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“When I think of art, I think of beauty. Beauty is the mystery of life,” minimalist artist Agnes Martin once explained. “It is not in the eye; it is in my mind. In our minds there is awareness of perfection.” In the first comprehensive survey of her art at the Tate Modern, in London, England, the exhibition Agnes Martin strives to guide viewers to that “awareness of perfection” Martin strove to embody in her minimalist, geometrically founded art. Rather than the cold, person-less brand of modernist minimalism, Martin’s work personifies the warm humanity of Buddhist editing down to essentials. At the same time, surveying Martin’s art and thinking allows us to revisit the feminist critiques of minimalism and shows how Martin’s stepping back from the bustle of the New York art scene freed her to find “a beautiful mind” — not just for women, but for everyone. Please come over to Picture This at Big Think to read more of "A Beautiful Mind: Agnes Martin, Minimalism, and the Feminist Voice."

In his recent New Republic article titled “Liberals Are Killing Art: How the Left became obsessed with ideology over beauty,” art critic Jed Perl makes a convoluted argument that liberalism now “find[s] the emotions unleashed by the arts—I mean all of the arts, from poetry to painting to dance—something of an embarrassment.” Embarrassed by emotions, liberals “who support a rational public policy—a social safety net, consistency and efficiency in foreign affairs, steps to reverse global warming—[are] reluctant to embrace art’s celebration of unfettered metaphor and mystery and magic.” Beginning with that quick hop, skip, and rhetorical leap from global warming to art appreciation, Perl stands up a series of liberal straw men to knock down in his overall accusation that liberals see art just as political (or politicizable) content at the expense of aesthetic pleasure. In resurrecting an old school argument from more than half a century ago, Perl asks if liberals are killing art, but ends up making readers ask if conservative critics are killing art instead. Please come over to Picture This at Big Think to read more of "Are Liberals Killing Art?"

Chicago native Judy Cohen Gerowitz became Judy Chicago in 1970 for many reasons. One was to throw off her father’s and husband’s names and the male dominance behind that practice. Another, as shown in the now famous Jerry McMillan photo announcing her breakout exhibition at California State University, Fullerton, was to prove her willingness to fight for her rights, as shown by her donning boxing gloves, entering a ring, and staring down the camera with a pugilist’s “eye of the tiger.” Nearly half a century later, Judy Chicago’s still fighting in the public arena for hers and every woman’s rights to equality both of artistic expression and full expression of their humanity. Set to celebrate her 75^th birthday this July, Judy Chicago (shown above) finds herself the subject of numerous retrospective shows.  But never one to rest on her laurels, Chicago also comes out swinging with not one but two books that not only look back at her achievements as an artist and educator, but also point forward to how the feminist fight rages on and what winning the next rounds and, ultimately, the battle for equality will involve. Please come over to Picture This at Big Think to read more of "Why Judy Chicago Still Fights for Feminist Art at 75."

Most short lists of greatest living artists will have names such as David Hockney, Gerhard Richter, (BigThink.com’s own) Ai Weiwei, Cindy Sherman, Damien Hirst, or Jeff Koons. But who would put filmmaker George Lucasat the top of that list? Critic and cultural agent provocateur Camille Paglia does in her latest book, Glittering Images: A Journey Through Art from Egypt to Star Wars. Part manifesto, part idiosyncratic beginner’s guide to art history, Glittering Images is, in Paglia’s words, “an attempt to reach a general audience for whom art is not a daily presence,” but for whom “[t]he only road to freedom is self-education in art.” In elevating Lucas to the top tier of artists, Paglia hopes to tap into “the force” that is popular culture and erase the culture boundaries that keep the elites in and the rest out. Please come over to Picture This at Big Think to read more of "Is George Lucas the Greatest Artist of Our Time?"

[Image: Obi-Wan Kenobi and Anakin Skywalker duel on Mustafar in George Lucas’ film Star Wars Episode III: Revenge of the Sith (2005). Image source.]

Crack open any standard text on modern art since the end of World War II and you’ll read how New York City took over as the art world capitol from Paris. From the rise of the MoMA and the Guggenheim to the emergence of Abstract Expressionism, Pop Art, and pretty much every other modern movement, if it happened in art, it happened in New York City. But is that the true story? Starting next month and extending throughout 2012, Los Angeles hopes to rewrite the history books and wrest the title away from its East Coast Rival through an organized effort titled Pacific Standard Time that brings together more than 60 cultural institutions and more than 50 art exhibitions. Just when you thought you knew modern art history, Pacific Standard Time shakes up all your assumptions like a seven-point quake. Please come over to Picture This at Big Think to read more of "Was LA (not NYC) the Post-WWII Art Capitol of the World?"

[Image: My Lai, 1968, Hans Burkhardt. Oil assemblage with skulls on canvas. 77 x 115 in. Jack Rutberg Fine Arts, Los Angeles. © Hans G and Thordis W. Burkhardt Foundation. Part of L.A. Raw: Abject Expressionism in Los Angeles, 1945-1980, From Rico Lebrun to Paul McCarthy at the Pasadena Museum of California Art from January 22, 2012 through May 20, 2012.]