and “Minnie Mouse in a Pink Dress,” undated.via Magdalena Suarez Frimkess and Los Angeles County Museum of ArtAt 95, the Venezuelan-born Magdalena Suarez Frimkess has waited a long time for her first museum retrospective. Trained in Chile as a sculptor, she came to the United States on a fellowship in 1962 and met Michael Frimkess, a classical ceramist. They were soon married, and settled in Los Angeles. After he was diagnosed with multiple sclerosis, she began applying her Pop-inflected imagery onto his elegant vessels, painting them with colored glaze.This exhibition of ceramics, furniture, paintings and drawings at LACMA, curated by José Luis Blondet, takes its title from an astute review in Art in America by Paul Harris: “The work of Magdalena Suarez Frimkess — the most daring sculptor working in Chile — is distinguished by the finest disregard for whatever is supposed to be so.” We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More