“You know that I have Indian blood, Inca blood in me, and it’s reflected in everything I do,” he wrote in 1889 to Theo van Gogh, brother to Vincent. “It’s the basis of my personality; I try to confront rotten civilization with something more natural, based on primitivism…”
Art
Art Review: Gauguin: Maker of Myth, National Gallery of Art, Washington, D.C.
by Ed Voves
March 2nd, 2011
New Insights Into the Life of Caravaggio
by Judith Harris
February 14th, 2011
In his most serious brawl, about which the documents provide an entirely new account, Caravaggio killed a man. The brawl, like a Los Angeles fight between rival gangs, had been planned ahead of time with eight participants, whose names are now known.
Badlands and Lost Edens: The Photography of Robert Adams
by Holly Hunt
January 26th, 2011
Adams recorded the ever-expanding suburban sprawl of the 1960s and 1970s, and his haunting, classically composed photos of tract houses and shopping centers engulfing what had been farmland helped define what was dubbed the New Topographics movement after the landmark 1975 exhibition.
Tom Russell: American Primitive Man
by Dan Fields
December 13th, 2010
Every Tom Russell song has something to say about the human heart. In each voice he invokes there are universal echoes of love, doubt, weakness, fear, restlessness and faith. The figure of the wanderer – whether soldier, cowboy, nomad, pioneer, outcast or pilgrim – passes again and again through his work.
Art Review: John Baldessari: Pure Beauty at the Metropolitan Museum of Art
by Frances DeVuono
December 2nd, 2010
There is a big fuss about Pure Beauty, John Baldessari’s retrospective at the Metropolitan Museum of Art in New York. And there should be. While his work has been shown here and internationally since the 1980s, this exhibition comprises the first major survey of Baldessari’s work in the United States in over twenty years. It was about time.
Art Review: Alessi: Ethical and Radical at the Philadelphia Museum of Art
by Ed Voves
November 30th, 2010
The Tea and Coffee Piazza sets, produced in limited editions of ninety-nine, with three artist’s proofs, were a critical success. The project served to introduce Michael Graves to the Alessi “stable,” while traveling exhibits informed museum patrons on the ways that high art and industrial design could form working partnerships. Mendini’s original conception was vindicated.
The Weekly Listicle: Worlds Of Fancy And Other Wondrous Places
by Dan Fields
November 19th, 2010
A cleverly rendered fantasy world has the power to make us believe astounding things, and to transport us to places we may never have imagined ourselves. In the history of film there have been countless attempts to take real-world places and performers outside the realm of what has been seen before, and into far-off lands where the amazing, the terrifying, and the marvelous lurk around every corner.
Vandalism in the Name of the Lord: Kathleen Folden and “The Misadventures of Romantic Cannibals”
by Holly Hunt
November 14th, 2010
On October 6, 2010, Kathleen Folden, identified in the media as a 56-year-old truck driver from Kalispell, Montana, smashed her way into a display case at the Loveland Art Museum in Loveland, Colorado with a crowbar. Her purpose was to destroy a work of art, a multi-panel lithograph by Enrique Chagoya entitled “The Misadventures of Romantic Cannibals.”
Movie Time Nostalgia, Part 4: We Are All Children Of Paradise
by Dan Fields
November 9th, 2010
A movie can do a lot of things to an audience. It may move them, amuse them, disgust them, terrify them, or in all too many cases bore them. One thing only a handful of films can do is inspire wonder. Every once in a while, a winning combination of writer, director, designers, composers and cast meet in perfect harmony. Such, I feel, is the case of Marcel Carné’s 1945 epic romance, Les Enfants du Paradis (Children of Paradise).
Art Review: Michelangelo Pistoletto Exhibitions at the Philadelphia Museum of Art
by Ed Voves
November 3rd, 2010
Pistoletto first gained prominence in the world of art in the early 1960′s with his Quadri Specchianti. These “mirror paintings” positioned life-sized and astonishingly lifelike images of people on highly polished sheets of stainless steel.
Christo in Colorado
by Holly Hunt
November 1st, 2010
“Over the River” would consist of 5.9 miles of silver fabric draped like an intermittent canopy along a 42-mile stretch of the Arkansas River as it flows through the mountains approximately 100 miles southwest of Denver. The two artists are famous for wrapping landmarks such as the Reichstag in Berlin, the Pont-Neuf in Paris, and the islands of Biscayne Bay in similar lengths of fabric.
The Weekly Listicle: Stepchildren Of The Horror Masters
by Dan Fields
October 7th, 2010
Today we take a different look at the master horror directors. Each of these moviemakers has made an iconic footprint on the history of scary cinema, whether with a well-worn franchise or in a single terrifying stroke. In many cases, the great success of such a film overshadows a director’s lesser works. Some are forgotten with good reason, but others are worth reviving now and again. Join William Bibbiani, Julia Rhodes, and myself (Dan Fields) as we discuss the neglected offspring of the great names in horror.
Art Review: Chaos and Classicism: Art in France, Italy and Germany, 1918-1936
by Ed Voves
October 4th, 2010
Chaos and Classicism tells the story of good intentions that went terribly wrong. After the carnage of trench warfare, sensitive spirits in Europe craved artistic depictions of beautiful bodies, unscathed by shrapnel, and timeless, uncluttered architecture inspired by the Greek and Roman past. Yet, it was not long before this craving for life-affirming art was transformed into the soulless ideology of Mussolini’s Fascist Italy and Hitler’s Third Reich.
Movie Time Nostalgia, Part 2: North By Northwest Revisited
by Dan Fields
September 25th, 2010
I got myself a videotape of Alfred Hitchcock’s North By Northwest at a young age, and proceeded to watch the ever-living hell out of it. I can’t recall having seen what you might call a grown-up movie before that, and a lot of dramatic films that I love now might not have held my attention then. But North by Northwest really has got it all.
Art Review: Charles Deas and 1840s America at the Denver Art Museum
by Holly Hunt
September 13th, 2010
Viewed in context with Deas’s other works, Prairie on Fire brings together a number of themes that ran through his all-too-brief career – his talent for narrative and action, often with gothic overtones, his projection of established American myths, dreams, and nightmares onto the newly opened spaces of the American West, and an intensity and ambiguity of feeling that may hint at his own troubled inner state.

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