Yayoi Kusama’s “Infinity Mirrors” has been described as the most “selfie-worthy” art show touring North America. But Kusama’s work is not necessarily pitched at the Instagram hordes who line up by the hundreds to witness her famous mirror-lined rooms. A picture—however many likes and shares it gains—cannot convey the mental afflictions that provoked each piece.
As someone who once went out after dinner as a graduate student and spent my last remaining dollars on a used book, figuring that I could squeeze an advance on my next stipend disbursement out of the college dean the next morning, I get what Count Carl Gustaf Tessin was about. Tessin was a Swedish politician, man of letters, memoirist, and art lover who, following the success of his party in 1738, accepted an appointment as an ambassador to the court of Louis XV. Once in Paris, he embarked on a glorious binge of collection, commissioning, and buying vast numbers of paintings and prints.
Toulouse-Lautrec Illustrates the Belle Époch opens at the Phillips Gallery Saturday, presenting for the first time in the United States a rare collection of ninety-six prints and posters from the artist’s lithographic period, along with five works by his contemporaries. This exhibition is the first collaboration between the Phillips and the Montreal Museum of Fine Arts, and allows its patrons a glimpse at the lively nightlife of the turn of the century and the celebrated figures who enjoyed it, and a look at the peak convergence of art and advertising in the posters that lined the streets of Paris.
Midway along the path of life’s journey, I found myself lost in a dark wood.
This is how Dante Alighieri began his epic poem La Comedia, the so-called Divine Comedy, which tracks his journey of the soul through hell, purgatory, and finally into heaven, in a quest to better his own soul. Written in beautiful rhyming Italian and using complex imagery and intricate references, the poem is difficult enough to translate, let alone to reinterpret through dance.
One does not have to struggle to find a polemic about cultural decline that focuses on the art world. However, Sohrab Ahmari’s The New Philistines stands apart because it examines these questions on serious, philosophic grounds, avoiding the complaining tone of similar works.
Ahmari (who is a London-based editorial writer for the Wall Street Journal) has written a finely argued volume that does not focus so much on the rote messaging inherent in most modern art today. Rather, he shows how the left’s increasingly strict demands for ideological orthodoxy has led to a dearth of creativity and dynamism.
Reviews of the Kennedy Center’s Marriage of Figaro have been middling, and I mostly concur with that assessment. Thankfully, when you are working with one of the most brilliant comedies conceived by man, even a middling production can be a treat.
The orchestra, led by director James Gaffigan, lacked oomph. Its overture was a tad on the soft side, while some of its arias—notably Cherubino’s stirring, love-drunk “Non So Più”–were charged through at such speed that mezzo-soprano Aleksandra Romano did not have an opportunity to showcase her talent beyond her ability to recite tongue-twisters.