So, Memorial Day is over. But, some memories continue to linger. I keep thinking about an intriguing article I read in yesterday's New York Times op-ed section by T.M. Luhrmann, which asks the question, "What gives certain places their extraordinary power to move people so deeply?"
On a recent trip to Rome, I was walking through the halls of the Vatican museums and after entering one of the Raphael rooms, I turned my head to discover, to my amazement, my favorite fresco: The School of Athens.
The wonderful Janetta Rebold Benton is lecturing again at the Michael Schimmel Center for the Arts at Pace University in Lower Manhattan. In a fascinating conversation we had with her at the Met Museum, we discussed lecturing, teaching and many other topics that day.
We created abundance in the civilized world and cherish the history of our culture and the culture of our history, or so we say, and that last room before the museum's shop exhibits the best we can do in and with the visual arts sector?
The game of trend-spotting at big-ticket art fairs has always been mostly about playing the numbers. What's selling, and to whom? But at this year's FIAC in Paris, amid the high-rolling and the splashy frontrunners, I began looking for a genre that refuses to stay moribund: classical painting
The problem, as I see it, is that those extremely successful and extremely busy people simply cannot afford the luxury of spending time to educate themselves about art world beyond the headlines of the last few years.
Peter Greenaway's sound and light dramatization of Leonardo da Vinci's 1492 painting The Last Supper makes for a breath-taking exhibit inside the monumental interiors of the Park Avenue Armory in New York.
The only four surviving tapestries designed by Raphael will soon be exhibited at London's Victoria and Albert Museum for a unique exhibition granting the audience a privilege Raphael himself never had.