n the conclusion of his 1983 review of a Lee Krasner retrospective held at the Houston Museum of Fine Arts, Robert Hughes wrote: “This is an intensely moving exhibition, and it will suggest to all but the most doctrinaire how many revisions of postwar American art history are still waiting to be made.”
Someone’s made a mint selling Turkish flags. Taksim Square teems with people waving the red banners emblazoned with the white crescent and star.
Film In Conversation
Kirsten Johnson’s documentary cinematography has taken her swirling into the eddies of global human trauma. Her newest film, Cameraperson (2016),which revisits her earlier footage as memoir, headlined April’s Full Frame Documentary Film Festival in Durham, NC, as part of the fest’s programmatic tribute to Johnson, which included work from throughout her career.
A great musician passed through New York this spring but, as with many artists in this spoiled city, he didn’t draw as much attention as he deserved.
Good news: the L.A. Dance Project (LADP) is back at full strength, with artistic director Benjamin Millepied able to refocus on the company now that he has left his post at the Paris Opera Ballet.
From the Publisher & Artistic Director
As the summer nears its end and many of us anticipate the eventful autumnback to school and back to work after the Labor Day weekend with renewed energy and fresh perspectivesI’d like to share with you the following.
Editor's Messsage Guest Critic
French Theory is no theory. It is a well-known fact that “Theory,” as in “French Theory,” is neither a theoretical endeavor nor a theoretical manifestation of thought. “Theory” as in “French Theory” has evidently little to do with Plato’s apex of human evolution: contemplation of the ideal form as such. In the Platonic sense, theory is the ultimate abstraction.