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25 novembre 2007

Réouverture du Detroit Institute of Arts relooké

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The Great Hall of The Detroit Institute of Arts reopening Friday after an extensive renovation, with works across cultures (Tom Pidgeon for The New York Times)

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Giovanni Maria Benzoni's sculpture, "Zephyr Dancing with Flora," at the Detroit Institute of Arts

"There is potentially much to feel good about the newly renovated Detroit Institute of Arts," says says Holland Cotter. The Institute is one of the country’s small but classic encyclopedic museums. (Photo: Tom Pidgeon for The New York Times)

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“St. Jerome in His Study” (about 1435), attributed to Jan van Eyck.

"The permanent collection has been freshly and inventively reinstalled," says Holland Cotter, and it includes "gems of Flemish, Dutch and American art." (Photo: Detroit Institute of Arts)

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A Nkonde nail fetish figure from Congo, Africa.

"Of real interest is what the reinstallation tells us about the museum’s recent collecting patterns," says Holland Cotter. "Its continuing acquisition of African art can surely be taken as a sign of its efforts to engage with the city. In addition, the reinstalled African galleries — overseen by Nii O. Quarcoopome, a curator born in Nigeria — are twice their former size and prominently placed near the most trafficked street entrance." (Photo: Detroit Institute of Arts)

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"Eleonora of Toledo and Her Son" by Agnolo Bronzino (circa 1545-1550)

"The present reopening clearly represents the start of a strenuous effort to appeal to new audiences while retaining the loyalty of old ones, to create a street-level people’s museum from a lofty mountain of elite art," says Holland Cotter. (Photo: Detroit Institute of Arts)

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An eleventh-century Chinese statue is displayed in the new Asian gallery. (Photo: Tom Pidgeon for The New York Times)

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A detail of "Portrait of a Collagist by American Artist," by Benny Andrews.

The new galleries of African-American art "acknowledge the reality of alternative histories of American art," says Holland Cotter. (Photo: Tom Pidgeon for The New York Times)

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"Stamping Ground" by Romare Bearden (1971) (Photo: Detroit Institute of Arts)

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A Mayan terra-cotta statue (circa 700-900) (Photo: Detroit Institute of Arts)

Lire l'article de Holland Cotter http://www.nytimes.com/2007/11/23/arts/design/23detr.html?_r=1&oref=slogin

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