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.
They have long been a symbol of a future that never came. Now a variety of companies are building them—or something close.
What happens when a niche clinical concept becomes a ubiquitous cultural diagnosis.
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.”
It’s now thought that they could illuminate fundamental questions in physics, settle questions about Einstein’s theories, and even help explain the universe.
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.”
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.
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:
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.
The eminent history and personal connection of these tables and lamps to the artist and one of his dearest friends echo the oeuvre of Diego Giacometti itself— a sumptuous and timeless universe in bronze filled with the unique character and artistic prolificity of a true poet.
The featured ”Racine” Guéridon in particular figures as one of Diego’s most rare and original creations in bronze. The piece shows the sculptor’s prowess at skillfully adapting an organic motif into a strikingly abstract and perfectly balanced composition, which is simultaneously sculptural in its intent and highly functional.
Stephen Tomlin, the Bloomsbury group’s primary sculptor, immortalised the faces of Bloomsbury’s best-known characters, including Duncan Grant, Lytton Strachey and Virginia Woolf. With inexhaustible charisma, disarming good looks and undeniable talent, Tomlin captivated his contemporaries, and references to Stephen ‘Tommy’ Tomlin pepper countless biographies of 20th century figures.
However, until recently, that was where his story remained. Now, this exhibition aims to return Tomlin to the artistic spotlight where he belongs.
France-Amérique Magazine – June 2023 – The issue explores the art world on both sides of the Atlantic Ocean! First, read how American sculptor Alexander Calder produced a mobile to support Free France during World War II – this is our cover story.
By Guy Sorman
A book co-edited by Lynn Gumpert, director of the Grey Art Gallery at NYU, is shaking up preconceptions about the contribution of American artists in France following World War II. We asked her about this little-known period, when Paris was still as much a hub of artistic creativity as New York City.
Also in this issue, discover the little-known contribution of American artists in 1950s France; read our interview with Delphine de Canecaude of Chargeurs Museum Studio, the French company that has outfitted many of America’s largest museums; and enjoy our profiles of Clark Art Institute director Olivier Meslay and French-American graffiti legend John “JonOne” Perello.
By Guénola Pellen
The dynamic fortysomething was hired to run Chargeurs Museum Studio in February. As the world leader in cultural engineering and production, the French company has designed the National Museum of the U.S. Army, the National Museum of African American History and Culture, and the new wing of the American Museum of Natural History, which recently opened in New York City.
08/05/2023 to 09/09/2023
Picasso’s sculptures were seemingly overshadowed by his paintings and played a secondary role in his prolific artistic career. The first exhibition devoted chiefly to them did not take place until 1967, at the Tate Gallery in London, and until then his three-dimensional work had barely received any critical attention. However, sculpture was not a secondary concern for Picasso but a form of expression on a par with painting. According to Pierre Daix, ‘he was at least as great a sculptor as he was a painter, and for him these two aspects of his work were always complementary, for he had discovered very early on that the switching from one to the other enabled him to determine precisely what painting is and what sculpture is’.
Inside the December 2022 issue:
Art a special section
Memories of Clement Greenberg by Pat Lipsky
A library by the book by James Panero
Tudors at the Met by Marco Grassi
Collecting misery by Anthony Daniels
David Smith: a sculptor in full by Eric Gibson
The Spanish Sargent by Karen Wilkin
Pergolesi: a very sharp & mechanical man by Benjamin Riley
New poems by Bruce Bond & John Poch
GOD’S-EYE VIEWS
by Jackson Arn
Aerial photography captures the Southwest’s natural splendor, explosive urban development, and military secrets.
Boomers Daily 