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ArtMay 2008 Filippo in Florence by Marco Grassi On “Filippo Napoletano alla Corte di Cosimo II de’ Medici” at the Galleria Palatina in the Palazzo Pitti, Florence. The recent meltdown of Salander O’Reilly Galleries in New York provided many lessons for the audience in the art world and beyond. Some of the lessons were moral, others financial. Even psychiatry played a part. James Panero detailed most of them in his excellent article on the subject that appeared in New York magazine on March 24. What emerged was a sobering parable on the folly of trying to impose one’s will on a segment of the art market. What we learned is that no amount of talent, money, or sheer hubris—and Larry Salander had a surfeit of all three—was able to translate his efforts into a viable business. Throw in a bit of questionable bookkeeping, plus copious professional insouciance, and the result was inevitable: utter failure, to be topped, perhaps, by an eventual criminal indictment. There is, however, a further consideration that comes to mind on re-reading some of the statements made by ... This article is available to subscribers and for individual purchaseSubscribe to TNC (Print and Online editions) Subscribe to TNC (Online only) This article originally appeared in The New Criterion, Volume 26 May 2008, on page 58 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/Filippo-in-Florence-3842
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by Karen Wilkin On “Rembrandt and Degas: Two Young Artists” at the Sterling and Francine Clark Art Institute, Williamstown, MA. On "New Formations: Czech Avant-Garde Art & Modern Glass from the Roy and Mary Cullen Collection” at the Museum of Fine Arts, Houston. On “Ai Weiwei: Dropping the Urn, Ceramic Work 5000 B.C.–A.D. 2010” at the Victoria & Albert Museum, London & “The Flamboyant Mr. Chinnery: An English Artist in India and China” at Asia House, London.
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