And he's more scatological than ever
Nobody among the current elite crew of megalomaniacal mixed-media artists has gone farther than Matthew Barney when it comes to rejecting the old-fashioned constraints of the art gallery in favor of the dramatic possibilities of film.
The trend of small-minded war movies continues
Last year, Walter Kirn lamented the state of the ever-shrinking American war movie.
There is one moment in The Monuments Men that is as sweet and pleasing as a fresh cupcake. It has a charm that is no small thing in the making of movies. Let’s not spoil the moment by spelling it out, let’s just admit that it employs someone named Clooney. I am happy to say that now, and happier still holding on to its memory, for apart from that this is one of the most dreadful, smug, and incoherent films I have ever seen, and a travesty of its many large subjects.
A statue has elicited nervy indignation from Wellesley students. Here's why they're not justified in their discomfort.
Two new shows highlight the hedonist asceticism of 1950s Bohemians
Jess and Peter Hujar responded to the tsunami of mid-to-late-twentieth-century art by becoming deep-sea divers, discovering strange and wonderful visions far below American culture’s roiling surfaces.
Perhaps the saddest words ever spoken by the director of a major museum
Today is Museum Selfie Day, in case you weren’t aware, a day in which many of the major museums of the world are encouraging their patrons not to actually look at the art, but to pose in front of it—then to share their oh-so-artful self portraits on Twitter with the hashtag #MuseumSelfie.
It’s heartbreaking to live in a country where art is expendable. I couldn’t shake that thought the other day, after spending a long afternoon at the Detroit Institute of Arts (DIA), one of this country’s greatest museums. Detroit, as everybody knows, is bankrupt, and the treasures in the DIA are by some people’s reckonings assets that can be sold to satisfy Detroit’s creditors.
This is how you ruin a cultural institution
Once upon a time the Museum of Modern Art was a home away from home for anybody who cared about modern art. This is how you destroy a major cultural institution.
The MoMA’s announcement Friday that New York’s American Folk Art Museum—built for $32 million barely a decade ago—will be a casualty of its latest expansion project has, unsurprisingly, prompted a wave of criticism.