Lucian Freud, the subject of a huge retrospective at Tate Britain, in London, is living proof that national character still counts in art, globalization or no globalization. The musky realist painter is extremely English. He hails from Germany—but so does the Royal Family.
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The Australian musician explains that her understanding prior to the photo shoot was that the publication would not print any topless pictures. In an official statement sent to The IndependentGQ Australia editor Michael Christensen said: "We were very disappointed to learn that outtakes from a photo shoot which were not approved or intended for publication appear to have been stolen from the photographer. You can find our Community Guidelines in full here.
According to a New York Times media report the venerable Playboy magazine will soon go nude-free. I quote:. This move is neither surprising nor particularly outrageous.
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The art that Adolf Hitler attempted to ban, burn and ridicule out of existence is well known. But what became of the art that Hitler promoted to glorify his ideals of Aryan perfection? Was it bombed to a pulp? Taken into custody?
At a time when the murderous impact of Islamic fundamentalism is shaking the world, you might indeed expect the story of Becket's peculiar brand of Christian fundamentalism, in which he takes a direct and ultimately suicidal stand against the state to strike a few chords. It totally fails to do so, however, because the play is so second-rate, dusty and hermetically "theatrical". The dramatist is less interested in examining the vexed relationship between religion and politics than in providing glib psychological profiles and lame jokes during an insufferably verbose historical cartoon strip.
First, the bad news: At the Museum of Modern Art, "Abstract Expressionist New York" prefigured the approach that institution would take in presenting its permanent collection: an idiosyncratic installation of stellar works showing how good the New York School could be at its best, along with second-rate examples, wrong-headed inclusions and inexplicable omissions that distorted history, all in the name of "expanding the canon. The good news is that MoMA's problematic effort was overshadowed by several superb shows elsewhere. Cumbersome as this title may be, the new galleries are splendid, elegantly installed, lucidly organized and full of spectacular objects from the eighth-century dawn of Islam to the 19th century—manuscript pages, pottery, carpets, armor, tile, metal work—that make vivid not just a religion, but an entire culture.