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These are the pictures that open the Chicago show, curated expertly by Stephanie D'Alessandro of the Art Institute and John Elderfield of MOMA. They represent a final prelude to the leap Matisse would make around 1913 into radical distortion and near abstraction. Much of that work he would do in the shadow of World War I. Rejected for service - he was 44 when the war began - he went on working in a Paris studio, while outside his door Europe hammered itself to pieces. Not long after, his hometown in northern France was occupied by German troops, his mother left...

Author: /time Magazine | Title: Great Leap Forward: Matisse in Chicago | 4/12/2010 | See Source »

...Museum of Art (LACMA) director Michael Govan faced unexpected trouble. The architectural model highlighting LACMA'S renovation and expansion plans had arrived in pieces. So Govan got some glue and tweezers and set to work. "He was extremely calm and concentrating on the task at hand," recalls friend John Elderfield, chief curator of painting and sculpture at New York City's Museum of Modern Art. "He may be the big-picture person, but he's also able to jump in and do it himself when necessary...

Author: /time Magazine | Title: Thinking Out Of the Box | 11/19/2007 | See Source »

...been talking to Puryear about Maroon, a large, dark, bulbous form made mostly from wood and wire mesh covered with tar. The piece is part of his triumphant retrospective that opens Nov. 4 at the Museum of Modern Art in New York City, which was organized by John Elderfield, MOMA's chief curator of painting and sculpture. As soon as I brought up the beauty problem, Puryear agreed. It took me a minute to realize we were talking past each other. He thought the work was so challenging to ordinary notions of what's pleasing to the eye "that...

Author: /time Magazine | Title: The Man of Mysteries | 11/2/2007 | See Source »

...JOHN ELDERFIELD...

Author: /time Magazine | Title: Who Should Be Among This Year's Picks for the Time 100? | 4/23/2006 | See Source »

...present its painting and sculpture collections in a mainly chronological way. Some critics complained that the new layout was disappointingly conservative, more mausoleum than museum. "One of the lessons of 'ModernStarts' was the pleasure of seeing multiple options emerging more or less simultaneously in early Modernism," says John Elderfield, chief curator of painting and sculpture. "But another was the loss of seeing the integrity and the unfolding of individual achievements and artistic movements." As for Tate Modern, it is planning to rehang its entire permanent collection next year in time for the museum's sixth anniversary. In late September...

Author: /time Magazine | Title: How It's Hanging | 8/29/2005 | See Source »

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