Visiting ‘Cloud City’ With Tomás Saraceno on the Met’s Roof

Tomas Saraceno's 'Cloud City' (Courtesy Rozalia Jovanovic)

We did everything wrong. We were on the roof of the Metropolitan Museum of Art this morning wearing a skirt and heels and carrying a big bag. Before us was Tomás Saraceno’s sculpture, Cloud City, a 54-foot tall architectural structure of interconnected modules of reflective surfaces that looks at once like bubbles and bacteria, and reflects the cityscape in an Escher-like collage of trees, buildings and sky.

“Only flat rubber-soled shoes,” said a guard before the sculpture. Luckily, the artist came to our rescue.

“Shall we?” asked Mr. Saraceno. He was boyish in sneakers, with blue eyes and brown fluffy hair. “Come on.” Read More

In the Galleries

There’s a Richard Artschwager Feast in New York Right Now

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"Early Works from the 1960's" at Castelli Gallery

All of the sudden, Richard Artschwager appears to be having a moment. The idiosyncratic artist, known for his mysterious grey paintings on Celotax and Formica sculptures that resemble–but never quite amount to–furniture or music instruments or other functional objects, is showing all around town. It’s a veritable Artschwager smorgasbord, or at least a generous tasting of works from across his 60-year career. (He’ll turn 90 next year.) Read More


The Case That Halted a Russian Ship: Chabad Now Wants to Negotiate in Museum Embargo Lawsuit

The Nadezhda, via

On Friday, Russia ordered one of its ships used for military training purposes, the Nadezhda, not to make a scheduled landing in San Francisco, citing Russia’s ongoing dispute with the Brooklyn-based Jewish sect Chabad, which has led to an embargo on objects loaned between Russian and U.S. museums. The San Francisco Chronicle reported that Russian Consul General Vladimir Vinokurov attributed the change in orders in the landing, which had been scheduled as part of a good will tour, to “a long problem” involving Chabad’s claims. Read More