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In an Astounding New Book, a Neuroscientist Reveals the Profound Benefits Art Has on Our Health

Art That Heals. Photo: Sylvain Thiollier What can art do to help us? In the midst of a global health crisis, this question becomes even more urgent. While museums remain shuttered in many nations, there is science-backed evidence that seeing or making art can play a crucial role in healing our bodies and minds. French neuroscientist, musician, and author Pierre Lemarquis has recently published a book on this fascinating subject. L’art Qui Guérit (translated: Art That Heals) takes the readers on an art tour through the centuries, spanning the Paleolithic period until the end of the 20th century, interpreting works through the lens of their healing powers both for the viewer and the maker. The author weaves together art history, philosophy, and psychology while citing astounding current findings from his field of neuroscience about the healing power of art.

Alan Bowness, museum director who established the Turner Prize and Tate Liverpool, has died aged 93

For more than half a century, Alan Bowness was a leading public figure in the art world in Britain, predominantly as writer, lecturer, curator, administrator and philanthropist. He was the first trained art historian to become Director of the Tate Gallery, in London, where he made an invaluable and lasting contribution in the relatively short time that he held the post. Bowness was born in London in 1928, educated at University College School, London, following which he did his National Service in the Friends’ Ambulance Unit. In 1950 he went up to Downing College, Cambridge, to read modern languages. From 1953 to 1955 he studied French painting under Anthony Blunt at the Courtauld Institute of Art. In 1957 he joined its staff, teaching 19th and 20th-century art. He became, successively, Reader, Professor and, finally, Deputy Director. In his 23 years at the Courtauld he taught a generation of students, many of whom later distinguished themselves in university or museum

Artforum International

Guy Brett mailing Signals Newsbulletin in London, 1964. Photo: © Clay Perry/England & Co. AT A 2008 TATE MUSEUM TALK on Chilean artist Eugenio Dittborn, Guy Brett recalled a studio visit during which Dittborn kept fussing with unwieldy canvases, growing frustrated. “Fucking rigidity,” Dittborn had exclaimed, bashing the canvases to the wall. This aversion to the static, a trait endemic to the artists he championed, is just as applicable to Brett himself. The critic and curator had an abhorrence for the rigid, contempt for anything that refused to bend to the shape of the world. He was attracted to vitality, to art that marked, as he put it, “a new relationship with life.”

Luis Feito, en el recuerdo

Luis Feito, en el recuerdo
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Constantly curious, uninterested in the market-led view : pioneering curator and writer Guy Brett has died, aged 78

Guy Brett (right) in 1966 with the artist Takis © Clay Perry, England & Co gallery, London The UK curator and writer Guy Brett, who broadened the art historical canon by producing important exhibitions and publications on key Latin American and Asian artists, has died aged 78. Born in Richmond, Yorkshire, 1942, Brett began his career as a critic at the Times where he worked from 1964 to 1975. From 1981 to 1983 he was also the visual arts editor at the London weekly magazine City Limits. His exhibition Transcontinental: Nine Latin American Artists, organised at the Ikon Gallery in Birmingham, UK, in 1990, reflected his multidisciplinary and internationalist outlook. The British-Indian artist Sutapa Biswas tells

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