Frick Madison is shutting down soon. Photo: Joseph Kosia Junior, courtesy
This month is the last complete for Frick Madison, a Can-Mise Experiment from the 88-year-old institution that works brilliantly from the Marsel Breor-designed building on Madison Avenue from the former house of Henry Clay Frik, which was placed in the Whitney Museum of American Art for many years. If you have not yet, you should head on ASAP, as the restructuring does a lot for stellar functions already. Frick Madison closes on 3 March, after which the building will be replaced for its new owners, Sothabi, and will reopened to its historic house on the fifth fifth. We caught with frick curator Amy NG, to hear what the institution learned from the experience.
- Broadly, what would you say in Frik, from the experience of Fric Madison?
- In 2021, you told Jason Fargo at the New York Times that, “We really wanted to feel that Marfa.” could you expand on that?
- Do you think this experiment opened the museum to the new audience?
- This recurrence of the museum raised art and objects by nationality. Was there some countries that did better work with the architecture of Marcel Breair? I felt that Dutch did very well.
- If you only like to see other institutions in a new place for a few years?
Broadly, what would you say in Frik, from the experience of Fric Madison?
That art can continue to surprise us. Taking Fri’s collection to Breor Building changed in the way we saw some tasks that we knew (or thought we knew). And not only the curator: Long -term fry members, critics and journalists and even staff members discovered new things about art work, thought that they knew from inside, and discovered new things in the collection, the items that they had never seen in the setting of the house. We are excited to return to the Frick House with a new approach to art.
In 2021, you told Jason Fargo at the New York Times that, “We really wanted to feel that Marfa.” could you expand on that?
This “Marfa Feeling” means that the installation respects the site and reacts, that the place itself involves – and especially its empty space – looks at the art experience. Because we were working with the cruelist building of Marcel Breor, we took inspiration from minimum installations at the Chinti Foundation in Texas in Texas. In Frik Madison, our teams celebrated the power of “low”, exploiting force that a single or some objects in space can get out on a viewer, which is much different from the layered, complex, rich domestic settings of the Frick House.
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Do you think this experiment opened the museum to the new audience?
Definitely. To begin, Breaur Building looks like a public museum from outside and takes people in ways that the fruit house does not simply do, as it was built as a private residence. Therefore, we have closed many visitors on the road, they were eager about what is inside the frick Madison, who had no acquaintance with the original Fri before. Our exhibitions and programs in Frik Madison also attached the audience in a new form for Frick. There was a wonderful moment when “Barkle L. Hendrix: Portraits at the Frick” was the exhibition at the same time when the “Belini and Georgionon” exhibition in the Tedo Contrinth house. A contemporary, a depth historical, and yet both were associated with a collection of deeply.
This recurrence of the museum raised art and objects by nationality. Was there some countries that did better work with the architecture of Marcel Breair? I felt that Dutch did very well.
I found the 18th-century French paintings and frillies in contrast to Breyer Building-as the progress of Fragonard love and Hodon’s counties do Keyla-especially delight, in which French works said that the feeling of lightness and trivial for the brutalist architecture and a fun for it.
If you only like to see other institutions in a new place for a few years?
A clear one Boston will have Isabella Stewart Gardner Museum, which must maintain its installation as a will. Like so many English country homes, I would prefer to see its collection in a new place to better view the arts work, down with more light. Imagine the Mali’s extraordinary paintings, sculptures, and sometimes at the Tado End’s Modern Arts Museum or at David Chipperfield’s Neyas Museum in Berlin at David Chipperfield’s Neyas Museum. In fact, I think every institution should have the kind of reboot that Fri has at least once. It is like getting a new art collection.
