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Barbara Rose
THERE ARE FEW INSTANCES IN WHICH the critic has to evaluate work that has had some special personal significance for him; but those instances are often the most challenging. When I abandoned the provinces, I came to New York to study the Old Masters. But Morningside Heights soon proved less compelling than 57th Street. This was something I couldn’t justify for a long time. One day, however, I saw abstract paintings that succeeded in preserving many of the qualities I admired in the Old Masters especially the lightness and airiness of the great “painterly” painters like the Venetians without turning back to their techniques or images. Although I did not drop the Old Masters on the spot, I realized I was more drawn to these contemporary paintings than to past art because they recreated a long tradition of painting within the terms of my own experience.
Room 712: what the film director saw in hotel quarantine
Room 712: what the film director saw in hotel quarantine
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As winter turned to spring this year, filmmaker and photographer Glendyn Ivin marked time by watching the passing of shadow and light during his 14 daysâ quarantine alone on the seventh floor of a central Sydney hotel. âI became aware of how the world turned,â he recalls.
Around 4pm, the soft afternoon sun would bounce from an adjacent building through his window for 15 minutes, starting, of course, a tiny bit later each day. Mornings around 11am, though, were best for catching shadows cast outside.