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	<title>California Literary Review &#187; Art</title>
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	<link>http://calitreview.com</link>
	<description>Book reviews, essays, and author interviews.</description>
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		<title>The Art of Japanese Internment Camps at the Renwick Gallery</title>
		<link>http://calitreview.com/7701</link>
		<comments>http://calitreview.com/7701#comments</comments>
		<pubDate>Tue, 16 Mar 2010 03:46:16 +0000</pubDate>
		<dc:creator>Alix McKenna</dc:creator>
				<category><![CDATA[After Image]]></category>
		<category><![CDATA[Art]]></category>
		<category><![CDATA[Isamu Noguchi]]></category>
		<category><![CDATA[World War II]]></category>

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		<description><![CDATA[An exhibition at the Renwick Gallery in Washington DC titled The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps, 1942-1946 showcases objects made by internees.   The museum’s website tells us that the Japanese word ‘gaman’ means “to bear the seemingly unbearable with dignity and patience.”  This moving show explores how creativity served as a necessary way of acquiring needful things that were otherwise unavailable, provided an outlet for frustration, and reinforced bonds in a painful and alienating time. ]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>A Case for Warhol’s Jews</title>
		<link>http://calitreview.com/7648</link>
		<comments>http://calitreview.com/7648#comments</comments>
		<pubDate>Sat, 13 Mar 2010 20:28:50 +0000</pubDate>
		<dc:creator>Alix McKenna</dc:creator>
				<category><![CDATA[After Image]]></category>
		<category><![CDATA[Art]]></category>
		<category><![CDATA[Design]]></category>
		<category><![CDATA[Andy Warhol]]></category>
		<category><![CDATA[art pop]]></category>
		<category><![CDATA[Franz Kaftka]]></category>
		<category><![CDATA[Golda Meir]]></category>
		<category><![CDATA[Martin Buber]]></category>
		<category><![CDATA[Sarah Berndardt]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=7648</guid>
		<description><![CDATA[Since its in 1980, Critics have lambasted Warhol’s “Ten Portraits of Jews of the Twentieth Century” as one-dimensional and exploitative. Several recent shows have reawakened the controversy surrounding the project.   After traveling to San Francisco and New York in 2008-2009, the series is now on display in a retrospective at the Washington DC Jewish Community Center. In response to these shows, many contemporary reviewers have repeated the argument that Warhol was motivated solely by profit and that he trivialized important historical figures.  Perhaps it is time to check our cynicism and explore how the series fits into his oeuvre and intellectual interests.]]></description>
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		<item>
		<title>Sex in the Vienna Secession – Because Airplane Bathrooms are so Passé</title>
		<link>http://calitreview.com/7628</link>
		<comments>http://calitreview.com/7628#comments</comments>
		<pubDate>Sat, 13 Mar 2010 19:12:13 +0000</pubDate>
		<dc:creator>Alix McKenna</dc:creator>
				<category><![CDATA[After Image]]></category>
		<category><![CDATA[Art]]></category>
		<category><![CDATA[Gustav Klimt]]></category>
		<category><![CDATA[Vienna Secession]]></category>

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		<description><![CDATA[The Vienna Secession, which was designed to display works by Gustav Klimt and his contemporaries, recently decided to spice up their collection by requiring visitors to walk through a swingers club before reaching Klimpt’s masterful "Beethoven Frieze".  This strange paring is part of a project by Swiss artist, Christoph Büchel and involves a collaboration between the museum and a local swingers’ club called Element 6. The club will be open at night during the exhibition.  The next morning, mattresses and other nasty remnants of the evening’s activities will be on display.  I’m betting that for once, visitors won’t have to be told “don’t touch.”]]></description>
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		<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>

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		<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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		<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>

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		<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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		<item>
		<title>Michelangelo: A Tormented Life by Antonio Forcellino</title>
		<link>http://calitreview.com/6269</link>
		<comments>http://calitreview.com/6269#comments</comments>
		<pubDate>Thu, 28 Jan 2010 15:13:15 +0000</pubDate>
		<dc:creator>Judith Harris</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Biography]]></category>
		<category><![CDATA[Non-Fiction Reviews]]></category>
		<category><![CDATA[Michelangelo]]></category>
		<category><![CDATA[Renaissance]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=6269</guid>
		<description><![CDATA[Before dawn on the morning of February 18 a group of Florentines entered the church stealthily and stole Michelangelo’s body, which they concealed on a farm cart. Upon arrival of the corpse three days later in Florence, thousands of citizens turned out spontaneously, dressed in workmen’s and artists’ smocks like those Michelangelo himself wore. Many wept as they accompanied the bier in an improvised procession through the dark streets. No such a procession, as if for a saint, had ever been seen there before.]]></description>
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		<title>The Swan Thieves by Elizabeth Kostova</title>
		<link>http://calitreview.com/6119</link>
		<comments>http://calitreview.com/6119#comments</comments>
		<pubDate>Tue, 12 Jan 2010 20:20:55 +0000</pubDate>
		<dc:creator>Elinor Teele</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Fiction Reviews]]></category>
		<category><![CDATA[Elizabeth Kostova]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=6119</guid>
		<description><![CDATA[Oliver won’t socialize. He won’t even speak. He simply spends his days wrapped in his obsession, a pattern that is only slightly modified when he is given painting materials. For then he takes to painting a dark-haired woman over and over again.]]></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>

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		<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>
		</item>
		<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>

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		<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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		<slash:comments>0</slash:comments>
		</item>
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		<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>
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		<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>

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		<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>
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		<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>

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		<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>
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		<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>
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		<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>

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		<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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		<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>

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		<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>
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		<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>

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		<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>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>

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		<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>Vanished Smile: The Mysterious Theft of Mona Lisa by R.A. Scotti</title>
		<link>http://calitreview.com/3792</link>
		<comments>http://calitreview.com/3792#comments</comments>
		<pubDate>Mon, 29 Jun 2009 13:02:18 +0000</pubDate>
		<dc:creator>David Loftus</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[France]]></category>
		<category><![CDATA[Italy]]></category>
		<category><![CDATA[Non-Fiction Reviews]]></category>
		<category><![CDATA[art forgery]]></category>
		<category><![CDATA[art history]]></category>
		<category><![CDATA[Leonardo da Vinci]]></category>
		<category><![CDATA[Louvre]]></category>
		<category><![CDATA[Michelangelo]]></category>
		<category><![CDATA[Picasso]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=3792</guid>
		<description><![CDATA[Not quite a century ago, on August 29, 1911, thousands of people began flocking to the Louvre (among them, Franz Kafka and his friend Max Brod) to gaze at a blank space on a wall. The 49-acre Louvre – still the largest museum in the world today – had been closed for most of the preceding week for the investigation of a singular occurrence: the most famous painting in the world had disappeared from that blank spot.]]></description>
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		<slash:comments>1</slash:comments>
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		<item>
		<title>Satchmo: The Wonderful World and Art of Louis Armstrong by Steven Brower</title>
		<link>http://calitreview.com/3167</link>
		<comments>http://calitreview.com/3167#comments</comments>
		<pubDate>Tue, 12 May 2009 14:04:18 +0000</pubDate>
		<dc:creator>David Lida</dc:creator>
				<category><![CDATA[African American]]></category>
		<category><![CDATA[Art]]></category>
		<category><![CDATA[Biography]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Non-Fiction Reviews]]></category>
		<category><![CDATA[jazz]]></category>
		<category><![CDATA[louis armstrong]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=3167</guid>
		<description><![CDATA[For someone who radiated pure joy, his beginnings were Deep South Dickensian. Born in New Orleans in August 4, 1901, his unwed mother was a sometime prostitute and his absent father worked in a turpentine factory. As an unsupervised child, he worked unloading boats and selling newspapers on the sidewalk. Evenings, he would stand outside nightclubs and listen to the great trumpet players of the day, including Buddy Bolden and King Oliver, who would later become his mentor.]]></description>
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		<slash:comments>0</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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		<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>
		</item>
		<item>
		<title>The Fires of Vesuvius: Pompeii Lost and Found by Mary Beard</title>
		<link>http://calitreview.com/2664</link>
		<comments>http://calitreview.com/2664#comments</comments>
		<pubDate>Tue, 03 Mar 2009 16:04:38 +0000</pubDate>
		<dc:creator>Judith Harris</dc:creator>
				<category><![CDATA[Archeology]]></category>
		<category><![CDATA[Art]]></category>
		<category><![CDATA[History]]></category>
		<category><![CDATA[Italy]]></category>
		<category><![CDATA[Non-Fiction Reviews]]></category>
		<category><![CDATA[ancient history]]></category>
		<category><![CDATA[Ancient Rome]]></category>
		<category><![CDATA[mary beard]]></category>
		<category><![CDATA[pompeii]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=2664</guid>
		<description><![CDATA[Nevertheless, in my personal library there are 130 books on Pompeii. Of all these, this is the one I would choose to read first.]]></description>
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		<slash:comments>3</slash:comments>
		</item>
		<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>
		</item>
		<item>
		<title>The Patron’s Payoff: Conspicuous Commissions in Italian Renaissance Art by Jonathan K. Nelson and Richard J. Zeckhauser</title>
		<link>http://calitreview.com/2491</link>
		<comments>http://calitreview.com/2491#comments</comments>
		<pubDate>Wed, 04 Feb 2009 16:22:35 +0000</pubDate>
		<dc:creator>Judith Harris</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[Economics]]></category>
		<category><![CDATA[History]]></category>
		<category><![CDATA[Italy]]></category>
		<category><![CDATA[Non-Fiction Reviews]]></category>
		<category><![CDATA[art history]]></category>
		<category><![CDATA[Renaissance]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=2491</guid>
		<description><![CDATA[No less than the American financier who donates a museum wing on condition it bears his name, or the merchandiser who endows a university institute named for him, the results of Renaissance patronage had to be, first of all, highly visible.]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Moscow &amp; St. Petersburg 1900-1920: Art, Life, &amp; Culture of the Russian Silver Age by John E. Bowlt</title>
		<link>http://calitreview.com/2465</link>
		<comments>http://calitreview.com/2465#comments</comments>
		<pubDate>Mon, 02 Feb 2009 15:00:19 +0000</pubDate>
		<dc:creator>Ed Voves</dc:creator>
				<category><![CDATA[Art]]></category>
		<category><![CDATA[History]]></category>
		<category><![CDATA[Non-Fiction Reviews]]></category>
		<category><![CDATA[Russia]]></category>
		<category><![CDATA[Anna Akhmatova]]></category>
		<category><![CDATA[art history]]></category>
		<category><![CDATA[Igor Stravinsky]]></category>
		<category><![CDATA[John E. Bowlt]]></category>
		<category><![CDATA[Kazimir Malevich]]></category>
		<category><![CDATA[Sergei Diaghilev]]></category>
		<category><![CDATA[Silver Age]]></category>
		<category><![CDATA[twentieth century]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=2465</guid>
		<description><![CDATA[Writers of the caliber of Anton Chekov, Alexsander Blok and Anna Akhmatova, visionary artists like Mikhail Vrubel, Leon Bakst and Kazimir Malevich and inspired patrons like Diaghilev were matched by counterparts in music, architecture, the social sciences and Russia’s burgeoning Industrial Revolution. Composer Igor Stravinsky, the aviation pioneer Igor Sikorsky, dancer Vaslav Nijinksy and a host of others formed a constellation of talent worthy of comparison to the leading lights of Florence in the age of Lorenzo de Medici.]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<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>
		</item>
		<item>
		<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>Dilettanti: The Antic and the Antique in Eighteenth-Century England by Bruce Redford</title>
		<link>http://calitreview.com/1730</link>
		<comments>http://calitreview.com/1730#comments</comments>
		<pubDate>Sun, 30 Nov 2008 14:07:28 +0000</pubDate>
		<dc:creator>Judith Harris</dc:creator>
				<category><![CDATA[Archeology]]></category>
		<category><![CDATA[Art]]></category>
		<category><![CDATA[Great Britain]]></category>
		<category><![CDATA[History]]></category>
		<category><![CDATA[Italy]]></category>
		<category><![CDATA[Non-Fiction Reviews]]></category>
		<category><![CDATA[art history]]></category>
		<category><![CDATA[Bruce Redford]]></category>
		<category><![CDATA[Dilettanti]]></category>
		<category><![CDATA[eighteenth century]]></category>

		<guid isPermaLink="false">http://calitreview.com/?p=1730</guid>
		<description><![CDATA[A famous double portrait by Sir Joshua Reynolds shows members of the Dilettanti Society sipping away while making rude gestures about vaginas while holding up gemstones from classical antiquity and admiring painted Greco-Roman vases.]]></description>
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		<slash:comments>0</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>
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