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Everyone you pass on the street, each person you drive by every day, has a story as well. To claim their death is not worth noticing is to say that their life was not worth living. And that’s too bad, because interdependence is something we all rely on every single day, knowingly or not. 
It’s hard to remember a major show at a major American museum generating so much angst as Björk at The Museum of Modern Art, New York. Some arts sites quickly began aggregating art critics’ aggravation over almost every detail of the show. What began as art criticism evolved into a media lynching of the MoMA, American museums, and pandering-to-the-public curators (in this case, Klaus Biesenbach). New York art world critics, and husband-and-wife team, Jerry Saltz and Roberta Smith hated the show in different ways, but both connected to their love of Björk and her music. ArtNews’ M.H. Miller wins the poison pen prize, however, for coining the new critical term “starf@#king” to describe the MoMA’s treatment of Björk as much as its treatment of the viewing public. The question of whether Björk is good or not might really be a question of what Björk is really about.
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.
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.
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.
While looking at Jean-Antoine Houdon’s portrait bust of Voltaire in the Louvre, sculptor Auguste Rodin remarked, “To tell the truth, there is no artistic work that requires as much penetrating insight as the bust and the portrait. … Such a work is the equivalent of a biography.” On a separate occasion, Rodin stated, “The resemblance that [the artist] should achieve is that of the soul. Only this matters.” A new, full-scale reinstallation at the Rodin Museum in Philadelphia, Pennsylvania, focuses on Rodin putting those words into practice in his own portrait busts. Known for his large-scale, full-bodied works such as The Kiss, Rodin imbued an equal amount of passion into his symbolic, soulful portraits of friends, lovers, and the famous.