Jason Farago

1 day ago | demorgen.be | Jason Farago

Toen het Museum of Modern Art in 1929 de deuren opende in Manhattan, was de verwarring bij het publiek groot, want wat moest het met die abstracte kunst? Toen het Centre Pompidou in 1977 openging in Parijs zetten filosofen het multidisciplinaire museum weg als een winkelcentrum. Maar toen Tate Modern, dat veel groter was dan die twee, in 2000 van start ging in Londen, gebeurde er iets anders: het was meteen een succes.

6 days ago | nytimes.com | Jason Farago

Critic's NotebookThe London institution, which turns 25 this week, encouraged its peers to look beyond the West. But its greatest impact was to remake the art museum into a kind of theme park. Credit... Andy Haslam for The New York Times When the Museum of Modern Art debuted in a Manhattan townhouse in 1929, it faced incomprehension from audiences still uncomfortable with abstract art.

2 weeks ago | clarin.com | Jason Farago

En Roma, actualmente, es año jubilar. Se celebran solo cuatro veces por siglo. Los fieles, incluso antes de la muerte del Papa Francisco, han estado acudiendo en masa a los lugares sagrados de la ciudad: sus cuatro basílicas papales y sus innumerables iglesias menores. Estuve en Roma hace unas semanas. En la iglesia de San Luis de los Franceses, junto a la Piazza Navona, hay una capilla que he visitado quién sabe cuántas veces desde que me interesé en el arte italiano.

1 month ago | nytimes.com | Jason Farago

Image "They stand before us like real human beings," as the art historian Ernst Gombrich once wrote about classical sculpture, "and yet as beings from a different, better world."The younger of these two women is known to historians as the "fanciulla di Vulci": a girl, or maiden, from one of the richest archaeological sites in Italy. Sculpted in the mid-first century B.C., the last years of the Roman Republic, she was pulled from the ground in the latter part of the 19th century.

2 months ago | nytimes.com | Jason Farago |George Etheredge

A Berlin nightclub habitué of my acquaintance has admonished me, more than once, not to go to concerts or parties without earplugs; too many D.J.s now crank to dangerous decibels, so have your fun and save your hearing. I forgot his advice ahead of "Doom: House of Hope," an evening-length spectacle of attitude and abjection by the German artist and choreographer Anne Imhof, and may have developed tinnitus as a result.