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THERE ARE MANY FORKING PATHS, in life as in art, through the social and political construct that is Britain. At Tate Britain, a rehang of the biggest collection of the nation’s cultural patrimony, from the Tudor period to the present, unfolds chronologically across thirty-nine rooms. Divided by the three-hundred-foot-long Duveen Galleries (which are always devoted to temporary commissions or displays), rooms to the west, whose walls are sumptuously colored in hues of deep blue, mahogany, emerald, purple, scarlet, indigo, span from 1545 to 1940. To the east, art from 1940 to today is set against ....
An Oblique Autobiography, by Yve-Alain Bois; ed. Jordan Kantor. San Francisco and New York: no place press, 2022. 376 pages.THE PUBLICATION of Yve-Alain Bois’s latest book marks a watershed in the oeuvre of this influential scholar. What is the place of this most personal (and most surprising) of Bois’s publications in the arc of a career that extends from his cofounding of the groundbreaking journal Macula in the mid-1970s to teaching positions at Johns Hopkins and Harvard to his tenure as professor at Princeton’s Institute for Advanced Studies, a position he held from 2005 to 2022? What insights ....