News Art Blog

Of the many concepts of Judaism artist Mark Rothko took to heart, the idea of tikkun olam, Hebrew for “repairing the world,” penetrated the deepest. In Mark Rothko: Toward the Light in the Chapel, academic and a cultural historian Annie Cohen-Solal cuts to the heart of Rothko’s life and art and sheds new light on how both seemingly had to end at The Rothko Chapel (shown above), the Houston home of Rothko’s final works that he tragically didn’t live long enough to see himself. In this tightly focused new biography, Cohen-Solal shows us both how The Rothko Chapel culminates Rothko’s life-long mission to repair his world and how it continues to serve as a light of hope in our darkening world. Please come over to Picture This at Big Think to read more of "Repairing the World: The Road to The Rothko Chapel."

The 2011 Tōhoku, Japan, earthquake and tsunami killed thousands of people and damaged more than one million buildings, including the Fukushima Daini Nuclear Power Plant. The initial crisis of rebuilding that region quickly became a question of how to rebuild, including how to rebuild the fractured spirit of the place. “This spirit and awareness of the importance of collective memory and the risk of losing that ‘capacity for making,’ which is an expression of social cohesion,” Rossella Menegazzo writes in the introduction to Wa: The Essence of Japanese Design turned Tōhoku into a center of design as “social interaction.” The fallout of that terrible crisis was a purposeful turning back to the idea of Wa, the Japanese cultural idea usually translated as “harmony” in English, and away from the more rational, individualist ideas of the West. Wa takes form in everything from a building to a chair to a kitchen knife. As American society faces its own ideological upheavals and tidal waves of unrest as political races begin to go nuclear, it’s worth asking: Does America need more Wa? Please come over to Picture This at Big Think to read more of "Does America Need More Wa?"

The Joseon Dynasty ruled over Korea for more than half a millennium, stretching from 1392, when horses were still the main means of travel, to 1910, the dawn of the age of flight. Overshadowed (and sometimes invaded) by neighboring China and Japan, Korea maintained its unique culture and arts until the late 19^th century, when the West finally made inroads into what became known as the “hermit kingdom.” A new, unprecedented exhibition at the Philadelphia Museum of Art titled Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392–1910 retells the story of that dynasty through more than 150 works, including many Korean national treasures that have never before left their native land. Walking among the remnants of people steeped in the simplicity of Neo-Confucianism yet still marked by the grandeur of kings, you feel yourself transported not just to a different place and time but to a whole new state of being. This rediscovery of Korea’s “hermit kingdom” through its art will bring you out of your own cultural shell. Please come over to Picture This at Big Think to read more of "Discovering Korea’s “Hermit Kingdom” Through Its Art."

It’s not easy to take glamour seriously. From the supermarket magazine rack glossy promising “5 Easy, Non-Stalkerish Ways to Show a Guy You’re Into Him” to the never-ending, slow motion train wreck of today’s rich and fabulous, “glamour” isn’t as glamorous as it used to be. Coming to glamour’s rescue is Virginia Postrel’s The Power of Glamour: Longing and the Art of Visual Persuasion. Postrel not only saves glamour from charges of frivolity and superficiality, but also champions glamour as a powerful nonverbal rhetorical path to a better life. “By binding image and desire, glamour gives us pleasure, even as it heightens our yearning,” Postrel claims. “It leads us to feel that the life we dream of exists, and to desire it even more.” Glamour shows us the stuff of dreams so we can dream of better stuff—in our lives and in our world. When this old world starts getting you down, can glamour save your soul? Please come over to Picture This at Big Think to read more of "Can Glamour Save Your Soul?"

One of the first words nixed by postgraduate education is “truth.” Amidst all the deconstructing and linguistic acrobatics, “truth” is just too troublesome and old fashioned. So, imagine my surprise to see the title of art historian T.J. Clark’s newest book, Picasso and Truth: From Cubism to Guernica. Originally delivered in 2009 as a series of six lectures at the National Gallery of Art in Washington, DC, Picasso and Truth shows how Clark rediscovered Pablo Picasso’s struggles with the concept of “truth” in his painting over the course of first half of the 20^th century, starting with 1901’s The Blue Room (shown above) and ending with 1937’s Guernica. Using meticulous close reading of numerous paintings in between those two poles and philosophical assists from Friedrich Nietzsche and Ludwig Wittgenstein, Clark weaves his way through Picasso’s process, nimbly leaps over the landmines of strict biographical interpretation, and arrives finally at a complex, challenging, but coherent concept of how Picasso found truth in a closed room and spent the rest of his life trying to find it again. Please come over to Picture This at Big Think to read more of "How Picasso Found Truth in a Closed Room."

[Many thanks to Princeton University Press for providing me with a review copy of Picasso and Truth: From Cubism to Guernica by T.J. Clark.]

Every election comes with questions, ranging from the serious (How will we fix the economy?) to the ludicrous (Was he born in this country?). But this election season, artist Barbara Kruger is asking the open-ended questions that this election (and every election) must answer in her exhibition Belief+Doubt at the Hirshhorn Museum in Washington, DC. Using her standard modus operandi of larger-than-lifesize text, Kruger grabs your attention at the very moment that attention must be paid in America. Although Kruger is asking these questions, the real question might be whether we are ready to answer them. Please come over to Picture This at Big Think to read more of "How HoHoBarbaraKruger Asks the Questions This Election Must Answer."



[Many thanks to the Hirshhorn Museum in Washington, DC, for providing me with the image above and other press materials related to Barbara Kruger’s exhibition Belief+Doubt, which runs through December 31, 2014.]

Now that Hurricane Isaac is off to wreck havoc on New Orleans, the 2012 Republican National Convention can get down to business. The list of people scheduled to parade across my television screen features the usual suspects (Mitt Romney, Paul Ryan, and Chris Christie) and even some unusual suspects (Lynyrd Skynyrd and Kid Rock), but one unlisted and highly unusual name really caught my eye—American architect Frank Lloyd Wright. The backdrop of the speaker’s stage (shown above)—the eye of the 4-day political hurricane—features interconnecting horizontal shapes and bands of windows meant to pay homage to Wright’s “Prairie style.” The designers hoped to convey the warmth, Midwestern flavor, and quintessential Americanness of Wright’s vision, but the additional connotations Wright brings may pose problems for Republicans or slyly send messages to supporters—all depending on how you see Wright and the GOP. Please come over to Picture This at Big Think to read more of "What’s Frank Lloyd Wright Doing at theRepublican National Convention?"