Brandt Junceau

  • Alberto Giacometti, Diego au manteau (Diego with a Windbreaker), 1954, painted plaster, 15 x 13 1/2 x 9 1/2".
    picks July 20, 2018

    Alberto Giacometti

    “Giacometti” is no blockbuster, but this retrospective succeeds thanks to its modesty—much like the artist’s own. The sculptor found no mood, idea, or quandary that he could not render from a chunk of white plaster. No other modern relied so heavily on the old-fashioned stuff. One senses the art’s inner world of white, even before seeing the show’s photomurals of his famously disheveled and astonishingly narrow studio, where he also slept. He moved into the place at twenty-five and never left. He said, “It gets bigger every year.”

    As vivacious, pervy, and necessary as Alberto Giacometti’s surrealist

  • View of “Like Life: Sculpture, Color, and the Body (1300–Now),” 2018.
    picks April 27, 2018

    “Like Life: Sculpture, Color, and the Body (1300–Now)”

    “Like Life” suggests that lifelikeness is the core business of Western sculpture. The historical platform it puts under contemporary practice makes it a near manifesto of plenty more to come. The 117 deftly chosen items for this exhibition range from gems of naturalism by great names (Donatello’s Bust of Niccolò da Uzzano, ca. 1430, which may have been modeled after the subject’s death mask), to forensic gadgets and philosophical toys by nonartists, such as the Auto-Icon of Jeremy Bentham, 1832 (a life-size effigy of the titular philosopher that contains his skeleton, casually seated in his