Word: hirshhorn
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...Hirshhorn Museum, a powerful retrospective of R.B. Kitaj...
With his retrospective of 102 paintings and drawings at the Hirshhorn Museum in Washington, the American Artist R.B. Kitaj, expatriate in England, has come home in force. For the past 15 years, Kitaj has been one of the most visible figures in European painting. His images, edgy and literary, full of sexual belligerence and failed political hopes, powerfully convey what the poet John Ashbery (in one of the catalogue essays for the show) calls "an era's bad breath." If Kitaj is not, in fact, the Auden of modern painting, he is quite often discussed as though he were...
DIED. Joseph H. Hirshhorn, 82, maverick financier, mining tycoon, art collector and founder of the Hirshhorn Museum; of a heart attack; in Washington, D.C. The Latvian-born Hirshhorn rose from penury to wealth through shrewd dealings in stocks, gold, uranium and oil, meanwhile amassing a high-quality hoard of 2,000 sculptures and 4,000 paintings valued at $50 million. He was persuaded by President Lyndon Johnson in 1966 to donate his collection to establish the Hirshhorn Museum in Washington, D.C., which the U.S. built eight years later at a cost of $15 million...
Earthworks and land art are notoriously difficult to get into a museum -in fact part of their aim was to escape its confines-and at the Whitney they are present, in a ghostly way, through slide projection. But there is one unusually gifted land artist at the Hirshhorn, Lita Albuquerque. By dusting isolated stones or strewing sharp, evanescent blotches of pigment in desert places (the color is then blown away by the wind), Albuquerque produces an exquisitely fugitive interference with the landscape, like a fleeting pictograph, an acceleration of cultural time in the great stasis of nature. Her single rock...
...some of the best things on display ti these shows do not fall into any of the usual categories of the '70s. In particular, and perhaps best of all, there are the two rooms by Judy Pfaffat the Hirshhorn and the Whitney. If there is any central metaphor to Pfaffs maniacally strident and wonderfully energetic work, it is immersion. Colonies of shapes-spiky, blobby, twisting, knotted, tangled-sprout upward from the floor or hang in clusters from the ceiling. They proliferate like brain coral, elkhorn, lacy underwater fans; the wall beyond them dissolves into patches and drifts of submarine...