As visiting curator of performing arts at gardnermuseum, Pulizer Prize-winning theater critic Hilton Als is tasked with bringing to life a museum famously stuck in time.
Back in the early aughts, the writer and theater critic Hilton Als got a job teaching at Wellesley College. He lived in Cambridge and didn’t have many friends in town.
For Als, this is the charm of the Gardner. He is fascinated by its founder, who envisioned the museum as both a public resource and a home. After the building was completed in 1901, she moved into the living quarters on the fourth floor, where she continued to add to her private art collection until her death. Gardner provided an endowment for the museum with the stipulation that nothing in the galleries or collection be changed or sold.
“This case is mostly male painters,” he said. “But there were any number of female painters that [Gardner] was supporting simultaneously. So who were they, and what was their relationship to her like? What did she give them by way of support, discretion, and friendship?” “His criticism is led by what moves him, and then his intellect kicks in,” Steel said. “That his practice begins with love, and with a positive response to art, I think is incredibly beautiful.”
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