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Christ made male | The New Criterion

John-Paul Stonard · At Piano Nobile: On R B Kitaj

John-Paul Stonard · At Piano Nobile: On R B Kitaj
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Naomi Grant · At the National Gallery: The Nativity Restored · LRB 13 July 2023

Catherine Quan Damman on Sung Tieu and the art of derivative critique

LIKE SO MUCH ART of the present, the work of Sung Tieu necessitates a fair amount of explanatory text. Reading the growing body of writing about Tieu (the artist will open her first US solo exhibitions “Infra-Specter” at Brooklyn’s Amant on March 30, “Civic Floor” at Cambridge’s MIT List Visual Arts Center on April 4 nearly concurrently), I was struck by the frequency with which the Cold War surfaced as a referent. The term rightly identifies the period about which much of the artist’s research is conducted, but also slyly tethers her object of study to her own artistic operations. The Cold War

How Aby Warburg remapped art history | Apollo Magazine

Apollo. Preview and subscribe here. What is the Bilderatlas Mnemosyne, this strange assembly of passionate postures, mute and motley on their numbered black panels? A pictorial history of European art; a map showing the pathways of its recurring figures; an instrument for research; an argument about the development of human culture; a catalogue of types; a collage or montage of emotion. Aby Warburg (1866–1929), the German-Jewish art historian whose last years were devoted to the project, described it more soberly, as ‘an attempt at an art-historical cultural science’, and provided an almost parodically formal description: ‘An Image Series for the Investigation of the Function of Pre-formed Ancient Expressive Values in the Representation of Animated Life in European Renaissance Art’. But these academic claims coexisted with richer, stranger articulations. He named his atlas of images for Mnemosyne, the mother of the muses and the patron of memory, suggesting that it was b

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