Laura Mattioli.
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For art historian Laura Mattioli, a career in anything other than art was always out of the question. Although she was originally interested in physics, her father, Gianni Mattioli, was one of the most influential 20th-century collectors of Italian modern art. As a result, Laura was trained in art history by a family friend.
In 2016, Charles Wheelan, best-selling author of “Naked Economics,” decided to go on a nine-month, global grand tour with his wife, Leah, and their three children. “We Came, We Saw, We Left: A Family Gap Year” (out Jan. 26) is the result, a manic travelogue-cum-family newsletter that gamely tries to squeeze some deeper meaning from what seems like little more than a really nice extended vacation.
Charles Wheelan (Courtesy Jon Gilbert Fox)
Wheelan and his wife are determined to pass on their love of travel to their kids: college-bound Katrina, 18; defiant Sophie, 16; and chronic oversharer CJ, 13, who will probably come to rue his father’s detailed account of his pubescence. The parents see the trip as an opportunity to give the kids a taste of life outside the “bubble” of their hometown of Hanover, New Hampshire.
In a show at Zwirner, the soft cosmos of Giorgio Morandi’s domestic tableaux is relieved and refreshed by the architectonics of Josef Albers’s squares.
Richard Foster
, January 21st, 2021 08:58
A collection of the works of 1980s recordings by one of Bruno Maderna s former students reveals a composer far too much fun to be confined to the academy
In
Inferno, his recent book on 1960s trash culture, Ken Hollings cites how Andy Warhol listened to music whilst painting. “Warhol painted while relentlessly blasting the same song, a 45 rpm over and over until he ‘got it’ . [.] ‘The music blasting cleared my head out,’ Warhol revealed.” Warhol’s process of “getting it”, one where songs are played to death and disappear into another form of consciousness, recasts popular music as a disposable energy source rather than something we should preserve.
In the 18th article in a series on 20th-century artists who shaped Maltese modernism,
Joseph Agius highlights the life and works of Anton Inglott
The death at a very young age of Anton Inglott (1915-1945) deprived Maltese modernism of what would have been a leading protagonist, just on the eve of its birth. His ill-health conditioned most of his life.
The Raising of Lazarus
His prodigiously fast artistic maturity could have been due to a self-awareness that fate had bestowed upon him a short time frame in which he could express himself artistically. His very introspective output reflected this in his choice of restrained, almost monochromatic, palette that radiates an otherworldly aura of sobriety, asceticism and spirituality.