In 1926, John Grierson coined the word documentary to describe the documentary value of Moana, the second film by Robert Flaherty, who is considered the inventor of the form, at least in the English language.
The Floating Piers, the first project Christo has completed solo since the 2009 death of Jeanne-Claude, was, as usual, a sensation. For sixteen days, from June 18 through July 3 this summer, news from The Floating Piers overwhelmed the Italian airwaves and blogosphere, and crowds grew exponentially.
I’m easy. I can be lured away by beauty, incongruity, formal rigor, brilliant execution, prescient wit, the elegant solution, the titillating thrill of art. But from the start, my heart has belonged to art that asks the big human questions about what it means to live in this world and to die of it.
In an instance of spectacularly unfortunate programming, The Forever Now: Contemporary Painting in an Atemporal World shared the first two months of its exhibition life on the Museum of Modern Arts sixth floor with Henri Matisse: The Cut-Outs.
In every way, Robert Storr’s biography, critical exegesis, and art historical inquiry/psychological inquest into the art and work of Louse Bourgeois is a magnum opus. More than thirty years in the making, including lengthy pauses while Storr pursued his duties as a curator at MoMA and Dean of the Yale School of the Arts, this 828-page volume with more than 1,000 illustrations is ravishing to look at.