Weekend


Spearheaded by John Yau, Thomas Micchelli, and Albert Mobilio

Pablo Picasso,

“To a new world of gods and monsters” is the promethean pledge from one mad scientist to another in James Whale’s classic Bride of Frankenstein (1935), but it’s easy to imagine the same toast echoing from a Montmartre studio in 1909 as Pablo Picasso and Georges Braque raise a glass to the fractured new reality they’d uncovered.

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ReactorWeekend

Required Reading

by Hrag Vartanian on November 2, 2014

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This week, an alternative history of US art, making bad reviews disappear, the art of sushi, LA and sci-fi, Picasso and the camera, and more.

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ReactorWeekend

Weekend Words: Habit

by Weekend Editors on November 2, 2014

Giacomo Ceruti,

Picasso is suddenly everywhere — at the Cubism exhibition at the Metropolitan Museum, in gallery shows of his photography and his portraits of Jacqueline Roque, and at the long-delayed reopening of his museum in Paris.

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Post image for Sense of an Ending: Harvey Shapiro’s A Momentary Glory

When I recall the poet Harvey Shapiro, who died not long before his eighty-ninth birthday in January 2013, I remember having lunch with him on a sweltering August afternoon in 2001, New York City’s hottest day in twenty-five years, or so the radio said.

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EssaysWeekend

Catherine Murphy Looks Ahead

by John Yau on November 2, 2014

Catherine Murphy,

Catherine Murphy calls herself “an observational painter,” but that modest self-characterization tells only part of what she has been up to for the past twenty years.

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The Ensemble cast of

Perhaps there are a few whose steely hearts do not melt at the sight of a child in a tutu performing her first solo or, as the curtain rises, a lone grade-schooler pretending to be a tree. But 600 Highwaymen (writer/directors Abigail Browde and Michael Silverstone) figures no one can resist five prepubescent thespians, and they’re probably right.

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Installation view of

What most struck me about the now notorious Michelle Grabner review in the October 24th edition of The New York Times was that it was, unusually, surrounded by reviews of other painters.

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Egon Schiele,

Despite its inclusion of more than 130 works on paper and canvas, the ravishing retrospective Egon Schiele: Portraits, occupying the third floor of New York’s Neue Galerie, leaves you hungry. Not for more art, because there’s plenty of that, but for something else, something to make whole an ineffable absence — a deficit attributable not to the artist, nor to the exhibition or curator, but to time and fate.

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ReactorWeekend

Required Reading

by Hrag Vartanian on October 26, 2014

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This week, Picasso Museum problems, Sweden’s font, content moderators, Frank Gehry’s f-you, John Constable reconsidered, the endangered bookshops of New York, and more.

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ReactorWeekend

Weekend Words: Weed

by Weekend Editors on October 26, 2014

Vincent van Gogh,

On the occasion of its 40th anniversary, High Times Magazine has issued High Times: A 40-Year History of the World’s Most Infamous Magazine, which The New York Times calls “a coffee table book for low, sticky coffee tables.”

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