One of the things that I find most fascinating about Reddington is his love for art and his deep appreciation for culture. He’s not just a criminal mastermind – he’s also a true connoisseur of the finer things in life. Whether he’s discussing the merits of a particular painting or waxing poetic about the history of a certain sculpture, Reddington’s knowledge and passion for art are truly impressive.

I think what really sets Reddington apart is the way that he approaches art. For him, it’s not just about acquiring beautiful objects – it’s about understanding the history and meaning behind them. He sees art as a window into the soul of humanity, a way of understanding the complexities and contradictions of our world. And he’s not afraid to challenge conventional wisdom or to seek out the truth, even if it means going against the grain.

As someone who loves The Blacklist, I have to say that Reddington’s appreciation for art and culture is one of the things that makes the show so compelling. It’s not just about solving crimes or catching bad guys – it’s about exploring the intricacies of the human experience, and understanding the ways in which art and culture shape our lives. And with James Spader’s incredible performance bringing Reddington to life, it’s hard not to be drawn into his world and his way of thinking.

Here are some Art Exhibits Reviewed by Roberta Smith in The New York Times:

“Gerhard Richter: Painting After All” at the Met Breuer, March 2020

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“Gerhard Richter: Painting After All” was an art exhibit that took place at the Met Breuer in March 2020. It showcased the work of Gerhard Richter, a prominent German artist known for his diverse range of painting styles and techniques. The exhibit featured over 100 of Richter’s works from throughout his career, including some that had never been seen in the United States before. Visitors could see Richter’s iconic abstract paintings, as well as his more representational works and experiments with photography. The exhibit offered a comprehensive look at Richter’s career and his contribution to contemporary art.

Roberta Smith reviewed “Gerhard Richter: Painting After All” at the Met Breuer in March 2020, and her review was largely positive. She praised the exhibition for its ability to showcase the full range of Richter’s artistic career, which spans over six decades and includes a variety of styles and techniques. Smith particularly noted the juxtaposition of Richter’s abstract and representational paintings, which she felt allowed viewers to better understand the relationship between the two approaches. She also lauded the inclusion of Richter’s lesser-known works, such as his early drawings and his glass pieces. Smith concluded her review by declaring Richter to be one of the most important artists of the 20th century, and stating that the exhibition was a fitting tribute to his lasting influence on the art world.

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“Dorothea Lange: Words & Pictures” was an exhibit at the Museum of Modern Art in February 2020. It showcased the work of photographer Dorothea Lange, who is best known for her iconic images of the Great Depression. The exhibit included over 100 photographs, ranging from her early work in the 1920s to her later images of the internment of Japanese Americans during World War II. In addition to photographs, the exhibit also included Lange’s personal journals, field notes, and other ephemera, offering a glimpse into her working process and personal life. The exhibit highlighted Lange’s ability to capture the human experience with compassion and empathy, and showcased her as one of the most important photographers of the 20th century.

In her review of “Dorothea Lange: Words & Pictures” at the Museum of Modern Art, Roberta Smith praises the exhibition for its comprehensive approach in showcasing Lange’s work, including her well-known photographs of migrant workers during the Great Depression, as well as her photo-essays and texts. She particularly highlights the exhibition’s contextualization of Lange’s work within the larger political and social movements of the time, including the rise of documentary photography and New Deal policies. Smith also notes that the exhibition sheds light on Lange’s writing, which is often overlooked in discussions of her work, and argues that it adds an important dimension to her photographs by revealing the personal stories and experiences behind the images. Ultimately, Smith describes the exhibition as “timely and important” in demonstrating Lange’s enduring relevance and significance as both a photographer and writer.

“Theater of Operations: The Gulf Wars 1991-2011” at MoMA PS1, November 2019

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“Theater of Operations: The Gulf Wars 1991-2011” was an art exhibit that was held at MoMA PS1 in November 2019. The exhibit featured artworks from over 80 artists, who explored the impact of the Gulf Wars on contemporary culture and society. The works on display ranged from photography and video installations to paintings and sculptures, and included pieces by both American and Middle Eastern artists. The exhibit aimed to provide a multifaceted view of the Gulf Wars, exploring issues such as politics, propaganda, trauma, and memory. Visitors to the exhibit were encouraged to engage with the artworks and reflect on the complex legacies of the Gulf Wars.

In her review of “Theater of Operations: The Gulf Wars 1991-2011” at MoMA PS1 in November 2019, Roberta Smith praised the exhibition for its nuanced and thought-provoking approach to examining the role of art in representing and responding to the Gulf Wars. She notes that the exhibit avoids simplistic or jingoistic depictions of the wars, instead delving into the complex social, political, and cultural contexts in which they took place. Smith highlights several works that particularly impressed her, including Walid Raad’s photographic series “My Neck Is Thinner Than a Hair,” which explores the ways in which the Gulf Wars were mediated and represented in the media, and Rania Stephan’s film “The Three Disappearances of Soad Hosni,” which examines the impact of the wars on popular culture and personal identity. Ultimately, Smith concludes that “Theater of Operations” is a timely and vital exhibition that offers a valuable opportunity to reflect on the ongoing legacy of the Gulf Wars and their impact on global culture and politics.

“Judd” at the Museum of Modern Art, March 2020

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“Judd” was an exhibition that took place at the Museum of Modern Art in March 2020, and it focused on the work of the American artist Donald Judd. The exhibit showcased over 60 of Judd’s sculptures, as well as drawings and prints from throughout his career. Judd was known for his minimalist style and his use of industrial materials, such as aluminum, steel, and plexiglass. The exhibit provided a comprehensive look at Judd’s artistic evolution and his impact on contemporary art. It was an excellent opportunity to experience the work of one of the most influential artists of the 20th century.

Roberta Smith’s review of “Judd” at the Museum of Modern Art in March 2020 was largely positive. She praised the exhibition for its focus on Judd’s early works and for contextualizing his contributions to the art world. However, she expressed disappointment that some of his lesser-known works were not given more prominence and noted the lack of a clear chronological structure. Overall, Smith regarded the exhibition as a significant and worthwhile retrospective of one of the most influential American artists of the 20th century.

“Marisa Merz: The Sky Is a Great Space” at the Met Breuer, January 2018

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“Marisa Merz: The Sky Is a Great Space” was an art exhibit held at the Met Breuer in January 2018. The exhibit showcased the works of Italian artist Marisa Merz, who was a key figure in the Arte Povera movement. The exhibit featured a variety of Merz’s artwork, including sculptures, drawings, and installations. Merz’s works often explored themes of gender and identity, and the exhibit provided an intimate look at her artistic evolution over the course of several decades. Visitors could also view a film about Merz’s life and artistic practice. Overall, “Marisa Merz: The Sky Is a Great Space” was a fascinating exhibit that celebrated the work of a talented and influential artist.

In her review of “Marisa Merz: The Sky Is a Great Space” at the Met Breuer in January 2018, Roberta Smith praised the Italian artist’s delicate and inventive sculptures, which she described as “mesmerizing” and “enchanting”. Smith noted that Merz, who was the only female artist associated with the Arte Povera movement, had largely been overlooked in the art world until recently, despite her innovative use of materials such as copper wire, aluminum foil, and wax. Smith praised the way that Merz’s sculptures evoked a sense of “alchemical transformation”, transforming humble materials into works of great beauty and mystery. Overall, Smith’s review celebrated Merz’s creative vision and the way in which her work transcends conventional art historical categories.

“Siah Armajani: Bridge Builder” at the Met Breuer, February 2019

The “Siah Armajani: Bridge Builder” exhibit at the Met Breuer in February 2019 showcased the work of Iranian-American artist Siah Armajani, who is known for creating sculptures, installations, and public works that encourage social engagement. The exhibit included models and drawings for Armajani’s public art projects, such as bridges and reading rooms, which reflect his belief in the power of art to create community. The exhibit provided a unique insight into Armajani’s mind and work, highlighting his contributions to the fields of art and architecture.

Smith was impressed by the retrospective exhibit, which showcased the Iranian-born artist’s career-long dedication to using art to foster connection and communication. She praised Armajani’s ability to create works that were both conceptually rigorous and aesthetically pleasing, citing his use of language, architecture, and cultural symbols as particularly effective. Smith also noted that the exhibit successfully conveyed the artist’s desire to break down barriers between different cultures and communities, and to encourage empathy and understanding. Overall, she deemed the exhibit an important and inspiring contribution to the ongoing conversation about the role of art in promoting social change.

“Everything Is Connected: Art and Conspiracy” at the Met Breuer, September 2018

“Everything Is Connected: Art and Conspiracy” was an exhibition held at the Met Breuer in September 2018, which explored how artists have engaged with conspiracy theories throughout history. The exhibit featured over 70 works of art from different periods, mediums, and genres, including painting, sculpture, video, and photography. Through these works, the exhibit aimed to demonstrate how artists have used conspiracy theories as a way to express dissent, critique power structures, and offer alternative perspectives on historical events. Some of the featured artists included Jean-Michel Basquiat, Mark Lombardi, and Trevor Paglen. Overall, the exhibition sought to show how art can serve as a means of uncovering and questioning hidden systems of power and control.

Roberta Smith’s review of “Everything Is Connected: Art and Conspiracy” at the Met Breuer, September 2018 was positive, with her praising the exhibition for its fascinating subject matter and thought-provoking artworks. She noted how the exhibit successfully conveyed the connections between seemingly disparate conspiracy theories and highlighted how artists have used conspiracy as a tool for critiquing power structures throughout history. However, she also acknowledged that the exhibit’s broad scope made it difficult to follow a clear narrative thread, and some works felt like they were included simply to represent a certain time period or artist. Despite this, she concluded that the exhibition was still worth seeing for anyone interested in exploring the intersection between art and politics.

“Huma Bhabha: We Come in Peace” at the Metropolitan Museum of Art, September 2018

“Huma Bhabha: We Come in Peace” was an art exhibit held at the Metropolitan Museum of Art in September 2018. It showcased the works of Pakistani-American artist Huma Bhabha, who is known for her sculptures made from found materials like clay, cork, and Styrofoam. The exhibit featured over 20 of Bhabha’s sculptures, as well as drawings and prints. The title of the exhibit, “We Come in Peace,” is a reference to the famous line from science fiction movies, and the works on display explored themes of war, violence, and the human form. Many of the sculptures depicted distorted and fragmented bodies, while others incorporated elements of science fiction and popular culture. The exhibit offered a thought-provoking and visually striking look at the work of this unique artist.

Roberta Smith’s review of “Huma Bhabha: We Come in Peace” at the Metropolitan Museum of Art, September 2018, was very positive. She described the exhibition as “fantastic” and praised Bhabha’s sculptures as “powerful, often eerie and memorable.” Smith was particularly impressed with the way Bhabha combined different materials, such as cork, Styrofoam, and clay, to create works that were both ancient and modern, earthly and otherworldly. Smith also noted that Bhabha’s works were deeply political, referencing issues such as war, displacement, and colonialism. Despite their weighty subject matter, Smith found the sculptures to be both engaging and accessible. She concluded that the exhibition was “one of the most intriguing shows in town” and highly recommended it to anyone interested in contemporary art.

“Anicka Yi: Life Is Cheap” at the Guggenheim Museum, April 2017

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“Anicka Yi: Life Is Cheap” was an exhibit at the Guggenheim Museum that showcased the work of artist Anicka Yi. Through sculpture, video, and installation, Yi explored the intersections of science and art with themes of microbiology, human biology, and ecology. One of the highlights of the exhibit was the installation “Immigrant Caucus,” which featured a functioning kitchen that created diverse smells and flavors, reflecting the city’s immigrant communities. The exhibit offered an immersive and thought-provoking experience that challenged visitors to consider the connections between culture, science, and the environment.

In her review of “Anicka Yi: Life Is Cheap” at the Guggenheim Museum in April 2017, Roberta Smith praised the artist’s unconventional approach to materiality and her ability to create works that challenge viewers to think in new ways. She notes that the exhibition features a diverse range of works, from sculptures made of cheese to installations that incorporate live ants, and describes Yi’s approach as “combining the industrial and the organic, the sculptural and the olfactory, the bodily and the abstract.” Smith also commends Yi’s use of science and technology in her work, which she says reflects a broader trend in contemporary art towards the incorporation of scientific research and experimentation. Ultimately, Smith suggests that Yi’s art invites viewers to “engage with the world in a different way” and to reconsider their assumptions about the relationship between art, science, and the natural world.

“Marsden Hartley’s Maine” at the Met Breuer, March 2017

“Marsden Hartley’s Maine” was an exhibit at the Met Breuer in March 2017 that featured over 90 paintings, drawings, and photographs by the American modernist painter Marsden Hartley. The exhibit explored Hartley’s complex relationship with his home state of Maine, where he lived periodically throughout his life. The works on display showcased Hartley’s signature style of bold colors and strong lines, and included portraits, landscapes, and still lifes. The exhibit provided a fascinating insight into the life and work of one of America’s most important modernist painters.

Roberta Smith reviewed “Marsden Hartley’s Maine” at the Met Breuer in March 2017, describing it as a stunning exhibition that celebrates the natural beauty and complex history of Maine through the works of American painter Marsden Hartley. She noted that the exhibition was organized thematically, with each section offering a different perspective on the artist’s relationship to Maine, including his personal memories, artistic influences, and spiritual connection to the landscape. Smith praised the curator’s decision to include not only Hartley’s iconic paintings of Mount Katahdin and other Maine landmarks, but also lesser-known works that reveal his interest in Native American culture and his experimentation with abstraction. Overall, Smith described the exhibition as a revelatory experience that deepens our understanding of Hartley’s artistic legacy and his enduring love for his home state.

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