There’s no evidence at all that a small, engraved, gold bead found in Yorkshire is intended to represent a Bible.
The collection of 60 women artists from Tate’s permanent collection, on view through April 2020, tackles the tricky terrain of museum representation.
In 1922, the Egyptologist Howard Carter asked the Metropolitan Museum of Art to lend him the services of Harry Burton, a photographer then working for the Museum’s Egyptian expedition.
Editor’s Note: Peter Dobey published a series of photo essays (1, 2, 3) about this year’s Venice Biennale at the beginning of June. This is a long-form essay (to be published in three parts) that explores the work at the Biennale.
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PARIS — It is difficult to write about Venice, just like it is difficult to really SEE Venice. Individual experiences of art fade away into the oversaturation that is the Venice Biennale in the same way the city of Venice is sinking into the Adriatic. There is the ontological experience of Venice and the problem of one’s ability to encounter it. Then there is the physical impossibility to see everything the Biennale offers you and all the things it doesn’t, especially when in Italy.