Trevor Fairbrother
In her stimulating book, Eva Díaz presents more than 30 conceptually minded artists who “reconsider how the applications of technologies used in near and outer space, once billed as progressive and exploratory, are today rife with negative effects such as resource depletion and privatization, economic inequality, and racial and gender domination.”
Minor White’s autobiographical undertaking lacks diaristic narrative. There’s too much neurotic navel-gazing too much of the time. Yet it is very appealing as a twisted personal miscellany whose contents range from summaries of sex dreams to snarky letters that were never sent.
This book is an anti-biography that argues Leonardo had little interest in autobiographical self-promotion and claims that the many gaps in the historical record prevent him from cohering as a biographical subject
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.
It is a great gift that the Gardner Museum has made such a strong and lively exhibition, presented exclusively in Boston, devoted to Manet.
“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!
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.
In her fine book, Lisa Volpe examines mid-’50s picture-making expeditions taken across the U.S. by photographers Robert Frank and Todd Webb.
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.
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.
Read More about Visual Arts Commentary: “Razzle Dazzle” in Red — Jonathan Yeo Hails (?) the King