Once a month, approximately 30 lucky New Yorkers gather for a tour and lecture. This month we were offered access to and information on the largest and last manually wound and working clock tower left in the city.
One of the most well-worn themes in the Reinhardt literature is the artists unique, if problematic, pertinence to the art of the sixties. Writing late in that decade, Lucy Lippard commented on his peculiar asynchronicity, describing him as a thirties painter in the forties and a sixties painter in the fifties.
Reading the prospectus for this issues Critics Page brought to mind a passage by Erwin Panofsky that a good friend is fond of quoting.