News Art Blog

With the May 1^st grand opening to the public of its new building in Manhattan’s Meatpacking District, the Whitney Museum launches a new era not only in the New York City art scene, but also, possibly, in the very world of museums. Thanks to a Renzo Piano-designed new building built, as Whitney Director Adam D. Weinberg put it, “from the inside out” to serve the interests of the art and the patrons first, the new Whitney and its classic collection of American art stretching back to 1900 has drawn excited raves and exasperated rants from critics. Their inaugural exhibition, America Is Hard to See, gathers together long-loved classic works with rarely seen newcomers to create a paradox of old and new to mirror the many paradoxes of the American history the art embodies and critiques by turns. This shock of the new (and old) is the must-see art event of the year. Please come over to Picture This at Big Think to read more of "The Shock of the New (and Old): The Whitney Museum’s New Home."

When Walmart comes to your town, there are always two different reactions: “No! They’ll kill all the small businesses!” Or “Yes! Big selection at low prices!” A similar phenomenon is taking place in the world of American art museums as all eyes turn toward Bentonville, Arkansas, where the doors of the Crystal Bridges Museum of American Art will open this November. The brainchild of Alice Walton, daughter of Walmart founder Sam Walton and the third richest woman in the world (her sister-in-law Christy is number one), Crystal Bridges both beckons art pilgrims to a new experience and inspires dread in those who see it as a sign of the apocalypse of art in America. After reading Rebecca Mead’s New Yorker profile of Alice Walton and her museum, “Alice’s Wonderland,” it’s only natural to ask if Crystal Bridges will become, for good and/or ill, the Walmart of American art museums. Please come over to Picture This at Big Think to read more of "Will Crystal Bridges Become the Walmart of American Art Museums?"