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Tag Archives: Anita Di Rienzo

From Digital to Material

The Curious Case of the Nativity with St Francis and St Lawrence by Caravaggio by Anita Di Rienzo in Milan In 1936 Walter Benjamin published The Work of Art in the Age of Mechanical Reproduction, a short essay on the reproducibility of artistic artefacts through the technological innovations of the 20th century and the consequent repercussions on the art scene. …

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Volume 34 no 5 May / June 2020

ARTICLES: THE ART OF THE NAKED APE Miklos Legrady, Toronto Editor LEONARDO DA VINCI MUSEUM, MILAN Anna Maria Benedetti EVERY JOKE HIDES A TRUTH Al Jirikowic on the movie Joker ISAAC LEVITAN, RUSSIAN MASTER Colin Fell, our new writer in Penzance DEPARTMENTS: 2 LETTERS 4 EDITORIAL BY Pendery Weekes 5 SPEAKEASY BY Jack Balas   REVIEWS: 15 TRAGÉDIE FRANÇAISE Frances …

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Hidden Within

by Anita Di Rienzo, Milan.   Ancient paintings are often referred to as ‘pieces of history’, a definition which explains how a work of art acquires greater meaning, showing how we are able to historicise and exchange information through paintings. What is a painting in the end if not the only language common to all, through which it is possible …

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News Flash

We are pleased to announce that Josephine Gardiner has become the new Devon and Cornwall Editor.  10/02/2020 Important message from our writer in Hong Kong:  “Recently, I think you may heard that the Novel Coronavirus Infectious Disease is now seriously affecting Hong Kong. I had planned to visit some exhibitions and write a new review in January. However, the disease …

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Volume 34 no 3 January – February 2020

Articles: The Art of Extinction Rebellion: Josephine Gardiner from the UK Rebellion in Hong Kong Art: Leung Suk Ching I Left my Heart in Leipzig: Viktor Witkowski, USA If it Works, don’t Fix it: Frances OIiver, UK Fervid Art from the Edge: Jane Addams Allen, New York Scouting the Blogs: Miklos Legrady, Toronto Brzezanska ‘s Stories from Earth: Katie Zazenski, …

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India in Venice

Are all the senses actively taking part in the fruition of an aesthetic experience so that we can be said to ‘benefit’ from a work of art? The almost compulsive institutionalising of art objects into museums has weakened the cultural relationship between the viewer and the work of art: the eyes have become the privileged interlocutor of the brain while …

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