Articles

  • 1 week ago | theguardian.com | Veronica Esposito

    Probably the most famous thing that Pablo Picasso never said was: “Good artists copy, great artists steal.” The quote, which has been widely misattributed to the Spaniard, as well as TS Eliot and even Steve Jobs, among a long list of famous thinkers, is so popular because it encapsulates a seeming truism about artists: if your influences are ascertainable, you must not be very good at what you do.

  • 1 week ago | kqed.org | Veronica Esposito

    Failed to save articlePlease try againInstallation view of Isaac Julien, 'True North,' 2004 in 'Isaac Julien: I Dream a World' at the de Young Museum. In Isaac Julien’s thrilling show, I Dream a World at the de Young, the shifting images on gallery screens seem to respond to one another with something approaching sentience.

  • 1 week ago | theguardian.com | Veronica Esposito

    When the race car driver Aurora Straus first began competing professionally aged 16, she was the only female racer on the tracks in North America. Unsurprisingly, her entry into the male-dominated world of motorsports was not without its sexist challenges. In one incident, while she was being filmed for a documentary, she returned to her car with a camera crew in tow, to find a surprise. “I was doing an interview for this movie,” Straus recalls, “and I went to show them my car.

  • 2 weeks ago | theguardian.com | Veronica Esposito

    Chinoiserie – the European practice of imitating Chinese aesthetics – flourished throughout the 17th and 18th centuries, touching areas ranging from home decor to gardens, architecture and even the literary arts. The Met’s fascinating new exhibit, Monstrous Beauty, takes an innovative look at the practice by showing the significant role it played in shaping modern womanhood, and offering compelling arguments about how it can revise our ideas of women and femininity.

  • 2 weeks ago | aol.co.uk | Veronica Esposito

    Chinoiserie – the European practice of imitating Chinese aesthetics – flourished throughout the 17th and 18th centuries, touching areas ranging from home decor to gardens, architecture and even the literary arts. The Met’s fascinating new exhibit, Monstrous Beauty, takes an innovative look at the practice by showing the significant role it played in shaping modern womanhood, and offering compelling arguments about how it can revise our ideas of women and femininity.