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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.
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 […]
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.
American Impressionism’s often been seen as a pale copy of the French Impressionism that flowered in the late 19th century. Although American Impressionists early on copied their French counterparts (and even made pilgrimages to Monet’s Giverny garden and home), the exhibition The Artist’s Garden: American Impressionism and the Garden Movement, 1887–1920, at the Pennsylvania Academy of the Fine Arts through May 24, 2015, proves that American Impressionism quickly blossomed into something distinct—and distinctly American—by the turn of the 20th century. Capturing aesthetically a moment of contradictions as American nativism threatened to close borders while women’s suffrage struggled to open doors, The Artist’s Garden demonstrates the power of flowers to speak volumes about the American past, and present.
Spin a roulette wheel a million times, and you’ll see a fairly even split between black and red. But spin it a few dozen times, and there might be “streaks” of one or the other. The gambler’s fallacy leads bettors to believe that they odds are better if they bet against the streak. But the wheel has no memory of previous spins; for each round, leaving aside those pesky green zeroes, the odds for each color are always going to be 50-50.
Civil rights leader Mary McLeod Bethune on never giving in to discrimination:  “If we accept and acquiesce in the face of discrimination, we accept the responsibility ourselves and allow those responsible to salve their conscience by believing that they have our acceptance and concurrence. We should, therefore, protest openly everything… that smacks of discrimination or slander.”