Trevor Fairbrother
It is clear to Candy Darling’s biographer that the present moment contains alarming reminders of the political scapegoating generated by the culture wars of the ’90s. She leaves no doubt that her subject’s difficult, complicated life embodies a cautionary tale.
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It is a great gift that the Gardner Museum has made such a strong and lively exhibition, presented exclusively in Boston, devoted to Manet.
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“Georgia O’Keeffe and Henry Moore” at the MFA builds a case for two artists that many are inclined to think of as “unlikely bedfellows.” Brava!
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Moon Unit devotes less than a quarter of her book to the three decades since her father’s death. Despite his failings as a parent, she wants to respect Frank Zappa’s stature as an artist.
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In her fine book, Lisa Volpe examines mid-’50s picture-making expeditions taken across the U.S. by photographers Robert Frank and Todd Webb.
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For decades the MFA gave Dalí the cold shoulder, so it’s great that this maiden voyage is non-puritanical and open to the artist’s less than wholesome instincts to provoke.
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This midsized MFA project is a solid bid for summer foot traffic from the fashionista demographic.
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The artist is currently facing the existential throes of art-world fame and fortune.
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Frank Zappa’s tight editing ensured that “Plastic People” was a compelling aural creation, and his fierce confidence compelled listeners to pay attention to the words.
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Visual Arts Commentary: “Razzle Dazzle” in Red — Jonathan Yeo Hails (?) the King
The fact that King Charles went along with Jonathan Yeo’s amped-up riff on academic portraiture intrigues, especially in light of his peevish opposition to modernist architecture.
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