It operates as a refuge for a civilizing element in short supply in contemporary America: honest criticism
On "Babylon: Myth and Reality" at the British Museum, London.
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The British Museum’s exhibition on the art and archaeology of Babylon is a tribute to the greatness of a fallen empire—Imperial Germany, the Kaiserreich, 1871–1918. It was the archaeologists of the German Orient Society, led by Robert Johann Koldewey, who uncovered the ruins of Babylon between 1887 and 1917, including the foundations of the ziggurat Etemenanki, supposedly the Tower of Babel, Nebuchadnezzar’s palace, and the Ishtar Gate. The finest artifacts in the current British exhibition all owe their existence to the care and Kultur of the German scholars, who excavated fragile mud brick ruins and reconstructed from mere fragments richly colored lions and dragons in glazed brick. But why come to see them in London, when you can see a full-sized reproduction of the entire Ishtar Gate in the Pergamon Museum in Berlin? Indeed the present exhibition in the British Museum is a mere remnant of an earlier one held in that c ...
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This article originally appeared in The New Criterion, Volume 27 February 2009, on page 51
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On “Love Bites: Caricatures by James Gillray” at the Ashmolean Museum, Oxford.
On "Rubens and His Legacy: Van Dyck to Cézanne” at the Royal Academy of Arts, London.
by Karen Wilkin
On “One-Way Ticket: Jacob Lawrence’s Migration Series and Other Visions of the Great Movement North" at MOMA and “Struggle . . . From The History of the American People” at the Phillips Collection.
by Mario Naves
On "Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing” at the Studio Museum, Harlem.
by Marco Grassi
On “Sculpture in the Age of Donatello" at The Museum of Biblical Art.
The Walter Duranty Prize for Journalistic Mendacity
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