Tag Archives: Art

Reviews: ‘The Week In Art’

The Week In Art Podcast (May 3, 2024): After years of decreasing public funding, the lingering effects of the Covid pandemic and enduring questions around the ethics of corporate sponsorship, UK museums are facing unprecedented financial pressures.

Some commentators are suggesting that the time has come to abandon the policy of free admission to museums that is viewed by many as key to the cultural fabric of the UK. Among those arguing for charging is the critic and broadcaster Ben Lewis, who joins Ben Luke to discuss the issue.

This week, the British Museum opened the exhibition Michelangelo: the Last Decades. It focuses on the period after 1534, when Michelangelo left his native Florence for Rome, never to return, and embarked on many of his most ambitious projects. We take a tour of the show with its curator, Sarah Vowles.

And this episode’s Work of the Week is Maria Blanchard’s Girl at Her First Communion (1914). The painting features in a new exhibition at the Museo Picasso in Málaga. Its curator, José Lebrero Stals, tells us more about this underappreciated Spanish artist, who was at the heart of the Parisian avant garde in the 1910s and 20s.

Michelangelo: the Last Decades, British Museum, until 28 July.

London Review Of Books – May 9, 2024 Preview

London Review of Books (LRB) – May , 2024: The latest issue features Julian Barnes on art and memory; @AzadehMoaveni on sexual violence in the Gaza war Rosemary Hill; @misspegler on Barbara Comyns; @malcolmgaskill on early magic and a cover by Anne Rothenstein.

James Meek: Short Cuts

Fara Dabhoiwala: HMS Wager

Sean Jacobs: Festac ’77 Revisited

Francis Gooding: At the Pompidou-Metz

Marion Turner: Medieval Polyglots

Azadeh Moaveni: Women in Wartime

Sheila Fitzpatrick: Gulag Medicine

International Art: Apollo Magazine – May 2024 Issue

May 2024 | Apollo Magazine

Apollo Magazine (April 29, 2024): The new May 2024 issue features ‘How national is the National Gallery?’; Alvaro Barrington’s winning hand; Fossil-fuelled: art and the oil industry…

Previews: The New Yorker Magazine – May 6, 2024

Sonny Rollins plays the saxophone on the Brooklyn Bridge.

The New Yorker (April 29, 2024): The new issue‘s cover features Faith Ringgold’s “Sonny’s Bridge, 1986” – The late artist’s work recalls her pioneering spirit through vivid, inventive designs.

Teresita Fernández’s Shifting Sculptural Landscapes

Also: Kamasi Washington, “The Outsiders” reviewed, Bang on a Can’s Long Play Festival, and more.

The Return, Again, of the Power Lunch

Four Twenty Five, a luxe new dining room from the mega-restaurateur Jean-Georges Vongerichten, takes square aim at the expense-account crowd.

Donald Trump’s Sleepy, Sleazy Criminal Trial

The most striking aspect of the former President’s hush-money trial so far has been that, for the first time in a decade, Trump is struggling to command attention.

Reviews: ‘The Week In Art’

The Week In Art Podcast (April 19, 2024): We are back in Venice for the latest edition of the biggest biennial in the world of art. The 60th Venice Biennale comprises an international exhibition featuring more than 300 artists, dozens of national pavilions in the Giardini—the gardens at the eastern end of the city—and the Arsenale—the historic shipyards of the Venetian Republic—and host of official collateral exhibitions and other shows and interventions across Venice.

The Art Newspaper’s contemporary art correspondent, Louisa Buck, editor-at-large Jane Morris and host Ben Luke review the international exhibition, Foreigners Everywhere/Stranieri Ovunque, curated by the Brazilian artistic director, Adriano Pedrosa. We talk to artists and curators behind five national pavilions—Jeffrey Gibson in the US pavilion, John Akomfrah in the British pavilion, Romuald Hazoumè in the Benin pavilion, Gustavo Caboco Wapichana, the curator of the Hãhãwpuá or Brazilian pavilion, and Valeria Montii Colque in the Chilean pavilion—about their presentations.

And we like to end our Venice specials by responding to an example of the historic work that made la Serenissima one of the world’s great centres for art. So for this episode’s Work of the Week, Ben Luke gained exclusive access to one of the most significant paintings in Venetian history: the Assunta or Assumption of the Virgin made between 1516 and 1518 by Titian. Since the last Biennale in 2022, the Assunta has been unveiled after a four-year conservation project, funded by the charity Save Venice. We spoke to the man who restored this incomparable masterpiece, Giulio Bono, right beneath Titian’s painting.

Previews: The New Yorker Magazine – April 22, 2024

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The New Yorker (April 15, 2024): The new issue‘s cover features Ana Juan’s “Clickbait” – The artist captures the mesmerizing—and distracting—glow of modern entertainment.

Can the World Be Simulated?

Video-game engines were designed to closely mimic the mechanics of the real world. They’re now used for movies, TV shows, architecture, military trainings, virtual reality, and the metaverse.

Are Flying Cars Finally Here?

They have long been a symbol of a future that never came. Now a variety of companies are building them—or something close.

By Gideon Lewis-Kraus

Previews: The New Yorker Magazine – April 8, 2024

A person's silhouette walks up stairs toward a busy city street.

The New Yorker (April 1, 2024): The new issue‘s cover features Pascal Campion’s “Into the Light” – The artist depicts stepping out of the subway into the overwhelming glow of the city.

So You Think You’ve Been Gaslit

An anthropomorphic lantern being lit by a man.

What happens when a niche clinical concept becomes a ubiquitous cultural diagnosis.

By Leslie Jamison

When Leah started dating her first serious boyfriend, as a nineteen-year-old sophomore at Ohio State, she had very little sense that sex was supposed to feel good. (Leah is not her real name.) In the small town in central Ohio where she grew up, sex ed was basically like the version she remembered from the movie “Mean Girls”: “Don’t have sex, because you will get pregnant and die.”

Black Holes Are Even Weirder Than You Imagined

An artistic rendering of two supermassive black holes.

It’s now thought that they could illuminate fundamental questions in physics, settle questions about Einstein’s theories, and even help explain the universe.

By Rivka Galchen

Black holes are, of course, awesome. But, for scientists, they are more awesome. If a rainbow is marvellous, then understanding how all the colors of the rainbow are present, unified, in ordinary white light—that’s more marvellous. (Though, famously, in his poem “Lamia,” John Keats disagreed, blaming “cold philosophy” for unweaving the rainbow.) In recent years, the amount of data that scientists have discovered about black holes has grown exponentially. In January, astronomers announced that the James Webb Space Telescope had observed the oldest black hole yet—one present when the universe was a mere four hundred million years old. (It’s estimated that it’s now 13.8 billion years old.) Recently, two supermassive black holes, with a combined mass of twenty-eight billion suns, were measured and shown to have been rotating tightly around each other, but not colliding, for the past three billion years. And those are just the examples that are easiest for the public to make some sense of. To me, a supermassive black hole sounds sublime; to a scientist, it can also be a test of wild hypotheses. “Astrophysics is an exercise in incredible experiments not runnable on Earth,” Avery Broderick, a theoretical physicist at the University of Waterloo and at the Perimeter Institute, told me. “And black holes are an ideal laboratory.”

Collections: A Tour Of Dynastic Chinese Art

Sotheby’s (March 28, 2024): Reverence for the past is a foundational thread. More than an homage, our instinct to look into the past is a dynamic creative force that shapes our present.

Behold the Leshantang collection, a testament to the eye of Tsai I-Ming, spanning the sweep of history from earliest dynasties to the modern era, this principle has guided the evolution of artistic expression.

International Art: Apollo Magazine – April 2024

Archives: Issues | Apollo Magazine

Apollo Magazine (March 26, 2024): The new April 2024 issue features ‘Why Everyone Loves Keith Haring’; Who’s afraid of immersive art?; Counting the cost of the Venice Biennale…

April 2024 | Apollo Magazine
April 2024 | Apollo Magazine

Previews: The New Yorker Magazine – April 1, 2024

A dog looks out a window.

The New Yorker (March 25, 2024): The new issue‘s cover features Mark Ulriksen’s “Standing Guard” – The artist depicts the tail-wagging occasion of the first signs of spring.

Bryan Stevenson Reclaims the Monument, in the Heart of the Deep South

“The Caring Hand” by Eva Oertli and Beat Huber.
“The Caring Hand,” by Eva Oertli and Beat Huber, is one of more than fifty sculptures at the new Freedom Monument Sculpture Park.Photographs by Kris Graves for The New Yorker

The civil-rights attorney has created a museum, a memorial, and, now, a sculpture park, indicting the city of Montgomery—a former capital of the domestic slave trade and the cradle of the Confederacy.

By Doreen St. Félix

The National Monument to Freedom, in Montgomery, Alabama, is a giant book, standing forty-three feet high and a hundred and fifty feet wide. The book is propped wide open, and engraved on its surface are the names of more than a hundred and twenty thousand Black people, documented in the 1870 census, who were emancipated after the Civil War. On the spine of the book is a credo written for the dead:

A Dutch Architect’s Vision of Cities That Float on Water

The Thâtre LÎle Ô in Lyon seen across the water.

Your children love you.
The country you built must honor you.
We acknowledge the tragedy of your enslavement.
We commit to advancing freedom in your name.

What if building on the water could be safer and sturdier than building on flood-prone land?

By Kyle Chayka

In a corner of the Rijksmuseum hangs a seventeenth-century cityscape by the Dutch Golden Age painter Gerrit Berckheyde, “View of the Golden Bend in the Herengracht,” which depicts the construction of Baroque mansions along one of Amsterdam’s main canals. Handsome double-wide brick buildings line the Herengracht’s banks, their corniced façades reflected on the water’s surface. Interspersed among the new homes are spaces, like gaps in a young child’s smile, where vacant lots have yet to be developed.