![]() ![]() Painting may have been an act of confession for Munch, but significantly, as this catalogue points out, it was also a staged self-narration. Each of the pioneering essays in the catalogue explores the intriguing and often surprising ways in which Munch’s later works take earlier motifs from his career and rework them into fresh representations of the themes that haunted his life and art: love, jealousy, pain, anxiety, social isolation, and mortality. ![]() It may come as no surprise that Munch’s titular self-portrait, Between the Clock and the Bed (1940–43), served as the departure point for the exhibition, which sought to revisit Munch’s old age as a time of insight, creativity, and self-scrutiny. Edvard Munch (1863–1944) made this comment toward the end of his life, which is significant since the paintings he produced in his later years formed the focus of the exhibition and its accompanying catalogue, the latter of which is the subject of this review. “My art has been an act of confession.” So opens the preface to Gary Garrels, Jon-Ove Steihaug, and Sheena Wagstaff’s exhibition catalogue for Edvard Munch: Between the Clock and the Bed, which took place in San Francisco, New York, and Oslo from June 2017 to September 2018. Performance Art/Performance Studies/Public Practice.Museum Practice/Museum Studies/Curatorial Studies/Arts Administration.Drawings/Prints/Work on Paper/Artistc Practice. ![]() ![]() Digital Media/New Media/Web-Based Media.Architectural History/Urbanism/Historic Preservation.Subject, Genre, Media, Artistic Practice. ![]()
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