The variety of these photos give us more than just a sense of what Arbus would be doing for the last decade of her life.
“A photograph is a secret about a secret. The more it tells you, the less you know,” Diane Arbus said. Her biographer notes that observation. Hard as he tries, many secrets remain.
As with so many Frederick Wiseman films, we get color, character, sociology – and cinema.
Gagosian Gallery’s show Picasso & the Camera is the art bargain of the season.
Tadao Ando’s new Clark, minimalist in its materials and understated presence, is more Zen than a billboard for its disparate architectural elements, more harmony than postmodern dissonance.
By the end of the documentary, you’re in no doubt that Whitey Bulger was beneath dignity. Though not in his own eyes. There’s even vanity left in a crook who trims his white beard so scrupulously.
Futurism, as the Italian proponents conceived of it, ended up not having much of a future. But its practitioners had some good days at the beginning.
Art Spiegelman believes that “MAD” magazine was more subversive for his generation of protesters than either marijuana or LSD. It certainly radicalized him.
No one associates Winslow Homer with abstraction, but Sleigh Ride (1893) indicates that he at times ventured into the non-figurative borders of landscape painting Edgar Degas was exploring in France at the same time.
If the music that can touch you so deeply with so few notes weren’t so magical, there’s also Emahoy Tsegue-Mariam Guebru’s fascinating back-story.