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The massive damage humans have done to the natural world has provoked a backlash that could be just as dangerous, or more. There is a growing global rejection of technology and almost anything human-made in favor of whatever is more ‘natural’. But a simplistic rejection of modern technologies eliminates many of our best options for solving the problems we’ve created.
When British archaeologist Leonard Woolley discovered in December 1927 the tomb of Puabi, the queen/priestess of the Sumerian city of Ur during the First Dynasty of Ur more than 4,000 years ago, the story rivaled that of Howard Carter’s discovery of Tutankhamun’s tomb in Egypt just five years earlier. “Magnificent with jewels,” as Woolley described it, Puabi’s tomb contained the bodies of dozens of attendants killed to accompany her in the afterlife — the ideal material for a headline-grabbing PR campaign that momentarily shouldered Tut out of the spotlight. A new exhibit at New York’s The Institute for the Study of the Ancient World titled From Ancient to Modern: Archaeology and Aesthetics puts Puabi back in the spotlight to examine how archaeology and aesthetics intersected, transforming ancient art into modern and making modern art strive to be ancient.
Of the many concepts of Judaism artist Mark Rothko took to heart, the idea of tikkun olam, Hebrew for “repairing the world,” penetrated the deepest. In Mark Rothko: Toward the Light in the Chapel, academic and a cultural historian Annie Cohen-Solal cuts to the heart of Rothko’s life and art and sheds new light on how both seemingly had to end at The Rothko Chapel (shown above), the Houston home of Rothko’s final works that he tragically didn’t live long enough to see himself. In this tightly focused new biography, Cohen-Solal shows us both how The Rothko Chapel culminates Rothko’s life-long mission to repair his world and how it continues to serve as a light of hope in our darkening world.
The forgotten aspects of art history will always be the most intriguing. Digging up the dead storylines of art history, whether in the distant or the recent past, will never end, mostly thanks to forces that buried the facts, if not the bodies, for whatever agenda. Artists and Prophets: A Secret History of Modern Art 1872-1972 at the Schirn Kunsthalle Frankfurt resurrects German visionaries and Jesus wannabes from the late 19th and early 20th centuries to look at how their exploits and artistic creations helped shape the course of German and European modern art. It also shines light on how the impact of those figures fell into obscurity as another casualty of the ideological war waged by that most unfortunately unforgettable of German messianic aspirants — Adolf Hitler.
The attack at the Bardo National Museum in Tunis, Tunisia, on March 18, 2015, was an attack on civilization itself. Not just Tunisian civilization or Western civilization or Islamic civilization or Christian civilization — ALL civilization. ISIS may not have been directly involved in the Tunisian attack, but its iconoclastic, its “year zero” philosophy certainly was present. The fact that these attackers targeted tourists seeking out ancient civilizations rather than the artifacts of those ancient civilizations makes this latest tragedy even more chilling. The Bardo National Museum attacks may one day emerge as the first battle in the ultimate fight for civilization’s survival.
On February 8, 1915, at Clune’s Auditorium in Los Angeles, California, D. W. Griffith’s Birth of a Nation premiered. The fledgling art form of film would never be the same, especially in America, which even half a century after the end of the Civil War struggled to come to terms with race. Now, a century after Birth of a Nation’s premier, America still struggles not only with race, but also with how race plays out on the silver screen. For good and ill, Birth of a Nation marks the beginning of the first 100 years of the American Cinema—epically beautiful, yet often racially ugly.
Other particles — electrons, neutrinos, photons and more — can exist on their own. But quarks never will. Here’s why. Image credit: Wikimedia Commons user Maschen under C.C.-1.0. “In physics, you don’t have to […]