Tag Archives: Volume 32 no 3 Jan/Feb 2018

An Altar from Vannucci

The city has many cultural and artistic events aimed at pleasing a variety of tastes from the most refined to the coarsest. In Milan, especially after the Expo, there has been a greater flow of foreign visitors. Numerous exhibitions have been organized at various levels of quality, with many responding to a market economy. The criticism of some art historians …

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Fashionably Recycled

This is a photograph of a bike sharing graveyard in China taken from a drone, which has assumed its own beauty. This leads to the consideration in an indirect way of the fashion attire represented in racing cyclists. Maria Teresa Castelli of Studio Taste in Italy has become a leading designer for racing cyclists, which is attracting attention. Ever since …

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The Expanded Print at Western Michigan University

I did not go there looking for Titian and I didn’t find him. Instead I saw an intelligently curated show that presented some of the best printmaking of our time, interesting support pieces, and a model that sheds light on the American art scene since we declared ourselves non-inferior to Europe (c. 1962). If the ‘60s are compared to the …

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The Millennial Left is Dead

They had friends, they had enemies, they fought, and exactly through this they demonstrated their right to exist. (“Art and Politics in Our Epoch,” letter of January 29, 1938) The more daring the pioneers show in their ideas and actions, the more bitterly they oppose themselves to established authority which rests on a conservative “mass base,” and the more conventional …

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Speakeasy

If I was asked the question, “What do you think about the Art Market?” I would answer with exactly the same words Ghandi used, when he was asked about the Western Civilization: ‘I think that would be a good idea.’ As I look out there, I can’t see such a thing as an Art Market. What we generally call the …

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Letters

Prologue A post-modern agenda challenging the ontological status of aesthetic value countered the qualitative visual arts by purporting a nonsensical aesthetic, sensory and cultural consumption. It focused on nonsensical concepts and processes regarding media adaptation, compositional values, inter-arts collaboration, societal implications and 21st century digital/analog application. The attached poem, Unforms Dancing, addresses this dualistic dilemma opening with imaginative loci of …

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Editorial

Humour can often get a message over more readily than any amount of serious work. Though sensibilities change. Things that were jokes in the 1970s are viewed with disbelief for their sheer political incorrectness today. Conversely, some people look at the horrors of an Hieronymus Bosch with a wry smile so we should not be put off from using humour. …

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