Sammy Dalati

Oct 23, 2024 | themagazineantiques.com | Sammy Dalati

Setting aside accomplishments and technical qualifications, it is a truism that a great artist must create at least one indelible image to secure his or her legacy. For Katsushika Hokusai (1760–1849) this crowning event didn’t occur until the Japanese icon was in his seventies, when the blockbuster print series Thirty-Six Views of Mount Fuji was published.

Oct 14, 2024 | themagazineantiques.com | Sammy Dalati

For the organizers of a showcase of New Spanish painting and sculpture at the New Mexico Museum of Art (NMMA), exhibition planning began with a problem: “We wanted to be able to include Mexican high baroque as well as santero culture in New Mexico,” says Mark White, the museum’s executive director. But how could the museum script a show in which those categories, along with maps, books, nun’s shields—in short, material culture from three centuries of artistic production—tell a coherent story?

Jul 1, 2024 | themagazineantiques.com | Sammy Dalati

It’s been almost seven years since The Magazine ANTIQUES launched its podcast Curious Objects. The show is going stronger than ever, and last fall we made the decision to increase its frequency from monthly to weekly. Amidst the recent flurry of activity, we caught up with the show’s host, Benjamin Miller. By now there are over one hundred episodes of the podcast. What’s the best place for new listeners to start?

Jun 10, 2024 | themagazineantiques.com | Sammy Dalati

In 1901 Maynard Dixon, accompanied by fellow artist Edward Borein, set off on horseback from Oakland, California, to seek diversion in the Great Basin. He’d learned to ride horses as a boy, taught by Mexican cowboys in the San Joaquin Valley ranching community where he’d grown up. He would paint horses, too, wild ones, on the journey that skirted Nevada—his first time in the state—and passed through eastern Oregon before concluding in Boise, Idaho.

Feb 21, 2024 | themagazineantiques.com | Sammy Dalati

Were the architect prophets of modernism around today, they no doubt would be dismayed to witness the ongoing classical revival, in evidence most recently and significantly in Robert A. M. Stern Architects’ new art museum for the University of Notre Dame. What is far less certain is that they’d be surprised.