Modern art is a reflection of how we’ve lost faith in western civilization.
December 1, 2017
November 27, 2017
A long-lost marble bust by Auguste Rodin depicting Napoleon Bonaparte, has turned up in a municipal building in Madison, New Jersey. The major work by the French sculptor was last seen in an exhibition at the Metropolitan Museum in New York in the 1920s.
The masterpiece dating from 1908 had been sitting on a plinth in a committee room gathering dust for the past 85 years. Geraldine Rockefeller Dodge, The daughter of William D. Rockefeller, donated the work along with the building erected in 1935. It was named after her son, who had died in a car accident.
Recent research done by the foundation uncovered that Mrs Rockefeller Dodge a serious art collector had acquired Rodin’s bust at auction from the family of Thomas Fortune Ryan, a tobacco magnate, who had loaned it to the Metropolitan Museum of Art in New York from 1915 to 1929.
The 700 pound work of art has been authenticated by a Rodin expert, the work will now go on loan to the Philadelphia Museum of Art later this month in time for the centenary of the artist’s death.
The work came to light by an inquisitive 22-year-old graduate student. Mallory Mortillaro, said “She was running her finger along the base and felt a chiseled mark, got a flashlight, got on a chair and peered over, and there was the signature of A. Rodin.”
October 25, 2017
Do modern campuses actually value ideas and intellectual discourse? Should there be limits on capitalism? Is modern architecture bad? Sir Roger Scruton and Christina Hoff Sommers discuss each of these topics and more.
July 29, 2017
Some of the literature included are Salman Rushdie’s The Satanic Verses, Mark Twain’s The Adventures of Tom Sawyer, and The Kite Runner by Khaled Hosseini.
South American artist Marta Minujin has built a stunning replica of Athens’ famous Parthenon using not concrete, but instead, an unconventional construction material: books – 100,000 copies of them.
Part of this year’s 100-day ‘Documenta 14’ art exhibition in Kassel, Germany, the installation features 100,000 books wrapped around the Greek temple’s façade. It’s called The Parthenon of Books, and it comprises 170 titles that have been censored around the world.
To find these books, the 74-year-old artist from Argentina asked help from students at Kassal University in coming up with a list of 170 banned titles, then she asked the public in finding donated copies.
June 10, 2017
In a recent op-ed, Professor Sarah Bond argued that the “white marble” often seen in classical artwork was initially colored. As a result, she suggests that “the equation of white marble with beauty” contributes to “white supremacist ideas today.”
A University of Iowa professor recently argued that appreciation of “white marble” used in classical artwork contributes to “white supremacist ideas today.”
Professor Sarah Bond demonstrates in an article published in Hyperallergic that “many of the statues, reliefs, and sarcophagi created in the ancient Western world were in fact painted,” meaning the “white marble” often seen in such pieces of art were intended to be colored.
Consequently, Bond argues that “the equation of white marble with beauty is not an inherent truth of the universe,” and is thus “a dangerous construct that continues to influence white supremacist ideas today.”
Bond goes on to point out that “most museums and art history textbooks contain a predominantly neon white display of skin tone,” which “has an impact on the way we view the antique world.”
“The assemblage of neon whiteness serves to create a false idea of homogeneity — everyone was very white! — across the Mediterranean region,” she adds, later stating that misconceptions of the classical era provide “further ammunition for white supremacists today, including groups like Identity Europa, who use classical statuary as a symbol of white male superiority.”
May 16, 2017
In the last century, few crafts have changed as radically as the visual arts. Painting and sculpture was transformed by a radical shift in style. Traditionalism and aestheticism disappeared, replaced by abstract expressionism and postmodernity. But this didn’t happen by accident, or even organically: it was, at least in part, the deliberate product of social engineering.
In 1947, the U.S. State Department organised an international modern art exhibition titled, “Advancing American Art.” The purpose was to disprove Soviet claims that America was culturally inferior. One such Soviet claim was the phrase, “??????????? ?????” which meant, “rotting West” and was used to describe the moral and social decline of the United States in particular.
The State Department’s efforts achieved precisely the opposite effect to the one intended. “If that’s art, I’m a Hottentot,” declared President Harry S. Truman. One congressman publicly denounced the show: “I am just a dumb American who pays taxes for this kind of trash.” The tour was cancelled. Humiliated, the U.S. Government devised a plan; the State Department was kicked off the project and the CIA was brought in.
Under normal conditions the CIA is supposed to be responsible for obtaining information from internal and external threats and deliver them to the U.S. President and his cabinet. Apparently Truman’s administration felt either embarrassed enough, or considered this matter enough of a national security risk, to involve the agency. Now the goals were to promote modern and abstract art, in order to make America seem more sophisticated and cosmopolitan and to make the Soviets look out of touch.
March 30, 2017
January 27, 2017
January 15, 2017
November 7, 2015
Three generations of iconic American painters have illustrated great moments in history and captured the beauty of their surroundings.
Wyeth is an iconic name in American painting not just for Andrew, one of America’s foremost painters, whose Christina’s World is one of the most recognized images in American art. There was also Andrew’s father, N.C. Wyeth, a leading illustrator-painter of pirates, Pilgrims, and Wild West cowboys and Indians whose work lent the visual magic to books like Treasure Island and The Last of the Mohicans. And there is Andrew’s accomplished son, Jamie, who has painted everything from President John F. Kennedy to the farm animals of the rustic landscapes he calls home.
A connection to the land runs through the work of all three generations?—?a connection profoundly informed by their shared attachment to a particular patch in Chadds Ford, Pennsylvania, in the Brandywine Valley. In history, the countryside there is known as the site where Gen. George Washington’s troops fought the Battle of Brandywine during the Revolutionary War. In art, it became known as Wyeth country after N.C. bought 18 acres on Rocky Hill in 1911 with the proceeds from his illustrations for Treasure Island and built a home and studio overlooking the valley. There he set down roots and painted his surroundings while mentoring son Andrew, who would in turn do the same with son Jamie.