Richard Diebenkorn's retrospective at the Royal Academy of Art in London shows the work of an artist who dialogues with other artists only to make it clear that his art is neither trendy nor visionary. With pigments he walks that cornice that separates presentation and representation.
The Royal Academy's Rubens and His Legacy raises more questions than answers and make me wonder why the English find it so difficult to understand or even tolerate him. The clearest example of this confusion comes from the exhibition's fiercest critic, The Guardian's Jonathan Jones.
The distortions and falsification of biblical history not only led to the persecution of countless numbers of Jews but contributed to the great divide between Judaism and Christianity, which only now is on a path of reconciliation.
London's Royal Academy of Arts claims that its Summer Exhibition is "The largest open contemporary art exhibition in the world." This year's show includes 1,200 works by more than 700 artists. Much to my surprise, I loved it.