skip to main |
skip to sidebar
Bought by the MoMA in 1948, the same year it was painted, Andrew Wyeth’s Christina’s World entered the American art pantheon seemingly once it was dry. For more than half a century, viewers have been captivated by the mysterious scene of a young woman crawling across a field towards a house on top of a hill. In Andrew Wyeth, Christina's World, and the Olson House, an exhibition at The Farnsworth Art Museum through October 30, 2011, some of the mystery behind the masterpiece is finally solved. This collection of 45 works, including Wyeth’s first ever sketched idea for Christina’s World, allows us to see the world behind Wyeth’s World and connect even more deeply with the man and his art. Please come over to Picture This at Big Think to read more of "
The World Behind Wyeth’s Christina’s World."
[Image: Author’s own photo from the January 31, 2009 memorial for Andrew Wyeth at the Brandywine River Museum. No images from this exhibition were made available to the online-only press, unfortunately, but you can see some of the works from the exhibition here.]
[Many thanks to Rizzoli for providing me with a review copy of Andrew Wyeth, Christina's World, and the Olson House by Michael K. Komanecky and Otoyo Nakamura, the catalog to the The Farnsworth Art Museum’s exhibition of the same name, which runs through October 30, 2011.]
In the May-June 2011 issue of the international art magazine Flash Art, performance artist Marina Abramović began a regular column titled “Marina’s Diary,” in which she plans to document her quest to create a legacy for not only her own performance art, but for the genre of performance art itself. “At the moment,” Abramović writes, “all my attention goes toward establishing a legacy that will permit performance art to continue growing and developing.” As noble as Marina’s mission sounds, is she misdirecting her energies? For a genre as here-and-now based as performance art, is it even possible for it to have a legacy? Please come over to Picture This at Big Think to read more of "
Can Performance Art Have a Legacy?"
Salvador Dalí never worked small. In fact, he was downright operatic in everything he did—colorful, bombastic, and loud. Now, Dalí the painter is finally Dalí the Opera. Yo, Dalí ("I, Dalí" in English) recently opened at the Theatre of the Zarzuela in Madrid, Spain, and will move on to Barcelona’s Gran Teatre del Liceu in October. Originally meant to celebrate the centennial of Dalí’s birth in 2004 but delayed until now, Yo, Dalí begins in 1929, when the arch surrealist met his muse and soul mate, Gala, and ends with his death in 1989. This opera tries to capture all the passion and tragedy of the six decades in between. Please come over to Picture This at Big Think to read more of "
Salvador Dali… the Opera?"
