When Art Makes Us Cry
Art can do many things: dazzle us with its energy, its originality, its technical virtuosity; amuse, unsettle, or outrage us; comment on the culture in which we live; give us pleasure and provide us with intimations of mysterious beauty. It can touch us in ways that transcend the limitations of language. But less and less frequently does contemporary art do what Marina Abramović’s “The Artist is Present” appears to have done—to inspire its viewers with anything approaching an extreme emotion.
September 6, 2012
Chris Marker's Lost Futures
At once unsentimentally au courant and fixated on that past, Chris Marker was the Janus of world cinema. His unclassifiable documentaries treat memory as the stuff of science fiction, a notion he shared with his early associate Alain Resnais. Hardly a Luddite, Marker thrived on technological paradox. A half-hour succession of still images evoking motion pictures as time travel, *La Jetée*, his most generally known work, could have been made for Eadweard Muybridge’s nineteenth-century zoopraxiscope.
August 23, 2012
Recasting the Ancients
The small but elegant show of Antico on view at The Frick Collection through Sunday comes closer than any earlier attempt to uncovering the enigma of this master’s art. Part of what makes Antico so mysterious for us is the sharp difference of his sensibility from our own. Like so many of the great sculptors of the early Renaissance, Antico was trained as a goldsmith, but unlike, say, Ghiberti or Verrocchio, this experience was fundamental for every aspect of his technique and aesthetic.
July 25, 2012