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National Gallery of Art in Washington, DC Names Kaywin Feldman Its Fifth Director

December 11, 2018 by Marion Maneker

Kaywin Feldman

The National Gallery has announced the end of its search for a new director. Kaywin Feldman, currently the head of the Minneapolis Institute for Art, will become the National Gallery’s fifth director succeeding Earl Powell who has held the position for more than 25 years. Feldman has been in charge in Minneapolis for a decade where she made the institute free to the public. Here’s the NGA’s description of her time in Minnesota:

Kaywin Feldman is a champion of digital technology for expanding access to art. Feldman established a contemporary art department at Mia and new galleries for showcasing the art of Africa. She has overseen a series of experimental installations in the museum’s venerable period rooms, exploring new ways of engaging with history.

Feldman has galvanized the galleries and her field with groundbreaking exhibitions such as At Home with Monsters (2017), which featured the art of filmmaker Guillermo del Toro, and Power and Beauty in China’s Last Dynasty (2018), a dramatic display of Chinese art designed by avant-garde theater artist Robert Wilson. As a curator, she has helped organize popular traveling exhibitions, includingThe Habsburgs: Rarely Seen Masterpieces from Europe’s Greatest Dynasty (2015), which brought dozens of masterpieces to Minneapolis for the museum’s 100th birthday year.

Her efforts have helped double attendance while bringing international renown to the museum’s art, particularly its Japanese collection, which has more than doubled in size during her tenure. Other acquisitions include works by Kehinde Wiley, Ai Wei Wei, James McNeill Whistler, Edgar Degas, and Georgia O’Keeffe.

Born in 1966 in Boston, Massachusetts, Feldman’s fascination with museums began with childhood visits and an early interest in archaeology. She earned her BA in classical archaeology from the University of Michigan and an MA from the Institute of Archaeology at the University of London. She also earned an MA in art history from the Courtauld Institute of Art at the University of London, specializing in Dutch and Flemish art, and received an Honorary Doctor of Fine Arts degree from the Memphis College of Art in 2008. Before coming to Mia, she was the director of the Memphis Brooks Museum of Art in Tennessee from 1999 to 2007.

National Gallery Buys $7m Arcimboldo

September 17, 2010 by Marion Maneker

Blake Gopnik gives the details on the National Gallery’s acquisition of an Arcimboldo that had been included in the museum’s recent exhibition on the artist. Carol Vogel estimates the price at between $7 and $10 million. Another example of the artist’s work is currently on the market for $5m:

The National Gallery of Art has announced that it has purchased one of the show’s best paintings for its permanent collection, as the only undisputed Arcimboldo work in public hands in the U.S. […] Curators are giving it the awkward title of “Four Seasons in One Head” and dating it to around 1490, when Arcimboldo would have been in his 60s. […]

The painting may well be the one that Arcimboldo made for his friend, scholar Gregorio Comanini, who described it in detail in a book published in 1591. It then passed out of sight until 2007, when it was rediscovered in an unnamed private collection in England.

Arcimboldo’s ‘Four Seasons’ will join National Gallery of Art collection (Washington Post)

Reclaiming the National Gallery

February 16, 2010 by Marion Maneker

The Wall Street Journal tries to reclaim the name and place in history of John Russell Pope and his National Gallery in Washington, DC which houses Andrew Mellon’s art collection, the foundation of the National Gallery:

Yet, by the time the National Gallery was dedicated by President Roosevelt in 1941, Mellon’s reputation was badly damaged and Pope and the grand tradition of classically inspired architecture were under fire. Modernists denounced the building as a “pink marble whorehouse” and “a costly mummy.” Foremost of these detractors was the now-forgotten dean of Harvard’s Graduate School of Design who claimed that “surely the time cannot be far distant when we shall understand how inadequate is the death-mask of an ancient culture to express the soul of America,” obviously something he thought was best accomplished by the European-born International Style and structures like the 1939 Stone-Goodwin Museum of Modern Art.Continue Reading

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