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	<title>California Literary Review &#187; Art &amp; Design</title>
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	<description>Book reviews, essays, and author interviews.</description>
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		<title>I Myself Have Seen It: Photography &amp; Kiki Smith at the Henry Art Gallery, Seattle</title>
		<link>http://calitreview.com/7772</link>
		<comments>http://calitreview.com/7772#comments</comments>
		<pubDate>Thu, 18 Mar 2010 14:24:10 +0000</pubDate>
		<dc:creator>Laura Haertel</dc:creator>
				<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[art contemporary]]></category>
		<category><![CDATA[Henry Art Gallery]]></category>
		<category><![CDATA[Kiki Smith]]></category>
		<category><![CDATA[sculpture]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=7772</guid>
		<description><![CDATA[Contemporary sculptor and print maker Kiki Smith has been photographing and exhibiting her work for three decades. Smith grew up in a family where “life wasn’t worth living if you didn’t make art.” As the daughter of minimalist sculptor Tony Smith, Kiki assisted her father with his large-scale sculptures by folding and gluing together geometric cardboard models.]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Art Review: 2010, Whitney Biennial</title>
		<link>http://calitreview.com/7339</link>
		<comments>http://calitreview.com/7339#comments</comments>
		<pubDate>Mon, 08 Mar 2010 15:23:46 +0000</pubDate>
		<dc:creator>Alix McKenna</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[art contemporary]]></category>
		<category><![CDATA[art exhibit]]></category>
		<category><![CDATA[Whitney Biennial]]></category>
		<category><![CDATA[Whitney Museum]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=7339</guid>
		<description><![CDATA[It is undeniable that the reduction, which was largely brought on by budget constraints, has created a more sober atmosphere than the artistic smorgasbords of previous years – but maybe that’s not a bad thing. <em>2010</em> is less about the diva that is the art world and more about the art, and the people who make and inspire it. Walking through, you can concentrate on each piece without feeling overwhelmed by an overabundance of visual stimuli.]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Art Review: Picasso and the Avant-Garde in Paris at the Philadelphia Museum Of Art</title>
		<link>http://calitreview.com/7012</link>
		<comments>http://calitreview.com/7012#comments</comments>
		<pubDate>Thu, 25 Feb 2010 15:25:43 +0000</pubDate>
		<dc:creator>Ed Voves</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[art cubism]]></category>
		<category><![CDATA[art exhibit]]></category>
		<category><![CDATA[art modern]]></category>
		<category><![CDATA[Chagall]]></category>
		<category><![CDATA[Georges Braque]]></category>
		<category><![CDATA[Jean Metzinger]]></category>
		<category><![CDATA[Juan Gris]]></category>
		<category><![CDATA[Philadelphia Museum of Art]]></category>
		<category><![CDATA[Picasso]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=7012</guid>
		<description><![CDATA[If Salon Cubism pleased nobody in 1912, the recreation of the gallery from the Salon d'Automne in the <em>Picasso and the Avant-Garde in Paris</em> exhibition is bound to excite the highest praise. The paintings are clustered about the walls, many of them positioned well above the heads of viewers, which presents Marcel Duchamp's <em>Nude Descending a Staircase No. 2</em> from an especially striking position. Sculpture busts, including one by Amadeo Modigliani, are stationed in front of the paintings, revealing how displays of different types of art were often closely integrated during the pre-World War I era. ]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Portraiture Now: Communities at the National Portrait Gallery, Washington, DC</title>
		<link>http://calitreview.com/6087</link>
		<comments>http://calitreview.com/6087#comments</comments>
		<pubDate>Mon, 11 Jan 2010 18:49:20 +0000</pubDate>
		<dc:creator>Alix McKenna</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[art contemporary]]></category>
		<category><![CDATA[art exhibit]]></category>
		<category><![CDATA[art portraiture]]></category>
		<category><![CDATA[Jim Torok]]></category>
		<category><![CDATA[Rebecca Westcott]]></category>
		<category><![CDATA[Rose Frantzen]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=6087</guid>
		<description><![CDATA[The astonishing amount of detail, the tremendous amount of work that went into crafting the tiny piece and Lorna’s serene expression and frontal pose give her the air of a modern day Madonna. Despite her imperfections, nose rings and edgy attire, Lorna becomes an icon of contemporary feminine beauty.]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Italics: Italian Art between Tradition and Revolution 1968–2008 at the Museum of Contemporary Art, Chicago</title>
		<link>http://calitreview.com/6016</link>
		<comments>http://calitreview.com/6016#comments</comments>
		<pubDate>Mon, 04 Jan 2010 15:31:35 +0000</pubDate>
		<dc:creator>Jane Friedman</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[Italy]]></category>
		<category><![CDATA[art contemporary]]></category>
		<category><![CDATA[art exhibit]]></category>
		<category><![CDATA[Chicago Museum of Contemporary Art]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=6016</guid>
		<description><![CDATA[In Roberto Cuoghi’s 2006 portrait of Davide Halevim, one of the highlights of the section entitled “Representations of Mortality,” Halevim is covered in leaves, dirt, and twigs; his face is discolored; and rigor mortis appears to have set in. But Halevim was alive (and still is) when Cuoghi made this depiction of the Milan-based collector. To create this work, part of the artist’s series of portraits of art-world figures begun in 2001, Cuoghi made a cast of Halevim’s face, buried it in his garden to let the process of decomposition run its course, and then photographed the results.]]></description>
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		</item>
		<item>
		<title>Tim Burton at MoMA</title>
		<link>http://calitreview.com/5656</link>
		<comments>http://calitreview.com/5656#comments</comments>
		<pubDate>Wed, 02 Dec 2009 14:12:06 +0000</pubDate>
		<dc:creator>Alix McKenna</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[art contemporary]]></category>
		<category><![CDATA[art exhibit]]></category>
		<category><![CDATA[MoMA]]></category>
		<category><![CDATA[Tim Burton]]></category>

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		<description><![CDATA[Predictably, <em>Tim Burton</em> is already a wildly popular show.  As throngs of families, film buffs and multi-pierced hipsters make their way through the narrow hallway, you are forced along at a fairly rapid pace.  In the background, a museum employee occasionally shouts that this part of the exhibit is available online to remind you that lingering is not an option.]]></description>
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		<slash:comments>5</slash:comments>
		</item>
		<item>
		<title>Paul Bril’s Restored Paintings in the San Silvestro Chapel at Rome’s Sancta Sanctorum</title>
		<link>http://calitreview.com/5547</link>
		<comments>http://calitreview.com/5547#comments</comments>
		<pubDate>Mon, 30 Nov 2009 15:16:38 +0000</pubDate>
		<dc:creator>Judith Harris</dc:creator>
				<category><![CDATA[Architecture]]></category>
		<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[Italy]]></category>
		<category><![CDATA[art baroque]]></category>
		<category><![CDATA[Paul Bril]]></category>
		<category><![CDATA[Renaissance]]></category>
		<category><![CDATA[sixteenth century]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=5547</guid>
		<description><![CDATA[Born in Antwerp in 1554, Bril was working in Italy at the end of the century, where his landscapes marked the transition between what Paolucci called the “autumn of Mannerism” of the Renaissance and the birth of the Baroque style. The change was enormous, and Bril is acknowledged as among its authors.]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Directions: John Gerrard at the Hirshhorn Museum and Sculpture Garden, Washington, DC</title>
		<link>http://calitreview.com/5446</link>
		<comments>http://calitreview.com/5446#comments</comments>
		<pubDate>Mon, 16 Nov 2009 13:59:59 +0000</pubDate>
		<dc:creator>Alix McKenna</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[art contemporary]]></category>
		<category><![CDATA[art exhibit]]></category>
		<category><![CDATA[art landscapes]]></category>
		<category><![CDATA[art video]]></category>
		<category><![CDATA[John Gerrard]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=5446</guid>
		<description><![CDATA[So what are today’s landscape artists telling us? In his eponymous show at the Hirshhorn, John Gerrard presents us with scenery that reflects a very different view of America. Rather than inspire us, the Irish artist constructs images that fill us with anxiety, hopelessness and a sense of imminent disaster. And we can’t look away.]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Arshile Gorky: A Retrospective at the Philadelphia Museum of Art</title>
		<link>http://calitreview.com/5339</link>
		<comments>http://calitreview.com/5339#comments</comments>
		<pubDate>Mon, 09 Nov 2009 14:20:22 +0000</pubDate>
		<dc:creator>Ed Voves</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[Armenia]]></category>
		<category><![CDATA[Arshile Gorky]]></category>
		<category><![CDATA[art abstract expressionism]]></category>
		<category><![CDATA[art exhibit]]></category>
		<category><![CDATA[art modern]]></category>
		<category><![CDATA[art surrealism]]></category>
		<category><![CDATA[Philadelphia Museum of Art]]></category>

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		<description><![CDATA[The people of that ancient nation had been decimated in the opening genocide of modern times, victims of Turkish aggression during the First World War.  "Who now remembers the Armenians?" Adolf Hitler exclaimed, as he and his Nazi lieutenants planned the Final Solution. The answer can be found lining the walls of the masterful exhibition in Philadelphia. Arshile Gorky remembered. "I shall resurrect Armenia with my brush," Gorky declared in 1944, "for all the world to see."]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Brian Jungen: Strange Comfort at The National Museum of the American Indian</title>
		<link>http://calitreview.com/5260</link>
		<comments>http://calitreview.com/5260#comments</comments>
		<pubDate>Tue, 03 Nov 2009 15:44:38 +0000</pubDate>
		<dc:creator>Alix McKenna</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[Native American]]></category>
		<category><![CDATA[art contemporary]]></category>
		<category><![CDATA[art exhibit]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=5260</guid>
		<description><![CDATA[The first piece you see upon entering is <em>Shapeshifter</em> (2000), an enormous, abstracted whale skeleton built entirely out of white plastic chairs. Jungen’s leviathan is hung in front of a simple black wall and the contrast of colors intensifies its extraordinary power.  <em>Shapeshifter</em> has the pristine, flawless texture of a mass produced object, yet somehow feels organic.  You can easily imagine the enormous tale with its graceful, individually-carved vertebrae swinging to life.  ]]></description>
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		<slash:comments>1</slash:comments>
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		<item>
		<title>The Barnes Foundation: Beauty Surrounded by Controversy</title>
		<link>http://calitreview.com/4931</link>
		<comments>http://calitreview.com/4931#comments</comments>
		<pubDate>Mon, 12 Oct 2009 14:18:46 +0000</pubDate>
		<dc:creator>Ed Voves</dc:creator>
				<category><![CDATA[Architecture]]></category>
		<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[art impressionist]]></category>
		<category><![CDATA[Barnes Foundation]]></category>
		<category><![CDATA[cezanne]]></category>
		<category><![CDATA[Charles Demuth]]></category>
		<category><![CDATA[Degas]]></category>
		<category><![CDATA[matisse]]></category>
		<category><![CDATA[Modigliani]]></category>
		<category><![CDATA[Philadelphia]]></category>
		<category><![CDATA[Picasso]]></category>
		<category><![CDATA[Renoir]]></category>
		<category><![CDATA[Rodin]]></category>
		<category><![CDATA[Van Gogh]]></category>
		<category><![CDATA[William Glackens]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=4931</guid>
		<description><![CDATA[And what a treasure trove! By the time of his death in 1951, Barnes had purchased 181 works by Renoir, 69 by Cezanne, 7 Van Gogh paintings, 59 works by Matisse, 11 by Degas, 16 by Modigliani, 46 Picasso’s, with 4 apiece by Manet and Monet. He also collected modern American works by William Glackens, Charles Demuth and Maurice and Charles Prendergast. His eclectic tastes extended to African sculptures, European decorative art, American folk art and quirky curiosities like an American Civil War surgeon’s saw.]]></description>
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		<slash:comments>6</slash:comments>
		</item>
		<item>
		<title>Ron Arad: No Discipline at MoMA</title>
		<link>http://calitreview.com/4513</link>
		<comments>http://calitreview.com/4513#comments</comments>
		<pubDate>Mon, 17 Aug 2009 13:17:31 +0000</pubDate>
		<dc:creator>Carmela Ciuraru</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[art contemporary]]></category>
		<category><![CDATA[art exhibit]]></category>
		<category><![CDATA[design]]></category>
		<category><![CDATA[MoMA]]></category>
		<category><![CDATA[Ron Arad]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=4513</guid>
		<description><![CDATA[The experience of viewing “No Discipline,” the first major U.S. retrospective of the virtuosic, Israeli-born designer Ron Arad, is less like seeing an exhibition at the Museum of Modern Art and more like walking through a carnival funhouse. That’s intended as a compliment.]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A New Look at Rome’s Rousing Middle Ages</title>
		<link>http://calitreview.com/4421</link>
		<comments>http://calitreview.com/4421#comments</comments>
		<pubDate>Thu, 06 Aug 2009 14:24:35 +0000</pubDate>
		<dc:creator>Judith Harris</dc:creator>
				<category><![CDATA[Archeology]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[History]]></category>
		<category><![CDATA[Italy]]></category>
		<category><![CDATA[Ancient Rome]]></category>
		<category><![CDATA[art exhibit]]></category>
		<category><![CDATA[Middle Ages]]></category>
		<category><![CDATA[thirteenth century]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=4421</guid>
		<description><![CDATA[When its doors first opened in 1734, the Capitoline Museum, which stands upon the hilltop that is the very heart of Rome, was one of the first European public museums and a favorite haunt of the wealthy Grand Tourists from all over Europe. As of July 30 this venerable museum offers something novel to all tourists—a chance for a fresh look at a relatively neglected period of Roman history and the arts, the Middle Ages.]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Francis Alÿs: Fabiola at the National Portrait Gallery, London</title>
		<link>http://calitreview.com/4149</link>
		<comments>http://calitreview.com/4149#comments</comments>
		<pubDate>Wed, 29 Jul 2009 14:45:23 +0000</pubDate>
		<dc:creator>Rose Lejeune</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[Mexico]]></category>
		<category><![CDATA[art exhibit]]></category>
		<category><![CDATA[art portraiture]]></category>
		<category><![CDATA[Catholic Church]]></category>
		<category><![CDATA[fourth century]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=4149</guid>
		<description><![CDATA[Perhaps what fascinated him about these portraits was that they show this urge to create and to communicate through art. More though, Alÿs’ display highlights the ways in which art inhabits a space of its own – outside of museums and critical appraisal. The works he has collected pay homage to the fact that it can be made anywhere, by anyone. The art changes and becomes personalized as it is interpreted and lived by individuals]]></description>
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		<slash:comments>1</slash:comments>
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		<item>
		<title>Cézanne and Beyond at the Philadelphia Museum of Art</title>
		<link>http://calitreview.com/2937</link>
		<comments>http://calitreview.com/2937#comments</comments>
		<pubDate>Wed, 08 Apr 2009 15:43:02 +0000</pubDate>
		<dc:creator>Ed Voves</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[Alberto Giacometti]]></category>
		<category><![CDATA[art exhibit]]></category>
		<category><![CDATA[art impressionist]]></category>
		<category><![CDATA[art modern]]></category>
		<category><![CDATA[cezanne]]></category>
		<category><![CDATA[Ellsworth Kelly]]></category>
		<category><![CDATA[matisse]]></category>
		<category><![CDATA[Philadelphia Museum of Art]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=2937</guid>
		<description><![CDATA[Matisse, in an essay written many years later for another Philadelphia Museum of Art exhibition, appraised the new approach to art that Cézanne had bequeathed to him and other leading spirits of Modernism. “There is an inherent truth which must be disengaged from the outward appearance of the object to be represented,” Matisse wrote. “This is the only truth that matters …. Exactitude is not truth.”]]></description>
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		<slash:comments>1</slash:comments>
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		<item>
		<title>Rodchenko &amp; Popova: Defining Constructivism, at the Tate Modern, London</title>
		<link>http://calitreview.com/2842</link>
		<comments>http://calitreview.com/2842#comments</comments>
		<pubDate>Wed, 01 Apr 2009 02:07:27 +0000</pubDate>
		<dc:creator>Rose Lejeune</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[Russia]]></category>
		<category><![CDATA[Aleksandr Rodchenko]]></category>
		<category><![CDATA[art constructivist]]></category>
		<category><![CDATA[art exhibit]]></category>
		<category><![CDATA[art modern]]></category>
		<category><![CDATA[Lyubov Popova]]></category>
		<category><![CDATA[Popova]]></category>
		<category><![CDATA[Rodchenko]]></category>
		<category><![CDATA[tate modern]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=2842</guid>
		<description><![CDATA[In 1921, the Constructivists announced the end of painting. To mark its passing they held the exhibition ‘5 x 5 = 25’ and declared that they would now only make art for everyday life; Productivism. The Tate has devoted a room to this last exhibition of painting, the highlight of which has to be Rodchenko’s ‘Pure Red Colour, Pure Yellow Colour, Pure Blue Colour’ (1921).]]></description>
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		<slash:comments>2</slash:comments>
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		<item>
		<title>Celebrating Galileo in Florence</title>
		<link>http://calitreview.com/2768</link>
		<comments>http://calitreview.com/2768#comments</comments>
		<pubDate>Mon, 23 Mar 2009 02:39:17 +0000</pubDate>
		<dc:creator>Judith Harris</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[History]]></category>
		<category><![CDATA[Italy]]></category>
		<category><![CDATA[Science]]></category>
		<category><![CDATA[astronomy]]></category>
		<category><![CDATA[galileo]]></category>
		<category><![CDATA[Renaissance]]></category>
		<category><![CDATA[seventeenth century]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=2768</guid>
		<description><![CDATA[2009 is officially “The Year of Astronomy,” commemorating Galilei’s first observation of the Moon through his telescope in November of 1609. Born in Pisa, Galileo Galilei worked in Florence, where the fourth centennial of his discovery is being celebrated with a stunning and sophisticated exhibition which took four years to prepare.]]></description>
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		<slash:comments>5</slash:comments>
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		<item>
		<title>George Tooker at the Pennsylvania Academy of the Fine Arts</title>
		<link>http://calitreview.com/2609</link>
		<comments>http://calitreview.com/2609#comments</comments>
		<pubDate>Mon, 23 Feb 2009 14:50:22 +0000</pubDate>
		<dc:creator>Ed Voves</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[art exhibit]]></category>
		<category><![CDATA[George Tooker]]></category>
		<category><![CDATA[Pennsylvania Academy of the Fine Arts]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=2609</guid>
		<description><![CDATA[Tooker’s paintings are questions not answers. The drama takes place away from the picture plain, as viewers grapple with the implications of what they see before them.]]></description>
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		<slash:comments>2</slash:comments>
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		<item>
		<title>The Paintings of Tom Palmore</title>
		<link>http://calitreview.com/2320</link>
		<comments>http://calitreview.com/2320#comments</comments>
		<pubDate>Tue, 20 Jan 2009 14:43:23 +0000</pubDate>
		<dc:creator>Paul Comstock</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[Nature]]></category>
		<category><![CDATA[Tom Palmore]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=2320</guid>
		<description><![CDATA["There are a handful of original wildlife artists and the rest are members of the ‘elk in the meadow’ or ‘moose in the water’ schools. We are all influenced by society and by history, but you have to take those examples, put them through your own filter and make them your own.”]]></description>
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		<slash:comments>1</slash:comments>
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		<title>X-ray Photographs of David Arky</title>
		<link>http://calitreview.com/2168</link>
		<comments>http://calitreview.com/2168#comments</comments>
		<pubDate>Mon, 12 Jan 2009 15:09:37 +0000</pubDate>
		<dc:creator>Paul Comstock</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[David Arky]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=2168</guid>
		<description><![CDATA[Duane Michals expressed it well when he said, “Photography deals exquisitely with appearances, but nothing is what it appears to be.” An inner life is uncovered in the nature of x-ray photography and in the nature of the subjects. ]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>The Drawings of Alfred Kubin</title>
		<link>http://calitreview.com/1624</link>
		<comments>http://calitreview.com/1624#comments</comments>
		<pubDate>Mon, 17 Nov 2008 14:29:53 +0000</pubDate>
		<dc:creator>Paul Comstock</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[Alfred Kubin]]></category>
		<category><![CDATA[Kubin]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=1624</guid>
		<description><![CDATA[Kubin had something quite different in mind: with his hallucinatory incantations he was seeking to disturb the viewer; he felt driven to solve the riddle of humankind and creation in a spellbinding act.]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Photo Essay: North Korean Propaganda Posters</title>
		<link>http://calitreview.com/875</link>
		<comments>http://calitreview.com/875#comments</comments>
		<pubDate>Tue, 19 Aug 2008 14:43:55 +0000</pubDate>
		<dc:creator>Paul Comstock</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[History]]></category>
		<category><![CDATA[Military]]></category>
		<category><![CDATA[Politics]]></category>
		<category><![CDATA[North Korea]]></category>
		<category><![CDATA[propaganda]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=875</guid>
		<description><![CDATA[Posters are visual illustrations of the slogans that surround the people of North Korea constantly. North Korean society is in a permanent mobilization. Party and government declarations are stripped down to single-line catchphrases. Through their endless repetition in banners, newspaper headlines, and media reports, these compact slogans become self-explanatory, simultaneously interpreting and constructing reality.]]></description>
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		<slash:comments>156</slash:comments>
		</item>
		<item>
		<title>Frida Kahlo at the San Francisco Museum of Modern Art</title>
		<link>http://calitreview.com/747</link>
		<comments>http://calitreview.com/747#comments</comments>
		<pubDate>Mon, 16 Jun 2008 13:09:00 +0000</pubDate>
		<dc:creator>Ed Voves</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[Disability]]></category>
		<category><![CDATA[Mexico]]></category>
		<category><![CDATA[art exhibit]]></category>
		<category><![CDATA[art modern]]></category>
		<category><![CDATA[Diego Rivera]]></category>
		<category><![CDATA[Frida Kahlo]]></category>
		<category><![CDATA[Mexico City]]></category>
		<category><![CDATA[SFMOMA]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=747</guid>
		<description><![CDATA[Art critics may speculate about the influences on Kahlo’s style or her place in modern art. In the end, these reflections, however valid some of the details may be, diminish Kahlo’s achievement. The truth of Frida Kahlo’s life is startlingly simple. She recorded the realty of her life without flinching, creating for herself a world that conformed to her insights and her experience. And in the process, Frida Kahlo’s art became Frida Kahlo’s life.]]></description>
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		<slash:comments>4</slash:comments>
		</item>
		<item>
		<title>The Rock Posters of Rich Black</title>
		<link>http://calitreview.com/570</link>
		<comments>http://calitreview.com/570#comments</comments>
		<pubDate>Thu, 17 Apr 2008 13:03:57 +0000</pubDate>
		<dc:creator>Rich Black</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[graphic art]]></category>
		<category><![CDATA[posters]]></category>
		<category><![CDATA[Rock and Roll]]></category>

		<guid isPermaLink="false">http://calitreview.com/topics/music/570/</guid>
		<description><![CDATA[A photographic essay: The Rock Posters of Rich Black.]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Life and Art of J.M.W. Turner</title>
		<link>http://calitreview.com/369</link>
		<comments>http://calitreview.com/369#comments</comments>
		<pubDate>Tue, 26 Feb 2008 14:50:06 +0000</pubDate>
		<dc:creator>Ed Voves</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[Great Britain]]></category>
		<category><![CDATA[art exhibit]]></category>
		<category><![CDATA[Dallas Museum of Art]]></category>
		<category><![CDATA[J.M.W. Turner]]></category>
		<category><![CDATA[nineteenth century]]></category>

		<guid isPermaLink="false">http://calitreview.com/topics/art/369/</guid>
		<description><![CDATA[Nature in the form of searing sunlight and raging storms increasingly blotted out the works of man in the later paintings of Turner. This was an ironic juxtaposition of his painterly vision with the spirit of his times. For the progressive spirit of early Victorian Britain was propagating a world view whereby the industrial juggernaut of railroads, steam ships and factories would reshape the world to suit humankind’s fancy.]]></description>
		<wfw:commentRss>http://calitreview.com/369/feed</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>Erotic Art of Ancient Pompeii</title>
		<link>http://calitreview.com/313</link>
		<comments>http://calitreview.com/313#comments</comments>
		<pubDate>Thu, 14 Feb 2008 15:35:47 +0000</pubDate>
		<dc:creator>Judith Harris</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[History]]></category>
		<category><![CDATA[Italy]]></category>
		<category><![CDATA[Sex]]></category>
		<category><![CDATA[art history]]></category>
		<category><![CDATA[erotic art]]></category>
		<category><![CDATA[Marquis de Sade]]></category>
		<category><![CDATA[pompeii]]></category>

		<guid isPermaLink="false">http://calitreview.com/2008/02/14/erotic-art-of-ancient-pompeii/</guid>
		<description><![CDATA[A favourite theme which recurred again and again in wall paintings was the satyr creeping up behind a nymph to catch her by surprise. In at least one case the nymph, her veil ripped away, turns out to be a hermaphrodite, to the satyr’s theatrical dismay, and the observer’s amusement. Some wall paintings showed homosexual sex and, because African motifs were popular, another depicted picnicking pygmies enjoying a group orgy under a tent.]]></description>
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		<slash:comments>7</slash:comments>
		</item>
		<item>
		<title>Photographs from Havana Deco</title>
		<link>http://calitreview.com/298</link>
		<comments>http://calitreview.com/298#comments</comments>
		<pubDate>Tue, 18 Dec 2007 16:44:44 +0000</pubDate>
		<dc:creator>Martino Fagiuoli</dc:creator>
				<category><![CDATA[Architecture]]></category>
		<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[Caribbean]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[art deco]]></category>
		<category><![CDATA[Cuba]]></category>

		<guid isPermaLink="false">http://calitreview.com/2007/12/18/photographs-from-havana-deco/</guid>
		<description><![CDATA[A photographic essay: Art Deco in Havana, Cuba.]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>An Interview With Louis Kahn Biographer Carter Wiseman</title>
		<link>http://calitreview.com/224</link>
		<comments>http://calitreview.com/224#comments</comments>
		<pubDate>Fri, 15 Jun 2007 17:20:17 +0000</pubDate>
		<dc:creator>Paul Comstock</dc:creator>
				<category><![CDATA[Architecture]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[Carter Wiseman]]></category>
		<category><![CDATA[Frank Gehry]]></category>
		<category><![CDATA[Frank Lloyd Wright]]></category>
		<category><![CDATA[George Howe]]></category>
		<category><![CDATA[I. M. Pei]]></category>
		<category><![CDATA[La Jolla]]></category>
		<category><![CDATA[Louis Kahn]]></category>
		<category><![CDATA[Mies van der Rohe]]></category>
		<category><![CDATA[Philadelphia]]></category>
		<category><![CDATA[William Lescaze]]></category>

		<guid isPermaLink="false">http://calitreview.com//2007/06/15/an-interview-with-louis-kahn-biographer-carter-wiseman/</guid>
		<description><![CDATA["I think the most powerful common thread running through Kahn’s work was his humanity. He seems to have believed deeply in the idea that humankind is perfectible, and that architecture could play a role in that."]]></description>
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		<slash:comments>6</slash:comments>
		</item>
		<item>
		<title>Architecture and Modernism</title>
		<link>http://calitreview.com/48</link>
		<comments>http://calitreview.com/48#comments</comments>
		<pubDate>Mon, 26 Mar 2007 15:52:01 +0000</pubDate>
		<dc:creator>Alain de Botton</dc:creator>
				<category><![CDATA[Architecture]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[Le Corbusier]]></category>
		<category><![CDATA[Marcel Breuer]]></category>
		<category><![CDATA[Modernism]]></category>

		<guid isPermaLink="false">http://calitreview.com//essays/architecture-and-modernism/</guid>
		<description><![CDATA[For Le Corbusier, true, great architecture – meaning, architecture motivated by the quest for efficiency – was more likely to be found in a 40,000-kilowatt electricity turbine or a low-pressure ventilating fan. It was to these machines that his books accorded the reverential photographs which previous architectural writers had reserved for cathedrals and opera houses.]]></description>
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		<slash:comments>3</slash:comments>
		</item>
		<item>
		<title>Art for a New Gilded Age</title>
		<link>http://calitreview.com/46</link>
		<comments>http://calitreview.com/46#comments</comments>
		<pubDate>Mon, 26 Mar 2007 15:43:03 +0000</pubDate>
		<dc:creator>Ed Voves</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Art & Design]]></category>
		<category><![CDATA[art history]]></category>
		<category><![CDATA[Asher Durand]]></category>
		<category><![CDATA[Hudson River School]]></category>
		<category><![CDATA[nineteenth century]]></category>
		<category><![CDATA[Pennsylvania Academy of the Fine Arts]]></category>
		<category><![CDATA[Philadelphia]]></category>
		<category><![CDATA[Thomas Eakins]]></category>

		<guid isPermaLink="false">http://calitreview.com//uncategorized/art-for-a-new-gilded-age/</guid>
		<description><![CDATA[Museums are designed – and public museums are mandated – to act as the stewards of the nation’s or a city’s heritage. The New York Public Library failed dismally in this respect, a failure only eclipsed by the National Gallery, which quite frankly is serving as the bagman for the theft of public art treasures from New York City and Philadelphia.]]></description>
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		<slash:comments>2</slash:comments>
		</item>
	</channel>
</rss>
