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This week, Rem Koolhaas will build Marina’s temple to performance art, Gaudí’s unfinished masterpiece, Renaissance art murder mystery, a new arts center in Utah, a review of Niall Ferguson’s Civilization, best-designed newspapers, Banksy authentication, drawing with chalk, burger grease and ketchup.
… the museum will be devoted to performance art pieces of “six hours minimum.” Some of them will go on for days …
But the Sagrada Familia is a paradoxical building that seems to be pointing to some larger horizon for Christianity in the 21st century beyond the cozy banalities of 19th century Catholic piety.
In the Lives of the Artists (1550) [Giorgio] Vasari describes in some detail Andrea’s cold-blooded killing of another painter, Domenico Veneziano, apparently motivated by envy of Domenico’s skills as a fresco artist.
But the dates don’t synch up with the claim:
In 1862, the archival scholar Gaetano Milanesi … published a short essay … in which he demonstrated that Andrea del Castagno was buried in August 1457, while Domenico lived on until May 1461. Andrea was a man of strange powers, but murdering Domenico when he had himself been dead for nearly four years was beyond them.
In 1420, when London was a backwater, Nanjing was the world’s largest city, and Ming China “had an incontrovertible claim to be [its] most advanced civilization.” That it was a center of learning he makes plain with a typically entertaining detail: the Emperor tasked 2,000 scholars with creating “a compendium of Chinese learning” that “filled more than 11,000 volumes,” which was “surpassed as the world’s largest encyclopedia only in 2007 … by Wikipedia.” So what happened? Seeking an answer, Ferguson tells the moving story of the sea voyages, in the early 1400s, of Zeng He, who ought to be better known to us. He was sent to far corners of the world by Emperor Yongle on seven commercial trading missions whose purpose was to display China’s wealth and power, but also, equally, to bring home knowledge of how things were done abroad. When Yongle died, however, China’s interest in the outer world died with him: a haijindecree banned all oceanic travel, and even building a capable ship became a capital offense.
- Excelsior, Mexíco City, Mexíco (Daily)
- National Post, Toronto, ON, Canada (Daily)
- Frankfurter Allgemeine Sonntagszeitung, Frankfurt am Main, Germany (Non-Daily)
- The Grid, Toronto, ON, Canada (Non-Daily)
- Politiken, Copenhagen, Denmark (Daily)
Pest Control, the body that has authenticated Banksy’s gallery works since 2008, states online that it “only deals with legitimate works of art and has no involvement with any kind of illegal activity”.
Required Reading is published every Sunday morning-ish, and it is comprised of a short list of art-related links to long-form articles, videos, blog posts or photo essays worth a second look.
An SFMOMA exhibition raises questions about what it means when museum board members have ties to politicians who support border wall policies.
The exhibition at the Jewish Museum delves into “degenerate” art and art made under duress as part of a thought-provoking yet diffuse exhibition.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
Despite his work’s apparent abstraction, Sheroanawe Hakihiiwe insists that “I don’t invent anything, everything I do is my jungle and what is there.”
David Uzochukwu, Kennedi Carter, and Kiki Xue are among the 35 artists whose work will be displayed online and at the festival in Milan, Italy.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
To do so before they have returned the Maqdala treasures and the Benin Bronzes and the Easter Island statues and the Maori heads, before a coherent set of precepts for decolonization has been articulated, would affirm the wrong principle.
“Everybody in Mesopotamia, as far as I understand it, believed in ghosts,” said Irving Finkel, a curator of the British Museum’s Middle Eastern department.