Skip to content

Search Results

You searched for: Imagin today

John Lennon liked to joke that Yoko Ono was “the world’s most famous unknown artist.” Before she infamously “broke up the Beatles” (but not really), Ono built an internationally recognized career as an artist in the developing fields of Conceptual art, experimental film, and performance art. Unfairly famous then and now for all the wrong reasons, Ono’s long fought in her own humorously sly way for recognition, beginning with her self-staged 1971 “show” Museum of Modern (F)art, a performance piece in which she dreamed of a one-woman exhibition of her work at the Museum of Modern Art, New York. Now, more than 40 years later, the MoMA makes that dream come true with the exhibition Yoko Ono: One Woman Show, 1960–1971. Better late than never, this exhibition of the pre-Lennon and early-Lennon Ono establishes her not just as the world’s most famous unknown artist, but the most unfairly unknown one, too.
What would you do? Imagine you’re a politically conservative, devoutly religious art dealer fleeing your war-torn country when you suddenly see art radically unlike anything you’ve seen before. Do you stay the course or gamble on this next “big thing”? Now add the sudden death of your pregnant young wife, which leaves you with five children under the age of nine whose futures now depend entirely on your choices. Do you roll the dice with your life and theirs? If you’re Paul Durand-Ruel and that artist is Claude Monet, the original Impressionist, you don’t just make that bet; you go “all in” — staking your family’s fortunes to those of a family of revolutionary artists. The exhibition Discovering the Impressionists: Paul Durand-Ruel and the New Painting, currently at the Philadelphia Museum of Art, goes “all in” with Durand-Ruel’s gamble and pays off big with a stirring tale of personal courage and art history in the making.
Something like social contracts likely run deep in our nature. As does the “economic justice” they need. The largest database we have on hunter-gatherer cultures suggests our ancestors had rigidly egalitarian tendencies 10,000 generations ago. 
On January 1, 2016, one of the most infamous books of the 20th century — Adolf Hitler’s Mein Kampf — enters public domain and can be published by anyone in Germany for the first time since the end of World War II. Seventy years after the fall of the Nazis, people still debate allowing that particularly evil genii out of the bottle to influence young minds. Others argue that the genii’s been out of the bottle all along, either through underground sources or, more recently, the Internet. More controllable, however, have been the propaganda films of the Nazis, whose chief propagandist, Joseph Goebbels, announced in 1941 that, “Film is our most important medium for propaganda.” Felix Moeller’s new documentary Forbidden Films: The Hidden Legacy of Nazi Film examines this question of allowing new generations to see these banned films and, if so, how to show them without that evil history repeating itself.