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The standard line against painter John Singer Sargent goes like this: a very good painter of incredible technique, but little substance who flattered the rich and famous with decadently beautiful portraiture — a Victorian Andrea del Sarto of sorts whose reach rarely exceeded his considerable artistic grasp. A new exhibition of Sargent’s work and the accompanying catalogues argue that he was much more than a painter of pretty faces. Instead, the exhibition Sargent: Portraits of Artists and Friends and catalogues challenge us to see Sargent’s omnivorous mind, which swallowed up nascent modernist movements not just in painting, but also in literature, music, and theater. Sargent the omnivore’s dilemma thus lies in being too many things at once and tasking us to multitask with him.
Mama, Don’t Let Your Babies Grow Up To Deny Evolution If adults want to deny evolution, sure. That’s fine. Whatever. But those adults better not make their kids follow in […]
Is ruthless selfishness natural and rational? The idea that this is just how “selfish genes” and evolution work is unnaturally selective. Without certain kinds of cooperation, no gene can survive (that’s using the term cooperative in a similar metaphoric way that genes can be described as “selfish”).