28:
333:"Report from Berlin. Israel's Traumas and Dreams: a mega-exhibition titled The New Hebrews used a combination of art and documentary material to tackle a century of Israeli culture and history." (May 2006): 106-115. Review of Doreet LeVitte Harten with Yigal Zalmona, eds. "Die Neuen Hebräer: 100 Jahre Kunst in Israel." Exh. cat. Martin-Gropius Bau, Berlin, May 20-September 5, 2005. Berlin: Nicolai, 2005.
161:'s work in New York in nearly 50years. The exhibit focused on Soutine’s reception by his patrons, supporters, and critics. Kleeblatt received Second Place for the Best Exhibition at a New York City Museum from the International Association of Art Critics (AICA) and the catalogue was a finalist for the Alfred H. Barr, Jr. Award, College Art Association of America.
202:. Kleeblatt won the Best Thematic Museum Show in New York City in 2008 from The International Art Critics Association, and the Outstanding Exhibition award from the Association of Art Museum Curators. The catalogue received a Banister Fletcher Award honorable mention and a National Jewish Book Award in the Visual Arts category.
227:
called it “...a nuanced, sensitive and profound exhibition” and Robert Pincus-Witten stated in
Artforum, “This richly suggestive exhibition... What a delight!” The exhibit has been awarded “Best Thematic Museum Show in New York of 2014” by the US section of the International Association of Art
222:
In 2015, Kleeblatt co-curated “From the
Margins: Lee Krasner | Norman Lewis, 1945-1952” with Stephen Brown. This exhibition offered a parallel view of Lee Krasner and Norman Lewis, two key Abstract Expressionists who were often overlooked by critics in their time. Karen Rosenberg of the
390:"Politique et contexts culturels: l'exposition Dreyfus de 1987 au Musée juif de New York," in Michel Denis, Michel Lagrée, and Jean-Yves Veillard, eds. L'Affaire Dreyfus et l'opinion publique en France et à l'étranger. Rennes: Presses Universitaires de Rennes, 1995, pp. 333–41.
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in France. For this exhibition, Kleeblatt received the Présidence d'honneur, Comité scientifique, Société internationale d'histoire. The accompanying catalogue received an
Honorable Mention from Henry Allen Moe Prize for catalogues of distinction in the arts.
138:
artists to assimilate into the
American cultural mainstream or to preserve their Jewish identities. The corresponding catalogue won the Henry Allen Moe Prize (second place) for catalogues of distinction in the arts and as co-recipient also won the
364:"The Edge of Abstraction: Norman Lewis and the Joyner/Giuffrida Collection," with Lucy Partman. In Courtney J. Martin, ed. Four Generations: The Joyner Giuffrida Collection of Abstract Art. New York: Gregory R. Miller & Co., 2016.
370:“Theater of Memory: Art and the Holocaust." In Sophia Komor and Susanne Rohr, eds. The Holocaust, Art, and Taboo: Transatlantic Exchanges on the Ethics and Aesthetics of Representation, Heidelberg: Winter, 2010, pp. 107–117.
336:"Identity Roller Coaster," Art Journal: 64, 1 (spring 2005). For thematic investigation, solicited essays from Johanne Lamoureux, Elisabeth Sussman, Sylvester O. Ogbechie, and Reesa Greenberg, and wrote the Introduction.
377:’s The Nazis and Rudolf Herz’s Zugzwang,” in Impossible Images: Contemporary Art after the Holocaust, ed. Shelley Hornstein, Laura Levitt, and Laurence Silberstein. New York: New York University Press, 2003.
324:"Looking at Art. Strange Bedfellows: from Fairfield Porter to David Park to Lisa Yuskavage and Peter Doig, Contemporary artists have been riffing on Vuillard," Art News: 111 (September 2012): 96-101.
380:“Master Narratives/Minority Artists,” in Complex Identities: Jewish Consciousness in Modern Art, ed. Matthew Baigell and Milly Heyd. New Brunswick, NJ: Rutgers University Press, 2001, pp. 1–12.
219:
called it “...a brilliantly curated show
Bochner reminds us that painting is not yet dead...” Yale University Press published the corresponding catalogue with essays by Kleeblatt and Bochner.
38:
is a curator, critic, and consultant based in New York City. A long-term curator at the Jewish Museum in New York, he served as the Susan and Elihu Rose Chief
Curator from 2005 to 2017.
164:"John Singer Sargent: Portraits of the Wertheimer Family" (2000) reunited for the first time in more than sixty years the twelve formal portraits of the Wertheimer family painted by
383:"Departures and Returns—Sources and Contexts for Moritz Oppenheim’s Masterpiece The Return of the Volunteer," in., Die Entdeckung des jüdischen Selbstbewusstseins in der Kunst,
126:
In 1987, Kleeblatt curated "The
Dreyfus Affair: Art, Truth and Justice" (1987), which explored the relationship between art and politics by examining visual responses to the
883:
367:“The Critic Collects: Clement Greenberg.” In Annette Weber, ed. Jewish Collectors and Their Contribution to Modern Culture, Heidelberg: Winter, 2011, pp. 269–280.
168:. This exhibition told the story of a friendship between artist and patron and offered a unique glimpse into the world of a privileged family of English Jews.
231:
Kleeblatt curated "John Singer
Sargent’s Mrs. Carl Meyer and Her Children" with curatorial assistant Lucy Partman in 2016. Focused on Sargent’s 1896 painting
696:
753:
171:
In 2001 the exhibit "Mirroring Evil: Nazi
Imagery/Recent Art" contextualized controversial works by contemporary artists who employed images of
408:
157:
In 1998, Kleeblatt co-curated with
Kenneth Silver "An Expressionist in Paris: The Paintings of Chaïm Soutine"—the first major presentation of
60:
778:
571:
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134:"Painting a Place in America: Jewish Artists in New York, 1900–1945" (1991, co-curator) focused on the choice faced by first generation
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Kleeblatt’s 1996 exhibition "Too Jewish? Challenging Traditional Identities” confronted issues surrounding stereotypes, questions of
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victims. In 2008 “Theaters of Memory: Art and the Holocaust” presented eight artists’ works that related history surrounding
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209:'s career-long fascination with the cerebral and visual associations of words. This exhibition was praised by the
80:
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242:"Charlemagne Palestine’s Bear Mitzvah in Meshugahland" (2017) was a site-specific installation of hundreds of
873:
327:"Moral Hazard: Norman L. Kleeblatt on the Art of Artur Zmijewski." Artforum: 47 (April 2009): 154-160.
140:
354:"Rassismus und Degradierung," in the brochure "Dreyfus: die Affäre," Deutsche Oper, Berlin, May 1994.
17:
351:"Identity Politics: Multivalent Voices," in Art in America: 83 (December 1995): pp. 29–31, 35.
315:"'The Carcass and the Canvas' and Other ChaĂŻm Soutine Stories," Hyperallergic (September 14, 2018).
312:"The Water Lilies: American Abstract Painting and the Last* Monet," Brooklyn Rail (September 2018).
72:
190:"Action/Abstraction: Pollock, De Kooning, and American Art, 1940-1976" (2008–2009) reinterpreted
863:
528:
348:"Autour du Corps d'Alfred Dreyfus," in Les Cahiers du Judaïsme 2 (Summer 1998): pp. 37–42.
191:
88:
309:: Mischa Kuball's intervention at the Jewish Museum Berlin," Brooklyn Rail (July-August 2019).
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345:"Master Narratives/Minority Artists," in Art Journal: 57/3 (Fall 1998): pp. 29–35.
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342:"Verre spiegels van de herinnering." Nexus, Tilburg, Netherlands, 34 (2002): 127-139.
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642:"A Conversation Spoken in Paint Lee Krasner and Norman Lewis at the Jewish Museum"
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572:"Secret Power of Synonyms Mel Bochner Turns Up the Volume in 'Strong Language"
321:"Norman Kleeblatt on Barbara Hepworth," Artforum: 55 (November 2015): 296-297.
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in 1971, and was awarded an M.A. and Diploma in Conservation in 1975 from the
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409:"Chief Curator of New York's Jewish Museum, Norman Kleeblatt, to Step Down"
180:
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Action/Abstraction: Pollock, De Kooning, and American Art, 1940–1976, 2008
243:
206:
529:"Action/Abstraction Pollock, de Kooning, and American Art, 1940-1976"
387:
and Anton Merk, eds, Frankfurt: Wienand Verlag, 1999, p. 113 ff,
235:, the show was called an “engrossing and intimate exhibition” by the
176:
697:"The Secrets Behind Sargent's Intimate Portrait of a Jewish Family"
251:
184:
49:
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779:"The Water Lilies: American Abstract Painting and the Last* Monet"
277:
A Culmination of Contradictions: Jules Olitski’s Last Decade, 2007
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as an “elegantly produced exhibition” of a major New York artist.
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55:
339:"Istanbul Biennial," Art News: 102 (December 2003): p. 128.
289:
The Carcass and the Canvas’ und andere Soutine-geschichten, 2000
295:
An Expressionist in Paris: The Paintings of ChaĂŻm Soutine, 1998
268:
From the Margins: Lee Krasner and Norman Lewis, 1945–1952, 2014
803:""The Carcass and the Canvas" and Other ChaĂŻm Soutine Stories"
98:
of the New School and is President of the U.S. chapter of the
292:
John Singer Sargent: Portraits of the Wertheimer Family, 1999
187:
and mass destruction, and their attendant moral devastation.
598:"Review: Mel Bochner 'Strong Language' at the Jewish Museum"
172:
71:. He has received fellowships and research grants from the
194:
from the perspectives of influential, rival art critics
110:
Norman Kleeblatt received his A.B. in Art History from
330:“Disobedient Images." Images vol 1, (2007): 15-21.
94:Kleeblatt serves as Secretary of the Board of the
884:New York University Institute of Fine Arts alumni
850:
478:"Art Review – Too Jewish? Jewish Artists Ponder"
504:"Art Review – Family Portraits, Together Again"
205:“Mel Bochner: Strong Language” (2014) explored
318:"Alan Solomon," Brooklyn Rail (November 2016).
286:Mirroring Evil: Nazi Imagery/Recent Art, 2001
358:
280:Sighting Joan Snyder/Citing her Critics, 2005
150:, and the issue of Jewish identity in the
116:New York University Institute of Fine Arts
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283:Sculptor’s Action/Spectator’s Arena, 2005
373:“The Nazi Occupation of the White Cube:
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100:International Association of Art Critics
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640:Rosenberg, Karen (September 12, 2020).
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452:"National Jewish Book Awards - Winners"
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77:Katz Center for Advanced Judaic Studies
14:
851:
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96:Vera List Center for Art and Politics
85:National Endowment for the Humanities
476:Kimmelman, Michael (March 8, 1996).
827:Kleeblatt, Norman L. (2016-11-01).
777:Kleeblatt, Norman L. (2018-09-04).
752:Kleeblatt, Norman L. (2019-07-09).
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502:Glueck, Grace (October 22, 1999).
271:Mel Bochner: Strong Language, 2014
25:
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596:Holmboe, Rye Dag (19 July 2014).
233:Mrs. Carl Meyer and her Children
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143:in the Visual Arts Category.
570:Johnson, Ken (May 2, 2014).
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41:Kleeblatt has published in
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900:
667:"2014 AICA Awards Winners"
359:Selected chapters in books
246:and plush toys related to
141:National Jewish Book Award
879:Rutgers University alumni
602:www.apollo-magazine.com/
73:Getty Research Institute
31:Norman Kleeblatt in 2013
754:"Getting to res.o.nant"
622:. Yale University Press
192:Abstract Expressionism
89:Rockefeller Foundation
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869:American art curators
434:"AICA-USA Board 2023"
263:Exhibition catalogues
258:Selected publications
248:Charlemagne Palestine
175:villains rather than
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874:American art critics
300:Articles in journals
183:, the atrocities of
733:thejewishmuseum.org
729:"The Jewish Museum"
551:Jewish Book Council
456:Jewish Book Council
250:'s Jewish roots in
166:John Singer Sargent
36:Norman L. Kleeblatt
701:The New York Times
646:The New York Times
620:yalebooks.yale.edu
576:The New York Times
533:yalepress.yale.edu
508:The New York Times
482:The New York Times
415:. 29 December 2016
112:Rutgers University
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833:The Brooklyn Rail
783:The Brooklyn Rail
758:The Brooklyn Rail
196:Clement Greenberg
68:The Brooklyn Rail
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102:(AICA-USA).
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859:1948 births
461:January 25,
438:aicausa.org
244:teddy bears
207:Mel Bochner
154:art world.
122:Exhibitions
62:Art Journal
853:Categories
838:2019-11-18
813:2019-11-18
788:2019-11-18
763:2019-11-18
738:2019-11-18
714:2019-11-18
681:2015-07-08
626:2019-11-18
556:2020-01-25
419:2019-11-18
395:References
307:res.o.nant
87:, and the
709:0362-4331
177:Holocaust
106:Education
18:Kleeblatt
651:June 15,
581:June 15,
513:June 15,
487:June 15,
252:Brooklyn
185:genocide
50:Artforum
56:ARTnews
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463:2020
198:and
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