Trevor Fairbrother
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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Boston’s MFA owns the ethical and cultural dilemma regarding the location of Cyrus Dallin’s monumental statue “Appeal to the Great Spirit,” acquired as a gift in 1913.
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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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