Respect in a Box: Giving John Ford the Major American Artist Treatment
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âFord at Foxâ is a gargantuan boxed set that assembles 24 of the 50-some films John Ford made for the studio that was his most consistent home.
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As director of photography at the Museum of Modern Art, John Szarkowski made America's most famous lensmen. Then he became one.
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Dozens of Irving Pennâs portraits of artists, writers and musicians are on view in âClose Encounters: Irving Penn Portraits of Artists and Writersâ.
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Le Timeboxes di Andy Warhol in esposizione nel nuovo centro di arte contemporanea dell'ex Pescheria
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JACKSON HOLE, Wyoming  - Most art lovers agree   that no artist captures the grandeur of the American West and   its wildlife better than ... Andy Warhol?
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The Modern's architecture department was once famous for changing the way Americans viewed design. The new installation, by comparison, is unlikely to burn a hole in our memories.
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Buckle your wallet: A visit to the temptation that is Roger Vivier.
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Jack Telnack stood proudly in front of the car that would return Ford Motor Co. to relevance. The year was 1985. The place was the styling studio at Ford's headquarters in Dearborn, Mich.
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When everything gets an API then everything you can imagine will be possible if you can write a script.  And sometimes, to give you an idea, all that has to happen is that a wall come down. The latest, most intriguing such wall was the paywall at the NY Times. Now all of a sudden we find the wealth of information published by the NY Times over many decades is available without tariff. More important, we can point into the archive. We've gotten so accustomed to the wall, that you actually have to think when it may be possible to go in there, as if it left behind a wall in our minds, even after the wall on the web is gone. For example, the first episode of Ken Burns's The War, an epic series about World War II from the American perspective, cited several NY Times articles. If you looked carefully you could see the dates, and the actual headlines, and then if you have a browser handy, as I do (I have an iPhone) you can actually read the article while the narrative continues. Today this is mostly a gimick, but I suspect as we get used to having history so available (like having a library microfilm machine, which I used to spend whole days playing with when I was a kid) it will change our sense of information, perhaps as much as anything else that's ever been on the web. Take movie reviews for example. What a thrill to be able to read a review of a movie that I love that came out in 1932! The reviewers back then were more forgiving, less sarcasting, more enthusiastic. Consider their review of the Hollywood Revue of 1929, a favorite of mine that I've only seen once (I'd pay for a DVD, if it were available). They loved audible movies (that's what they called them) as if the term "talkie" was as elusive as "podcast" was in the summer of 2004. Again, we've just scratched the surface. Wouldn't you like to have NY Times movie reviews integrated with Netflix? Or have Yahoo's movie rating service available on the NY Times site. And I have to wonder whether they really have gone all the way. You can't see the reviews unless you're logged in. Can Google's robots, therefore, see the movie reviews? Unless the've made some special arrangements, it seems not.  It would be helpful to get a technical guide to the newly hatched NY Times on the Web, or (as in the old days of software) a reviewer's guide, so we get some ideas of what to look at. Clearly a lot of work went into opening up the Times archive. I'm going to be in NY the week of October 8 and will have some time toward the end of the week. If anyone at the Times would be willing to spend some time with me reviewing what's now open, that would be helpful. In any case, at least the Times today is somewhat more available to be integrated into the fabric of the web. That's some progress. How much, remains to be seen. Postscript: Kottke did a great job of skimming the surface of the newly opened Times when it first came online, just one week ago today.
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With 80 works ranging from folksy illustrations to precisionist Dutch-inspired landscapes and loose 20th-century abstractions, âBrushed With Light: American Landscape Watercolors From the Collectionâ offers a minihistory of American painting.
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The minimalist work of Dan Flavin and his use of light, as seen at the National Gallery in Washington, has lasted because he is a gifted formalist.
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Leonardo Da Vinciâs masterpiece joins a large and growing population of virtual art.
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âA Mighty Heartâ is effectively fashioned, as jolting as it is polished, as well as a surprising, insistently political work of commercial art.
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Richard Prince blurs the distinctions between life and art, truth and fiction, and even automaking and sculpture.
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New high-resolution images of Leonardo's biblical painting show the artist's techniques in detail.
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âPrayers and Portraits: Unfolding the Netherlandish Diptychâ at the National Gallery of Art brings art historians and art conservators together in a project that is part salvage mission and part detective story.
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Photographs from the book by Peter Menzel and Faith D'Aluisio