Canova was the most celebrated artist in Europe in the early nineteenth century, and yet he has rarely been the subject of an exhibition in America, nor has it been easy to see many major works by him in this country. Until now. The Metropolitan Museum of Art in New York is presently home to a small but serenely beautiful show, “Antonio Canova: The Seven Last Works.” The exhibition features the seven plaster models for reliefs, which Canova was working on at the time of his death in 1822.
On October 30–31, 2013, The New York Review of Books held a conference at Scandinavia House in New York City on the internet’s transformative effect on our lives. We are pleased to present the following recordings from the event.
Vladimir Horowitz Live at Carnegie Hall—some thirty hours of music—doesn’t include every performance the pianist played there (he made his house debut in 1928, more than a decade before the invention of magnetic tape would have permitted such sustained recording) but offers extensive documentation of performances ranging from 1943 through 1976.
Both Janet Malcolm’s writing and her collages are preoccupied with what happens on the margins of knowing, or in its wake. Malcolm has always had great confidence in what she’s come to know—she writes with such a sure hand—yet at the same time she is well aware of the limits of what we might ever feel assured in saying. In “A House of One’s Own,” her essay on Bloomsbury, she writes that “we have to face the problem that every biographer faces and none can solve; namely that he is standing in quicksand as he writes. There is no floor under his enterprise, no basis for moral certainty.” The abyss is there and she nods at it and goes about her business.
While Sherlock continues to be exceptionally entertaining, I can’t help but wonder if it has grown a little too self-aware and too reliant on punning riffs for its titles, plots, and in-jokes. Even “The Giant Rat of Sumatra”—the most tantalizing of those untold cases for which the world is not yet prepared—is repurposed in this episode. Every element in “The Empty Hearse” feels a bit overstylized, artificial, almost going beyond the tongue-in-cheek. At regular intervals, too, the action actually pauses so that the camera can linger on the Byronically handsome Cumberbatch, brooding Batman-like over the city of London.