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<channel><title><![CDATA[washingtonpost.com - ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/linkset/2005/03/25/LI2005032500640.html?nav=rss_opinion/columns</link><description><![CDATA[]]></description><language>en-us</language><ttl>15</ttl><image><title>washingtonpost.com</title><width>140</width><height>20</height><link>http://www.washingtonpost.com?nav=rss</link><url>http://media3.washingtonpost.com/wp-srv/hp/image/wp_web.gif </url></image>
<item><title><![CDATA[ A 'Starving Artist' Whose Half-Glass Is Full ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/08/29/AR2008082900730.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/08/29/AR2008082900730.html?nav=rss_opinion/columns</guid><pubDate>Sun, 31 Aug 2008 00:00:00 EDT</pubDate><description><![CDATA[ NEW YORK --  One in a series of encounters with emerging artists ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[A]]></category><category><![CDATA['Starving]]></category><category><![CDATA[Artist']]></category><category><![CDATA[Whose]]></category><category><![CDATA[Half-Glass]]></category><category><![CDATA[Is]]></category><category><![CDATA[Full]]></category><category><![CDATA[Paul Loebach]]></category><category><![CDATA[Milan]]></category><category><![CDATA[Brooklyn]]></category><category><![CDATA[Bedford-Stuyvesant]]></category><category><![CDATA[Cincinnati]]></category><category><![CDATA[Colonial Williamsburg]]></category><category><![CDATA[Elle Decor Magazine]]></category><category><![CDATA[Jay-Z]]></category><category><![CDATA[Johannes Brahms]]></category><category><![CDATA[Memphis Bleek]]></category><category><![CDATA[Rhode Island School of Design]]></category><category><![CDATA[Toronto]]></category><category><![CDATA[United States]]></category><category><![CDATA[Asia]]></category><category><![CDATA[Europe]]></category><category><![CDATA[New York]]></category></item>
<item><title><![CDATA[ Art in the Big Apple, a Bit Farther From the Madding Crowd ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/08/27/AR2008082703143.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/08/27/AR2008082703143.html?nav=rss_opinion/columns</guid><pubDate>Thu, 28 Aug 2008 00:00:00 EDT</pubDate><description><![CDATA[ NEW YORK -- Over Labor Day weekend, New York's museums can be crowded, as tourists from all around the country end their summer in the city. Washingtonians who plan on joining them might want to take refuge in five exhibitions that don't aim to bust the block. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Art]]></category><category><![CDATA[in]]></category><category><![CDATA[the]]></category><category><![CDATA[Big]]></category><category><![CDATA[Apple,]]></category><category><![CDATA[a]]></category><category><![CDATA[Bit]]></category><category><![CDATA[Farther]]></category><category><![CDATA[From]]></category><category><![CDATA[the]]></category><category><![CDATA[Madding]]></category><category><![CDATA[Crowd]]></category><category><![CDATA[Manhattan]]></category><category><![CDATA[The Bronx]]></category><category><![CDATA[Henry Moore]]></category><category><![CDATA[Whitney Museum of American Art]]></category><category><![CDATA[Bronx River]]></category><category><![CDATA[Artur Zmijewski]]></category><category><![CDATA[Clement Greenberg]]></category><category><![CDATA[Harold Rosenberg]]></category><category><![CDATA[Paul McCarthy]]></category><category><![CDATA[Zoe Leonard]]></category><category><![CDATA[The New York Botanical Garden]]></category><category><![CDATA[Times Square]]></category><category><![CDATA[United States]]></category><category><![CDATA[California]]></category><category><![CDATA[Europe]]></category><category><![CDATA[New York]]></category></item>
<item><title><![CDATA[ Lighting a Fuse to Forge a New Way Forward ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/08/22/AR2008082200861.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/08/22/AR2008082200861.html?nav=rss_opinion/columns</guid><pubDate>Sun, 24 Aug 2008 00:00:00 EDT</pubDate><description><![CDATA[ "Acrylic and bomb fuse under synthetic resin" -- not your standard list of art supplies. But it's what you read beside "Blue Shift," an abstract painting from 1996 that's in a show called "Modern Love: Gifts to the Collection From Heather and Tony Podesta," at the National Museum of Women in the Arts. Fuses have become the trademark of New York artist L.C. Armstrong, born 53 years ago in Humboldt, Tenn. Though she's now best known for pictures of roses with stems that have been "painted" by burning fuses, she first made her mark as an abstract artist. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Lighting]]></category><category><![CDATA[a]]></category><category><![CDATA[Fuse]]></category><category><![CDATA[to]]></category><category><![CDATA[Forge]]></category><category><![CDATA[a]]></category><category><![CDATA[New]]></category><category><![CDATA[Way]]></category><category><![CDATA[Forward]]></category><category><![CDATA[Tony Podesta]]></category><category><![CDATA[National Museum of Women in the Arts]]></category><category><![CDATA[Blake Gopnik]]></category><category><![CDATA[Humboldt]]></category><category><![CDATA[L.C. Armstrong]]></category><category><![CDATA[Tennessee]]></category><category><![CDATA[New York]]></category></item>
<item><title><![CDATA[ The Ikea Idea: What to Make Of These Modern Times ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/08/15/AR2008081500966.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/08/15/AR2008081500966.html?nav=rss_opinion/columns</guid><pubDate>Sun, 17 Aug 2008 00:00:00 EDT</pubDate><description><![CDATA[ Last week, thousands of homes in and around Washington -- joining a 198 million around the world -- received the new Ikea catalogue. For many of us, it has become the season's most gripping bathroom read. The clean lines of the new Pax wardrobe, with its sleek Ardal glass doors, demand to be admired. At $4.99, Ikea's Evert stool empties piggy banks, not bank accounts.<br clear="all"/><a href="http://ad.doubleclick.net/jump/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295436328" target="_blank"><img src="http://ad.doubleclick.net/ad/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295436328" border="0" vspace="5"></a> ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[The]]></category><category><![CDATA[Ikea]]></category><category><![CDATA[Idea:]]></category><category><![CDATA[What]]></category><category><![CDATA[to]]></category><category><![CDATA[Make]]></category><category><![CDATA[Of]]></category><category><![CDATA[These]]></category><category><![CDATA[Modern]]></category><category><![CDATA[Times]]></category><category><![CDATA[Design Within Reach Inc.]]></category><category><![CDATA[Inter IKEA Systems BV]]></category><category><![CDATA[Omari Walker]]></category><category><![CDATA[Adams Morgan]]></category><category><![CDATA[Ray Eames]]></category><category><![CDATA[Le Corbusier]]></category><category><![CDATA[Ludwig Mies van der Rohe]]></category></item>
<item><title><![CDATA[ Here, the Seat Grabs You ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/08/07/AR2008080701855.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/08/07/AR2008080701855.html?nav=rss_opinion/columns</guid><pubDate>Sun, 10 Aug 2008 00:00:00 EDT</pubDate><description><![CDATA[ Your average work of cutting-edge contemporary art gets seen by maybe a few hundred, a few thousand people. So far, thanks to footage that has gone viral on YouTube, a motorized sculpture called "Robotic Chair" has been seen by almost a million people. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Here,]]></category><category><![CDATA[the]]></category><category><![CDATA[Seat]]></category><category><![CDATA[Grabs]]></category><category><![CDATA[You]]></category><category><![CDATA[Max Dean]]></category><category><![CDATA[Blake Gopnik]]></category><category><![CDATA[London]]></category><category><![CDATA[Matt Donovan]]></category><category><![CDATA[Ottawa]]></category><category><![CDATA[Raff D'Andrea]]></category><category><![CDATA[Raffaello D'Andrea]]></category><category><![CDATA[Vancouver]]></category><category><![CDATA[National Museum of Science and Technology]]></category><category><![CDATA[YouTube LLC]]></category></item>
<item><title><![CDATA[ Rooms With a View Of Addiction's Toll ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/07/18/AR2008071800853.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/07/18/AR2008071800853.html?nav=rss_opinion/columns</guid><pubDate>Sun, 20 Jul 2008 00:00:00 EDT</pubDate><description><![CDATA[  ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Rooms]]></category><category><![CDATA[With]]></category><category><![CDATA[a]]></category><category><![CDATA[View]]></category><category><![CDATA[Of]]></category><category><![CDATA[Addiction's]]></category><category><![CDATA[Toll]]></category><category><![CDATA[Jessica Dimmock]]></category><category><![CDATA[International Center of Photography]]></category><category><![CDATA[Newsweek Inc.]]></category><category><![CDATA[The New York Times Company]]></category><category><![CDATA[Brooklyn]]></category><category><![CDATA[Logan Circle]]></category><category><![CDATA[Blake Gopnik]]></category><category><![CDATA[New York]]></category></item>
<item><title><![CDATA[ A Site for Thinking Outside the Box ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/07/03/AR2008070302145.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/07/03/AR2008070302145.html?nav=rss_opinion/columns</guid><pubDate>Sun, 06 Jul 2008 00:00:00 EDT</pubDate><description><![CDATA[ SANTA FE, N.M. What would happen if you created a big international art show according to the following rules? ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[A]]></category><category><![CDATA[Site]]></category><category><![CDATA[for]]></category><category><![CDATA[Thinking]]></category><category><![CDATA[Outside]]></category><category><![CDATA[the]]></category><category><![CDATA[Box]]></category><category><![CDATA[Santa Fe]]></category><category><![CDATA[Lance Fung]]></category><category><![CDATA[Scott Lyall]]></category><category><![CDATA[New Mexico]]></category><category><![CDATA[Fabien Giraud]]></category><category><![CDATA[Nick Mangan]]></category><category><![CDATA[Piero Golia]]></category><category><![CDATA[Raphael Siboni]]></category><category><![CDATA[Berlin]]></category><category><![CDATA[Dave Hickey]]></category><category><![CDATA[Marti Anson]]></category><category><![CDATA[Nadine Robinson]]></category><category><![CDATA[Robert Storr]]></category><category><![CDATA[Billie Tsien]]></category><category><![CDATA[Istanbul]]></category><category><![CDATA[Liza Statton]]></category><category><![CDATA[Los Angeles]]></category><category><![CDATA[Nora Morse]]></category><category><![CDATA[Rose Simpson]]></category><category><![CDATA[Santa Clara]]></category><category><![CDATA[Seoul]]></category><category><![CDATA[Tod Williams]]></category><category><![CDATA[Toronto]]></category><category><![CDATA[South Africa]]></category><category><![CDATA[Yale University]]></category><category><![CDATA[Catalonia]]></category></item>
<item><title><![CDATA[ The Art Craftsman ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/06/19/AR2008061903011.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/06/19/AR2008061903011.html?nav=rss_opinion/columns</guid><pubDate>Sun, 22 Jun 2008 00:00:00 EDT</pubDate><description><![CDATA[ Some of the most enjoyable creations have come at the tail ends of great artistic movements, in a winning manner we might want to dub "late."<br clear="all"/><a href="http://ad.doubleclick.net/jump/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295439243" target="_blank"><img src="http://ad.doubleclick.net/ad/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295439243" border="0" vspace="5"></a> ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[The]]></category><category><![CDATA[Art]]></category><category><![CDATA[Craftsman]]></category><category><![CDATA[Martin Puryear]]></category><category><![CDATA[National Gallery of Art]]></category><category><![CDATA[John D. MacDonald]]></category><category><![CDATA[Alvar Aalto]]></category><category><![CDATA[Antonio Vivaldi]]></category><category><![CDATA[I.M. Pei]]></category><category><![CDATA[Isamu Noguchi]]></category><category><![CDATA[James Krenov]]></category><category><![CDATA[Kenneth Noland]]></category><category><![CDATA[Michel Corrette]]></category><category><![CDATA[Wolfgang Amadeus Mozart]]></category><category><![CDATA[Catholic University of America]]></category><category><![CDATA[Peace Corps]]></category><category><![CDATA[Renwick Gallery]]></category><category><![CDATA[Sierra Leone]]></category><category><![CDATA[Smithsonian American Art Museum]]></category><category><![CDATA[Smithsonian Institution]]></category><category><![CDATA[Sweden]]></category><category><![CDATA[The Museum of Modern Art]]></category><category><![CDATA[Yale University]]></category><category><![CDATA[New York]]></category><category><![CDATA[Washington, DC]]></category></item>
<item><title><![CDATA[ Take Time to Rewind at the Hirshhorn's 'Realisms' ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/06/20/AR2008062002942.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/06/20/AR2008062002942.html?nav=rss_opinion/columns</guid><pubDate>Sat, 21 Jun 2008 00:00:00 EDT</pubDate><description><![CDATA[ To really suck the marrow from a painting or photograph, you need the discipline to give it a good half-hour look. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Take]]></category><category><![CDATA[Time]]></category><category><![CDATA[to]]></category><category><![CDATA[Rewind]]></category><category><![CDATA[at]]></category><category><![CDATA[the]]></category><category><![CDATA[Hirshhorn's]]></category><category><![CDATA['Realisms']]></category><category><![CDATA[Corinna Schnitt]]></category><category><![CDATA[John Wojtowicz]]></category><category><![CDATA[Candice Breitz]]></category><category><![CDATA[Colonial Williamsburg]]></category><category><![CDATA[Hollywood]]></category><category><![CDATA[Ian Charlesworth]]></category><category><![CDATA[Omer Fast]]></category><category><![CDATA[Pierre Huyghe]]></category><category><![CDATA[India]]></category><category><![CDATA[Al Pacino]]></category><category><![CDATA[Artur Zmijewski]]></category><category><![CDATA[Che Guevara]]></category><category><![CDATA[Diane Keaton]]></category><category><![CDATA[Donald Sutherland]]></category><category><![CDATA[Dustin Hoffman]]></category><category><![CDATA[Jeremy Deller]]></category><category><![CDATA[Kristen Hileman]]></category><category><![CDATA[Los Angeles]]></category><category><![CDATA[Matthew Buckingham]]></category><category><![CDATA[Meryl Streep]]></category><category><![CDATA[Phil Collins]]></category><category><![CDATA[Sidney Lumet]]></category><category><![CDATA[Susan Sarandon]]></category><category><![CDATA[Poland]]></category><category><![CDATA[Smithsonian's Hirshhorn Museum]]></category><category><![CDATA[The Hirshhorn Museum and Sculpture Garden]]></category><category><![CDATA[United States]]></category><category><![CDATA[Whitney Museum of American Art]]></category><category><![CDATA[Northern Ireland]]></category></item>
<item><title><![CDATA[ Man From Mars Comes in Peace ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/06/16/AR2008061602842.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/06/16/AR2008061602842.html?nav=rss_opinion/columns</guid><pubDate>Tue, 17 Jun 2008 00:00:00 EDT</pubDate><description><![CDATA[ CHICAGO ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Man]]></category><category><![CDATA[From]]></category><category><![CDATA[Mars]]></category><category><![CDATA[Comes]]></category><category><![CDATA[in]]></category><category><![CDATA[Peace]]></category><category><![CDATA[Jeff Koons]]></category><category><![CDATA[Marcel Duchamp]]></category><category><![CDATA[Museum of Contemporary Art, Chicago]]></category><category><![CDATA[Chicago]]></category><category><![CDATA[Andy Warhol]]></category><category><![CDATA[Claes Oldenburg]]></category><category><![CDATA[Dali]]></category><category><![CDATA[Don Quixote]]></category><category><![CDATA[Ilona Staller]]></category><category><![CDATA[Indiana Jones]]></category><category><![CDATA[Matthew Barney]]></category><category><![CDATA[Oliver Sacks]]></category><category><![CDATA[Paul Cezanne]]></category><category><![CDATA[Hallmark Cards Inc.]]></category><category><![CDATA[Hustler Magazine Inc.]]></category><category><![CDATA[Stonehenge]]></category></item>
<item><title><![CDATA[ Not a Care in the World: Nature for the Untroubled ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/06/12/AR2008061202261.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/06/12/AR2008061202261.html?nav=rss_opinion/columns</guid><pubDate>Sun, 15 Jun 2008 00:00:00 EDT</pubDate><description><![CDATA[ "How awful is the silence of the waste/Where Nature lifts her mountains to the sky,/Majestic solitude." The great British painter J. M. W. Turner wrote those lines around the year 1800, to go with one of his many images of humanity lost in the sublime immensity of nature. Those pictures wowed us at the National Gallery last fall. Now, in the same museum's big display of work by California photographer Richard Misrach, almost all the images show people alone in nature, or nature stretching out to the horizon without people. But the strange thing about these photos is how little they call up Turneresque feelings of awe-inspiring sublimity. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Not]]></category><category><![CDATA[a]]></category><category><![CDATA[Care]]></category><category><![CDATA[in]]></category><category><![CDATA[the]]></category><category><![CDATA[World:]]></category><category><![CDATA[Nature]]></category><category><![CDATA[for]]></category><category><![CDATA[the]]></category><category><![CDATA[Untroubled]]></category><category><![CDATA[Richard Misrach]]></category><category><![CDATA[J.M.W. Turner]]></category><category><![CDATA[National Gallery of Art]]></category><category><![CDATA[Hawaii]]></category><category><![CDATA[Newcastle]]></category><category><![CDATA[Art Institute of Chicago]]></category><category><![CDATA[United States]]></category><category><![CDATA[California]]></category></item>
<item><title><![CDATA[ Survey Says: Six Is the Magic Number ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/06/05/AR2008060502840.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/06/05/AR2008060502840.html?nav=rss_opinion/columns</guid><pubDate>Sun, 08 Jun 2008 00:00:00 EDT</pubDate><description><![CDATA[ PITTSBURGH -- The Carnegie International, a survey of the world's contemporary art that the Carnegie Museum has been hosting since 1896, is supposed to be a place to feel the pulse of the art world.<br clear="all"/><a href="http://ad.doubleclick.net/jump/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295442316" target="_blank"><img src="http://ad.doubleclick.net/ad/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295442316" border="0" vspace="5"></a> ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Survey]]></category><category><![CDATA[Says:]]></category><category><![CDATA[Six]]></category><category><![CDATA[Is]]></category><category><![CDATA[the]]></category><category><![CDATA[Magic]]></category><category><![CDATA[Number]]></category><category><![CDATA[Carnegie International]]></category><category><![CDATA[Carnegie Museum]]></category><category><![CDATA[Douglas Fogle]]></category><category><![CDATA[Glenn Kaino]]></category><category><![CDATA[Los Angeles]]></category><category><![CDATA[Venice]]></category><category><![CDATA[William Wegman]]></category><category><![CDATA[Pittsburgh's Warhol Museum]]></category><category><![CDATA[Smithsonian American Art Museum]]></category><category><![CDATA[Whitney Museum of American Art]]></category></item>
<item><title><![CDATA[ Color & Meaning Knit Together in An Abstract Yarn ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/06/06/AR2008060604445.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/06/06/AR2008060604445.html?nav=rss_opinion/columns</guid><pubDate>Sat, 07 Jun 2008 00:00:00 EDT</pubDate><description><![CDATA[ A lovely two-artist show that opened last week at the tiny Transformer gallery near Logan Circle looks into one of the main ideas of 20th-century art: that abstract beauty could be distilled from everyday objects. And it shows how, despite that distillation, the gorgeous art that results always keeps its everydayness, too. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Color]]></category><category><![CDATA[&]]></category><category><![CDATA[Meaning]]></category><category><![CDATA[Knit]]></category><category><![CDATA[Together]]></category><category><![CDATA[in]]></category><category><![CDATA[An]]></category><category><![CDATA[Abstract]]></category><category><![CDATA[Yarn]]></category><category><![CDATA[Mariah Johnson]]></category><category><![CDATA[Valerie Molnar]]></category><category><![CDATA[Logan Circle]]></category><category><![CDATA[Jackson Pollock]]></category><category><![CDATA[Los Angeles]]></category><category><![CDATA[Peter Max]]></category><category><![CDATA[Philadelphia]]></category><category><![CDATA[Richmond]]></category><category><![CDATA[Washington, DC]]></category></item>
<item><title><![CDATA[ Points of Departure ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/05/29/AR2008052903273.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/05/29/AR2008052903273.html?nav=rss_opinion/columns</guid><pubDate>Sun, 01 Jun 2008 00:00:00 EDT</pubDate><description><![CDATA[ This moment may not be repeated soon: Two major Washington museums give us the chance to watch two founding fathers of black art work their way through blackness, and art. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Points]]></category><category><![CDATA[of]]></category><category><![CDATA[Departure]]></category><category><![CDATA[Aaron Douglas]]></category><category><![CDATA[Jacob Lawrence]]></category><category><![CDATA[Harlem]]></category><category><![CDATA[Pablo Picasso]]></category><category><![CDATA[Charles Sheeler]]></category><category><![CDATA[Chicago]]></category><category><![CDATA[Dallas]]></category><category><![CDATA[Fernand Leger]]></category><category><![CDATA[Franklin D. Roosevelt]]></category><category><![CDATA[Kansas City]]></category><category><![CDATA[Stuart Davis]]></category><category><![CDATA[Topeka]]></category><category><![CDATA[Smithsonian American Art Museum]]></category><category><![CDATA[Spencer Museum of Art]]></category><category><![CDATA[The Dallas Morning News Co.]]></category><category><![CDATA[The Museum of Modern Art]]></category><category><![CDATA[The Phillips Collection]]></category><category><![CDATA[United States]]></category><category><![CDATA[University of Kansas]]></category><category><![CDATA[Kansas]]></category><category><![CDATA[Nebraska]]></category><category><![CDATA[New Jersey]]></category><category><![CDATA[Pennsylvania]]></category><category><![CDATA[New York]]></category><category><![CDATA[Washington, DC]]></category></item>
<item><title><![CDATA[ He's Not Just Cloning Around ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/05/18/AR2008051802228.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/05/18/AR2008051802228.html?nav=rss_opinion/columns</guid><pubDate>Mon, 19 May 2008 00:00:00 EDT</pubDate><description><![CDATA[ NEW YORK -- If imitation is sincerest flattery, then parody can be almost sycophantic. It allows you to indulge a love while hiding it, too, the way seventh-graders tease the classmates they have the biggest crushes on. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[He's]]></category><category><![CDATA[Not]]></category><category><![CDATA[Just]]></category><category><![CDATA[Cloning]]></category><category><![CDATA[Around]]></category><category><![CDATA[Morris Louis]]></category><category><![CDATA[Rodney Graham]]></category><category><![CDATA[Vancouver]]></category><category><![CDATA[Cary Grant]]></category><category><![CDATA[Chevy Chase]]></category><category><![CDATA[Clement Greenberg]]></category><category><![CDATA[Erwin Panofsky]]></category><category><![CDATA[Frank Lloyd Wright]]></category><category><![CDATA[John Russell]]></category><category><![CDATA[Nashville]]></category><category><![CDATA[Tupperware Brands Corporation]]></category><category><![CDATA[Washington, DC]]></category></item>
<item><title><![CDATA[ Drawn In by Details ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/05/16/AR2008051601164.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/05/16/AR2008051601164.html?nav=rss_opinion/columns</guid><pubDate>Sun, 18 May 2008 00:00:00 EDT</pubDate><description><![CDATA[ Is it possible that some of the world's most colorful, exquisitely crafted pictures were barely meant to be seen? That absolutely gorgeous art could have been conceived without concern for human eyes?<br clear="all"/><a href="http://ad.doubleclick.net/jump/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295444762" target="_blank"><img src="http://ad.doubleclick.net/ad/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295444762" border="0" vspace="5"></a> ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Drawn]]></category><category><![CDATA[In]]></category><category><![CDATA[by]]></category><category><![CDATA[Details]]></category><category><![CDATA[Alfred Chester Beatty]]></category><category><![CDATA[Dublin]]></category><category><![CDATA[Chester Beatty Library]]></category><category><![CDATA[Smithsonian Institution]]></category><category><![CDATA[Dublin Castle]]></category><category><![CDATA[India]]></category><category><![CDATA[Ireland]]></category><category><![CDATA[National Mall]]></category><category><![CDATA[Persia]]></category><category><![CDATA[Smithsonian's Arthur M. Sackler Gallery]]></category><category><![CDATA[United Kingdom]]></category></item>
<item><title><![CDATA[ Robert Rauschenberg, Alchemist of the Mundane ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/05/13/AR2008051303022.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/05/13/AR2008051303022.html?nav=rss_opinion/columns</guid><pubDate>Wed, 14 May 2008 00:00:00 EDT</pubDate><description><![CDATA[ Robert Rauschenberg, the 82-year-old American master who died Monday, made some of the most influential art of the past 50 years. But not all of his influence comes from the objects that he is best known for. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Robert]]></category><category><![CDATA[Rauschenberg,]]></category><category><![CDATA[Alchemist]]></category><category><![CDATA[of]]></category><category><![CDATA[the]]></category><category><![CDATA[Mundane]]></category><category><![CDATA[Robert Rauschenberg]]></category><category><![CDATA[John Cage]]></category><category><![CDATA[Willem de Kooning]]></category><category><![CDATA[Leo Steinberg]]></category><category><![CDATA[National Gallery of Art]]></category><category><![CDATA[Smithsonian American Art Museum]]></category><category><![CDATA[New York]]></category></item>
<item><title><![CDATA[ Statue Whittles Away at King's Legacy ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/05/09/AR2008050902878.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/05/09/AR2008050902878.html?nav=rss_opinion/columns</guid><pubDate>Sat, 10 May 2008 00:00:00 EDT</pubDate><description><![CDATA[ The Rev. Martin Luther King Jr. is one of the few undoubtedly, undilutedly great figures of the 20th century. Here's a radical idea for truly doing justice to the greatness of his memory: Give him a monument that might go down in history as an equally great work of art. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Statue]]></category><category><![CDATA[Whittles]]></category><category><![CDATA[Away]]></category><category><![CDATA[at]]></category><category><![CDATA[King's]]></category><category><![CDATA[Legacy]]></category><category><![CDATA[Martin Luther King Jr.]]></category><category><![CDATA[China]]></category><category><![CDATA[Mao Tse-tung]]></category><category><![CDATA[National Mall]]></category><category><![CDATA[Abraham Lincoln]]></category><category><![CDATA[Harry Wu]]></category><category><![CDATA[Google Inc.]]></category><category><![CDATA[Russia]]></category><category><![CDATA[Statue of Liberty]]></category><category><![CDATA[The New York Times Company]]></category><category><![CDATA[U.S. Commission of Fine Arts]]></category><category><![CDATA[Vietnam Veterans Memorial]]></category><category><![CDATA[YouTube Inc.]]></category></item>
<item><title><![CDATA[ Toying With Catastrophe ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/05/04/AR2008050401914.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/05/04/AR2008050401914.html?nav=rss_opinion/columns</guid><pubDate>Mon, 05 May 2008 00:00:00 EDT</pubDate><description><![CDATA[ NEW YORK ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Toying]]></category><category><![CDATA[With]]></category><category><![CDATA[Catastrophe]]></category><category><![CDATA[Takashi Murakami]]></category><category><![CDATA[LVMH Moet Hennessy Louis Vuitton SA]]></category><category><![CDATA[Brooklyn]]></category><category><![CDATA[Brooklyn Museum]]></category><category><![CDATA[Los Angeles]]></category><category><![CDATA[Tan-Tan]]></category><category><![CDATA[Hawaii]]></category><category><![CDATA[Inter IKEA Systems BV]]></category><category><![CDATA[Japan]]></category><category><![CDATA[Mattel Inc.]]></category><category><![CDATA[Toys "R" Us Inc.]]></category><category><![CDATA[United States]]></category><category><![CDATA[New York]]></category><category><![CDATA[Washington, DC]]></category></item>
<item><title><![CDATA[ Eliasson: Nature as A Special-Effects Show ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/05/04/AR2008050401707.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/05/04/AR2008050401707.html?nav=rss_opinion/columns</guid><pubDate>Mon, 05 May 2008 00:00:00 EDT</pubDate><description><![CDATA[ Olafur Eliasson is the other foreign superstar getting big play, and drawing crowds, in New York right now. His splashy retrospective fills huge spaces at both the Museum of Modern Art in Manhattan and at PS1, the center for contemporary art in Queens.<br clear="all"/><a href="http://ad.doubleclick.net/jump/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295447445" target="_blank"><img src="http://ad.doubleclick.net/ad/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295447445" border="0" vspace="5"></a> ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Eliasson:]]></category><category><![CDATA[Nature]]></category><category><![CDATA[as]]></category><category><![CDATA[A]]></category><category><![CDATA[Special-Effects]]></category><category><![CDATA[Show]]></category><category><![CDATA[Olafur Eliasson]]></category><category><![CDATA[The Museum of Modern Art]]></category><category><![CDATA[Hollywood]]></category><category><![CDATA[London]]></category><category><![CDATA[Manhattan]]></category><category><![CDATA[Queens County]]></category><category><![CDATA[Turbine Hall]]></category><category><![CDATA[Niagara Corporation]]></category><category><![CDATA[Tate Modern]]></category><category><![CDATA[New York]]></category></item>
<item><title><![CDATA[ Correcting a Colorblind View of the Treasures of Antiquity ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/05/02/AR2008050200966.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/05/02/AR2008050200966.html?nav=rss_opinion/columns</guid><pubDate>Sun, 04 May 2008 00:00:00 EDT</pubDate><description><![CDATA[ The statues of ancient Greece and Rome are masterpieces. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Correcting]]></category><category><![CDATA[a]]></category><category><![CDATA[Colorblind]]></category><category><![CDATA[View]]></category><category><![CDATA[of]]></category><category><![CDATA[the]]></category><category><![CDATA[Treasures]]></category><category><![CDATA[of]]></category><category><![CDATA[Antiquity]]></category><category><![CDATA[Rome]]></category><category><![CDATA[Athens]]></category><category><![CDATA[Vinzenz Brinkmann]]></category><category><![CDATA[Boston]]></category><category><![CDATA[Malibu]]></category><category><![CDATA[Susanne Ebbinghaus]]></category><category><![CDATA[Amsterdam]]></category><category><![CDATA[Basel]]></category><category><![CDATA[Copenhagen]]></category><category><![CDATA[Emperor Caligula]]></category><category><![CDATA[Euripides]]></category><category><![CDATA[Greece]]></category><category><![CDATA[Hollywood]]></category><category><![CDATA[Istanbul]]></category><category><![CDATA[Kenneth Lapatin]]></category><category><![CDATA[Los Angeles]]></category><category><![CDATA[Munich]]></category><category><![CDATA[Richard Meier]]></category><category><![CDATA[Ridley Scott]]></category><category><![CDATA[Russell Crowe]]></category><category><![CDATA[Arthur M. Sackler Museum]]></category><category><![CDATA[Getty Center]]></category><category><![CDATA[Harvard University]]></category><category><![CDATA[Helen of Troy Ltd.]]></category><category><![CDATA[The Parthenon]]></category></item>
<item><title><![CDATA[ Kelly Named Chief Curator At National Gallery ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/05/01/AR2008050103273.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/05/01/AR2008050103273.html?nav=rss_opinion/columns</guid><pubDate>Fri, 02 May 2008 00:00:00 EDT</pubDate><description><![CDATA[ Franklin Kelly, senior curator of American and British paintings at the National Gallery of Art, is being promoted to deputy director and chief curator, the gallery announced yesterday. On Oct. 1 he will replace Alan Shestack, who has held those posts for 15 years and is retiring at age 70. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Kelly]]></category><category><![CDATA[Named]]></category><category><![CDATA[Chief]]></category><category><![CDATA[Curator]]></category><category><![CDATA[At]]></category><category><![CDATA[National]]></category><category><![CDATA[Gallery]]></category><category><![CDATA[Franklin Kelly]]></category><category><![CDATA[National Gallery of Art]]></category><category><![CDATA[Alan Shestack]]></category><category><![CDATA[J.M.W. Turner]]></category><category><![CDATA[Winslow Homer]]></category><category><![CDATA[University of Delaware]]></category></item>
<item><title><![CDATA[ Africa's Worldly 'Treasures,' Torn From the Wild ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/04/25/AR2008042500900.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/04/25/AR2008042500900.html?nav=rss_opinion/columns</guid><pubDate>Sun, 27 Apr 2008 00:00:00 EDT</pubDate><description><![CDATA[ The new "Treasures" show at the National Museum of African Art invites us to take purely aesthetic pleasure in 74 pieces of carved ivory, from whole tusks to tiny figurines. The exhibition's organizers say it's "about art, about collecting" -- most of its objects are now or were once held by private American patrons -- "and lastly about African artists and African peoples." ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Africa's]]></category><category><![CDATA[Worldly]]></category><category><![CDATA['Treasures,']]></category><category><![CDATA[Torn]]></category><category><![CDATA[From]]></category><category><![CDATA[the]]></category><category><![CDATA[Wild]]></category><category><![CDATA[Africa]]></category><category><![CDATA[Fort Knox]]></category><category><![CDATA[National Museum of African Art]]></category><category><![CDATA[United Kingdom]]></category><category><![CDATA[National Mall]]></category><category><![CDATA[Europe]]></category><category><![CDATA[Benin]]></category></item>
<item><title><![CDATA[ Double Vision ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/04/11/AR2008041101111.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/04/11/AR2008041101111.html?nav=rss_opinion/columns</guid><pubDate>Sun, 13 Apr 2008 00:00:00 EDT</pubDate><description><![CDATA[ LOS ANGELES<br clear="all"/><a href="http://ad.doubleclick.net/jump/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295449690" target="_blank"><img src="http://ad.doubleclick.net/ad/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295449690" border="0" vspace="5"></a> ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Double]]></category><category><![CDATA[Vision]]></category><category><![CDATA[Los Angeles]]></category><category><![CDATA[Dumbacher John]]></category><category><![CDATA[Joe Dumbacher]]></category><category><![CDATA[Dealer Sarah Finlay]]></category><category><![CDATA[Craigslist Inc.]]></category><category><![CDATA[National Geographic Society]]></category><category><![CDATA[Washington, DC]]></category><category><![CDATA[Huntsville]]></category><category><![CDATA[Indianapolis]]></category><category><![CDATA[Logan Circle]]></category><category><![CDATA[Pasadena]]></category><category><![CDATA[Dumbacher Bros.]]></category><category><![CDATA[NASA]]></category><category><![CDATA[The Walt Disney Company]]></category><category><![CDATA[Universal Studios Inc.]]></category><category><![CDATA[University of Alabama]]></category><category><![CDATA[University of Southern California]]></category><category><![CDATA[Alabama]]></category><category><![CDATA[California]]></category><category><![CDATA[New York]]></category></item>
<item><title><![CDATA[ Bursting The Bauble ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/03/28/AR2008032801013.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/03/28/AR2008032801013.html?nav=rss_opinion/columns</guid><pubDate>Sun, 30 Mar 2008 00:00:00 EDT</pubDate><description><![CDATA[ We all know what important contemporary art is supposed to do: move us into untested waters of experience and thought. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Bursting]]></category><category><![CDATA[The]]></category><category><![CDATA[Bauble]]></category><category><![CDATA[Renwick Gallery]]></category><category><![CDATA[Smithsonian Institution]]></category><category><![CDATA[Donald Judd]]></category><category><![CDATA[Keith Haring]]></category><category><![CDATA[Philadelphia]]></category><category><![CDATA[The Museum of Fine Arts, Houston]]></category></item>
<item><title><![CDATA[ Moving Beyond Beauty ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/03/21/AR2008032103184.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/03/21/AR2008032103184.html?nav=rss_opinion/columns</guid><pubDate>Sat, 22 Mar 2008 00:00:00 EDT</pubDate><description><![CDATA[ NEW YORK ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Moving]]></category><category><![CDATA[Beyond]]></category><category><![CDATA[Beauty]]></category><category><![CDATA[Gustave Courbet]]></category><category><![CDATA[Paris]]></category><category><![CDATA[Marcel Duchamp]]></category><category><![CDATA[Alfred Bruyas]]></category><category><![CDATA[Bruce Nauman]]></category><category><![CDATA[Pablo Picasso]]></category><category><![CDATA[Richard Serra]]></category><category><![CDATA[The Phillips Collection]]></category><category><![CDATA[France]]></category><category><![CDATA[The Metropolitan Museum of Art]]></category><category><![CDATA[New York]]></category></item>
<item><title><![CDATA[ Shinique Smith's Street Art, Taking the High Road ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/03/14/AR2008031401099.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/03/14/AR2008031401099.html?nav=rss_opinion/columns</guid><pubDate>Sun, 16 Mar 2008 00:00:00 EDT</pubDate><description><![CDATA[ Shinique Smith is as fine a mixture of street and salon as any artist could be. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Shinique]]></category><category><![CDATA[Smith's]]></category><category><![CDATA[Street]]></category><category><![CDATA[Art,]]></category><category><![CDATA[Taking]]></category><category><![CDATA[the]]></category><category><![CDATA[High]]></category><category><![CDATA[Road]]></category><category><![CDATA[Baltimore]]></category><category><![CDATA[Tupac Shakur]]></category><category><![CDATA[Frederick Douglass]]></category><category><![CDATA[Nikki Giovanni]]></category><category><![CDATA[Baltimore School of the Arts]]></category><category><![CDATA[Franklin Mint]]></category><category><![CDATA[Brooklyn]]></category><category><![CDATA[Cy Twombly]]></category><category><![CDATA[Gilbert Stuart]]></category><category><![CDATA[Jam Master Jay]]></category><category><![CDATA[Jean-Michel Basquiat]]></category><category><![CDATA[John Singer Sargent]]></category><category><![CDATA[Josephine Baker]]></category><category><![CDATA[Keith Harding]]></category><category><![CDATA[Kurt Cobain]]></category><category><![CDATA[Mary Cassatt]]></category><category><![CDATA[Paris]]></category><category><![CDATA[Princess Diana]]></category><category><![CDATA[Seattle]]></category><category><![CDATA[Sol LeWitt]]></category><category><![CDATA[Yvon Lambert]]></category><category><![CDATA[Frederick Douglass High School]]></category><category><![CDATA[Maryland Institute]]></category><category><![CDATA[Maryland Institute College of Art]]></category><category><![CDATA[Motley Crue]]></category><category><![CDATA[Kanye West]]></category><category><![CDATA[New York]]></category><category><![CDATA[Washington, DC]]></category></item>
<item><title><![CDATA[ How Two Women Painted Themselves Out of the Corner ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/03/07/AR2008030701015.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/03/07/AR2008030701015.html?nav=rss_opinion/columns</guid><pubDate>Sun, 09 Mar 2008 00:00:00 EST</pubDate><description><![CDATA[ It's taken years to happen, but for the last decade or so women's art has slowly been getting some fraction of the attention that art by men has always gotten. But maybe what we've discovered most recently is that there's simply no such thing as "women's art." Objects produced by women may often reflect female experience -- as almost all art by men has always been touched by their maleness -- but those objects, and even that experience, are as varied as could be.<br clear="all"/><a href="http://ad.doubleclick.net/jump/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295451160" target="_blank"><img src="http://ad.doubleclick.net/ad/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295451160" border="0" vspace="5"></a> ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[How]]></category><category><![CDATA[Two]]></category><category><![CDATA[Women]]></category><category><![CDATA[Painted]]></category><category><![CDATA[Themselves]]></category><category><![CDATA[Out]]></category><category><![CDATA[of]]></category><category><![CDATA[the]]></category><category><![CDATA[Corner]]></category><category><![CDATA[Atlanta]]></category><category><![CDATA[Frida Kahlo]]></category><category><![CDATA[Philadelphia]]></category><category><![CDATA[Pennsylvania Academy of the Fine Arts]]></category></item>
<item><title><![CDATA[ Indelible Impressions ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/03/06/AR2008030603815.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/03/06/AR2008030603815.html?nav=rss_opinion/columns</guid><pubDate>Fri, 07 Mar 2008 00:00:00 EST</pubDate><description><![CDATA[ NEW YORK, March 6 ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Indelible]]></category><category><![CDATA[Impressions]]></category><category><![CDATA[Mungo Thomson]]></category><category><![CDATA[Omer Fast]]></category><category><![CDATA[Iraq]]></category><category><![CDATA[Whitney Museum of American Art]]></category><category><![CDATA[Berlin]]></category><category><![CDATA[Germany]]></category><category><![CDATA[California]]></category><category><![CDATA[Texas]]></category><category><![CDATA[Brooklyn]]></category><category><![CDATA[Europe]]></category><category><![CDATA[Los Angeles]]></category><category><![CDATA[Middle East]]></category><category><![CDATA[Israel]]></category><category><![CDATA[The Hirshhorn Museum and Sculpture Garden]]></category><category><![CDATA[New York]]></category></item>
<item><title><![CDATA[ Drifting Through Fields of Color ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/02/29/AR2008022900890.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/02/29/AR2008022900890.html?nav=rss_opinion/columns</guid><pubDate>Sun, 02 Mar 2008 00:00:00 EST</pubDate><description><![CDATA[ "Color as Field," at the Smithsonian American Art Museum, presents wall-size pictures that are about huge gestures in color and shape. In its heyday in the 1960s and early '70s, this kind of "color field" painting was the hot commodity in the art world, right at what seemed to be the center of the abstract avant-garde. And yet, within a bare few years, its pictures fell so far out of fashion that they've been neglected since. This touring exhibition -- incredibly, the first full survey of the color field movement -- aims to give us fresh perspective on them. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Drifting]]></category><category><![CDATA[Through]]></category><category><![CDATA[Fields]]></category><category><![CDATA[of]]></category><category><![CDATA[Color]]></category><category><![CDATA[Kenneth Noland]]></category><category><![CDATA[Larry Poons]]></category><category><![CDATA[Washingtonian Sam Gilliam]]></category><category><![CDATA[Frank Stella]]></category><category><![CDATA[Friedel Dzubas]]></category><category><![CDATA[Helen Frankenthaler]]></category><category><![CDATA[J.M.W. Turner]]></category><category><![CDATA[Jules Olitski]]></category></item>
<item><title><![CDATA[ Moving Pictures ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/02/14/AR2008021403857.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/02/14/AR2008021403857.html?nav=rss_opinion/columns</guid><pubDate>Fri, 15 Feb 2008 00:00:00 EST</pubDate><description><![CDATA[ "Dreams," the stunning show that opened yesterday at the Hirshhorn Museum, is like nothing you've ever seen in a museum. Its 21 works of moving-picture art -- part of an ambitious Hirshhorn project called "The Cinema Effect: Illusion, Reality, and the Moving Image" -- are strung along a dark labyrinth of rooms. The installation perfectly captures that magic moment of potential when the lights go down in movieland and anything can happen. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Moving]]></category><category><![CDATA[Pictures]]></category><category><![CDATA[Andy Warhol]]></category><category><![CDATA[Christophe Girardet]]></category><category><![CDATA[Fay Wray]]></category><category><![CDATA[Hollywood]]></category><category><![CDATA[Steve McQueen]]></category><category><![CDATA[Rheinmetall AG]]></category><category><![CDATA[Anthony McCall]]></category><category><![CDATA[Chiho Aoshima]]></category><category><![CDATA[Empire State Building]]></category><category><![CDATA[J.M.W. Turner]]></category><category><![CDATA[John Giorno]]></category><category><![CDATA[Kelly Gordon]]></category><category><![CDATA[Kerry Brougher]]></category><category><![CDATA[Michael Bell-Smith]]></category><category><![CDATA[Rodney Graham]]></category><category><![CDATA[Vancouver]]></category><category><![CDATA[Cornwall]]></category><category><![CDATA[Smithsonian's Hirshhorn Museum]]></category><category><![CDATA[United States]]></category></item>
<item><title><![CDATA[ Revolutionary Views ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/02/11/AR2008021102860.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/02/11/AR2008021102860.html?nav=rss_opinion/columns</guid><pubDate>Tue, 12 Feb 2008 00:00:00 EST</pubDate><description><![CDATA[ Some of the greatest art of the Italian Renaissance came from trying to make a cliche come true.<br clear="all"/><a href="http://ad.doubleclick.net/jump/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295454933" target="_blank"><img src="http://ad.doubleclick.net/ad/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295454933" border="0" vspace="5"></a> ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Revolutionary]]></category><category><![CDATA[Views]]></category><category><![CDATA[Leonhard Kern]]></category><category><![CDATA[National Gallery of Art]]></category><category><![CDATA[Robert H. Smith]]></category><category><![CDATA[Italy]]></category><category><![CDATA[Hollywood]]></category><category><![CDATA[Nicholas Penny]]></category><category><![CDATA[Germany]]></category></item>
<item><title><![CDATA[ Flattering the Art, or Just the Collector? ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/02/11/AR2008021102832.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/02/11/AR2008021102832.html?nav=rss_opinion/columns</guid><pubDate>Tue, 12 Feb 2008 00:00:00 EST</pubDate><description><![CDATA[ "Bronze and Boxwood: Masterpieces From the Robert H. Smith Collection" has some lovely objects in it. Of course regular visitors to the National Gallery of Art already knew that, since they have seen more than half of them already: The same collector's bronzes were presented just five years ago, when the museum launched its new sculpture galleries. And could we ever expect to see ugly, dull objects at the National Gallery? At one of the greatest, smartest museums in the world, showcasing good-looking art ought to be every exhibition's starting point, never its prime distinction; for such an institution, good looks represent the bar set at its very lowest point. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Flattering]]></category><category><![CDATA[the]]></category><category><![CDATA[Art,]]></category><category><![CDATA[or]]></category><category><![CDATA[Just]]></category><category><![CDATA[the]]></category><category><![CDATA[Collector?]]></category><category><![CDATA[National Gallery of Art]]></category><category><![CDATA[Nicholas Penny]]></category><category><![CDATA[Robert H. Smith]]></category><category><![CDATA[Robert E. Jackson]]></category></item>
<item><title><![CDATA[ Eager to Get Busy at the Phillips ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/02/08/AR2008020800271.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/02/08/AR2008020800271.html?nav=rss_opinion/columns</guid><pubDate>Sun, 10 Feb 2008 00:00:00 EST</pubDate><description><![CDATA[ Here's what Dorothy Kosinski, incoming director of the Phillips Collection, remembers as a cheery youthful adventure: close to 20 hours spent on a train from New York to Indianapolis, then a bus trip to Indiana University in Bloomington, followed by a week at the Kinsey Institute researching 19th-century lesbian erotica. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Eager]]></category><category><![CDATA[to]]></category><category><![CDATA[Get]]></category><category><![CDATA[Busy]]></category><category><![CDATA[at]]></category><category><![CDATA[the]]></category><category><![CDATA[Phillips]]></category><category><![CDATA[Duncan Phillips]]></category><category><![CDATA[Walk Kosinski]]></category><category><![CDATA[Dorothy Kosinski]]></category><category><![CDATA[Jay Fisher]]></category><category><![CDATA[Texas]]></category><category><![CDATA[Dallas]]></category><category><![CDATA[The Phillips Collection]]></category><category><![CDATA[Fort Worth Star-Telegram]]></category><category><![CDATA[Baltimore]]></category><category><![CDATA[Basel]]></category><category><![CDATA[Dorothy M. Kosinski]]></category><category><![CDATA[Gustave Courbet]]></category><category><![CDATA[Indianapolis]]></category><category><![CDATA[Kenneth Noland]]></category><category><![CDATA[Richard Diebenkorn]]></category><category><![CDATA[Seine River]]></category><category><![CDATA[Tyler Green]]></category><category><![CDATA[Baltimore Museum of Art]]></category><category><![CDATA[Dallas Museum of Art]]></category><category><![CDATA[Indiana University]]></category><category><![CDATA[Institute of Fine Arts]]></category><category><![CDATA[New York University]]></category><category><![CDATA[Switzerland]]></category><category><![CDATA[The Kinsey Institute for Research in Sex, Gender and Reproduction]]></category><category><![CDATA[Yale University]]></category><category><![CDATA[New York]]></category><category><![CDATA[Washington, DC]]></category></item>
<item><title><![CDATA[ Look-Alike Works Make for an Uncommonly Provocative Show ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/01/25/AR2008012503342.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/01/25/AR2008012503342.html?nav=rss_opinion/columns</guid><pubDate>Sat, 26 Jan 2008 00:00:00 EST</pubDate><description><![CDATA[ Rather like scientists, the best artists run "what if" experiments. "What if I soften the contours in my figures," asked Leonardo, "so that a jaw line and the neck below it run into each other?" The result was a realist effect no one had seen before. "What if I show a scene where everything's been broken into tiny dabs of paint?" wondered Monet, while only a few decades later Duchamp tested what would happen if he showed a urinal as art. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Look-Alike]]></category><category><![CDATA[Works]]></category><category><![CDATA[Make]]></category><category><![CDATA[for]]></category><category><![CDATA[an]]></category><category><![CDATA[Uncommonly]]></category><category><![CDATA[Provocative]]></category><category><![CDATA[Show]]></category><category><![CDATA[Cara Ober]]></category><category><![CDATA[Christine Bailey]]></category><category><![CDATA[Baltimore]]></category><category><![CDATA[Inter IKEA Systems BV]]></category><category><![CDATA[Old Navy Inc.]]></category><category><![CDATA[Second Life]]></category><category><![CDATA[Baltimore's School]]></category><category><![CDATA[China]]></category></item>
<item><title><![CDATA[ Matisse Chips Away at His Tranquillity ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2008/01/18/AR2008011800892.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2008/01/18/AR2008011800892.html?nav=rss_opinion/columns</guid><pubDate>Sun, 20 Jan 2008 00:00:00 EST</pubDate><description><![CDATA[ BALTIMORE -- French painter Henri Matisse often gets named as one of the three or four most important artists of the 20th century, so it's surprising to find that he promoted a La-Z-Boy theory of art. He said that art should have "a soothing, calming influence on the mind, something like a good armchair."<br clear="all"/><a href="http://ad.doubleclick.net/jump/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295457177" target="_blank"><img src="http://ad.doubleclick.net/ad/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295457177" border="0" vspace="5"></a> ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Matisse]]></category><category><![CDATA[Chips]]></category><category><![CDATA[Away]]></category><category><![CDATA[at]]></category><category><![CDATA[His]]></category><category><![CDATA[Tranquillity]]></category><category><![CDATA[Henri Matisse]]></category><category><![CDATA[Baltimore Museum of Art]]></category><category><![CDATA[La-Z-Boy Inc.]]></category><category><![CDATA[Dorothy Kosinski]]></category><category><![CDATA[The Phillips Collection]]></category><category><![CDATA[Washington, DC]]></category></item>
<item><title><![CDATA[ ART ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2007/12/28/AR2007122800828.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2007/12/28/AR2007122800828.html?nav=rss_opinion/columns</guid><pubDate>Sun, 30 Dec 2007 00:00:00 EST</pubDate><description><![CDATA[ 1. "Jasper Johns: An Allegory of Painting, 1955-1965," at the National Gallery of Art, Jan. 28 through April 29. A unique chance to get close to the hugely influential American artist. By looking at just his first 10 years, the show let us watch him push back against the dominant abstraction. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[ART]]></category><category><![CDATA[]]></category></item>
<item><title><![CDATA[ The Overripe Fruit of John Alexander's Labors ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2007/12/26/AR2007122601605.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2007/12/26/AR2007122601605.html?nav=rss_opinion/columns</guid><pubDate>Thu, 27 Dec 2007 00:00:00 EST</pubDate><description><![CDATA[ We've all come across actors too fond of their thespian skills. They rage when their characters are mad, wail when they're supposed to be sad and turn every hint of an accent into a Meryl Streep moment. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[The]]></category><category><![CDATA[Overripe]]></category><category><![CDATA[Fruit]]></category><category><![CDATA[of]]></category><category><![CDATA[John]]></category><category><![CDATA[Alexander's]]></category><category><![CDATA[Labors]]></category><category><![CDATA[]]></category></item>
<item><title><![CDATA[ Is Cubism's Revolution Behind Us? ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2007/12/21/AR2007122100734.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2007/12/21/AR2007122100734.html?nav=rss_opinion/columns</guid><pubDate>Sun, 23 Dec 2007 00:00:00 EST</pubDate><description><![CDATA[ Ahundred years ago, in a classic artist's hovel in Montmartre, Pablo Picasso stood looking at his great "Demoiselles d'Avignon." The product of six months' agonizing work, the picture had completely redefined what art could be. It launched the cubist revolution. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Is]]></category><category><![CDATA[Cubism's]]></category><category><![CDATA[Revolution]]></category><category><![CDATA[Behind]]></category><category><![CDATA[Us?]]></category><category><![CDATA[]]></category></item>
<item><title><![CDATA[ The Perfect Show for a World Up to Its Eyes in Trash ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2007/12/07/AR2007120700606.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2007/12/07/AR2007120700606.html?nav=rss_opinion/columns</guid><pubDate>Sun, 09 Dec 2007 00:00:00 EST</pubDate><description><![CDATA[ Q: What's tall and hollow and made of wire mesh?<br clear="all"/><a href="http://ad.doubleclick.net/jump/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295500217" target="_blank"><img src="http://ad.doubleclick.net/ad/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295500217" border="0" vspace="5"></a> ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[The]]></category><category><![CDATA[Perfect]]></category><category><![CDATA[Show]]></category><category><![CDATA[for]]></category><category><![CDATA[a]]></category><category><![CDATA[World]]></category><category><![CDATA[Up]]></category><category><![CDATA[to]]></category><category><![CDATA[Its]]></category><category><![CDATA[Eyes]]></category><category><![CDATA[in]]></category><category><![CDATA[Trash]]></category><category><![CDATA[Aaron Curry]]></category><category><![CDATA[Abraham Cruzvillegas]]></category><category><![CDATA[Agnes Martin]]></category><category><![CDATA[Gabriel Kuri]]></category><category><![CDATA[Isa Genzken]]></category><category><![CDATA[Africa]]></category><category><![CDATA[Anthony Caro]]></category><category><![CDATA[Baltimore]]></category><category><![CDATA[Berlin]]></category><category><![CDATA[Brooklyn]]></category><category><![CDATA[Los Angeles]]></category><category><![CDATA[National Gallery of Art]]></category><category><![CDATA[Pablo Picasso]]></category><category><![CDATA[Rebecca Eisenberg]]></category><category><![CDATA[Richard Flood]]></category><category><![CDATA[New York]]></category></item>
<item><title><![CDATA[ Buried Treasure ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2007/12/07/AR2007120702405.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2007/12/07/AR2007120702405.html?nav=rss_opinion/columns</guid><pubDate>Sat, 08 Dec 2007 00:00:00 EST</pubDate><description><![CDATA[ T wo and a half millennia ago, what was not to like about being an aristocrat in Colchis, a country at the eastern end of the Black Sea? ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Buried]]></category><category><![CDATA[Treasure]]></category><category><![CDATA[Golden Graves]]></category><category><![CDATA[British Columbia]]></category><category><![CDATA[Georgia]]></category><category><![CDATA[Black Sea]]></category><category><![CDATA[Rome]]></category><category><![CDATA[Greece]]></category><category><![CDATA[New York University]]></category><category><![CDATA[Persia]]></category><category><![CDATA[Smithsonian Institution]]></category><category><![CDATA[Smithsonian's Arthur M. Sackler Gallery]]></category><category><![CDATA[U.S. Marine Corps]]></category><category><![CDATA[National Mall]]></category></item>
<item><title><![CDATA[ 'Beowulf' Movie Magic Can't Conjure The Poem's Bare-Bones Enchantment ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2007/11/21/AR2007112102353.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2007/11/21/AR2007112102353.html?nav=rss_opinion/columns</guid><pubDate>Thu, 22 Nov 2007 00:00:00 EST</pubDate><description><![CDATA[ The great hero Beowulf, wrestling with the monster Grendel, split the sinews of his foe and snapped his arm off at the shoulder. Going up against the monster's mother, he slammed her to the earth, then sliced her neck through with a sword. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA['Beowulf']]></category><category><![CDATA[Movie]]></category><category><![CDATA[Magic]]></category><category><![CDATA[Can't]]></category><category><![CDATA[Conjure]]></category><category><![CDATA[The]]></category><category><![CDATA[Poem's]]></category><category><![CDATA[Bare-Bones]]></category><category><![CDATA[Enchantment]]></category><category><![CDATA[Martin Puhvel]]></category><category><![CDATA[Montreal]]></category><category><![CDATA[Robert Zemeckis]]></category><category><![CDATA[Dolby Laboratories Inc.]]></category><category><![CDATA[Angelina Jolie]]></category><category><![CDATA[Hollywood]]></category><category><![CDATA[Martin Provensen]]></category><category><![CDATA[Estonia]]></category><category><![CDATA[Golden Treasury]]></category><category><![CDATA[McGill University]]></category><category><![CDATA[United Kingdom]]></category></item>
<item><title><![CDATA[ Edward Hopper and the Rising Tide of War ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2007/11/16/AR2007111600223.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2007/11/16/AR2007111600223.html?nav=rss_opinion/columns</guid><pubDate>Sun, 18 Nov 2007 00:00:00 EST</pubDate><description><![CDATA[ Edward Hopper painted "Ground Swell" in late August and early September 1939. It shows friends out sailing on a sunny day, watching a bell buoy bobbing in the waves. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Edward]]></category><category><![CDATA[Hopper]]></category><category><![CDATA[and]]></category><category><![CDATA[the]]></category><category><![CDATA[Rising]]></category><category><![CDATA[Tide]]></category><category><![CDATA[of]]></category><category><![CDATA[War]]></category><category><![CDATA[Alexander Nemerov]]></category><category><![CDATA[Edward Hopper]]></category><category><![CDATA[Adolf Hitler]]></category><category><![CDATA[Morris Louis]]></category><category><![CDATA[National Gallery of Art]]></category><category><![CDATA[Atwater Kent]]></category><category><![CDATA[Diane Arbus]]></category><category><![CDATA[James Michener]]></category><category><![CDATA[Val Lewton]]></category><category><![CDATA[W.H. Auden]]></category><category><![CDATA[Corcoran Museum of Art]]></category><category><![CDATA[Poland]]></category><category><![CDATA[The Hirshhorn Museum and Sculpture Garden]]></category><category><![CDATA[United States]]></category><category><![CDATA[Yale University]]></category></item>
<item><title><![CDATA[ In New York, 286 Saint Fabiolas = One Epiphany ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2007/11/09/AR2007110900660.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2007/11/09/AR2007110900660.html?nav=rss_opinion/columns</guid><pubDate>Sun, 11 Nov 2007 00:00:00 EST</pubDate><description><![CDATA[ NEW YORK -- In the far reaches of uptown Manhattan, beyond Harlem, there's a suite of wood-paneled galleries hosting work the like of which they've never seen before: 286 portraits of the same female saint, crafted by artists ranging from skilled hacks to ungifted amateurs, all showing their subject in the same pose, in the same clothes and in general as much alike as they could make her.<br clear="all"/><a href="http://ad.doubleclick.net/jump/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295503086" target="_blank"><img src="http://ad.doubleclick.net/ad/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295503086" border="0" vspace="5"></a> ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[In]]></category><category><![CDATA[New]]></category><category><![CDATA[York,]]></category><category><![CDATA[286]]></category><category><![CDATA[Saint]]></category><category><![CDATA[Fabiolas]]></category><category><![CDATA[=]]></category><category><![CDATA[One]]></category><category><![CDATA[Epiphany]]></category><category><![CDATA[Francis Alys]]></category><category><![CDATA[Jean-Jacques Henner]]></category><category><![CDATA[Hispanic Society]]></category><category><![CDATA[Ernst Gombrich]]></category><category><![CDATA[Lauren Bacall]]></category><category><![CDATA[Manhattan]]></category><category><![CDATA[Mexico City]]></category><category><![CDATA[Rome]]></category><category><![CDATA[Dia Art Foundation]]></category><category><![CDATA[Hispanic Society of America]]></category><category><![CDATA[New York]]></category></item>
<item><title><![CDATA[ Doing a Double Take at Richard Prince's Rephotography ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2007/10/19/AR2007101900651.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2007/10/19/AR2007101900651.html?nav=rss_opinion/columns</guid><pubDate>Sun, 21 Oct 2007 00:00:00 EDT</pubDate><description><![CDATA[ NEW YORK -- You go into an empty room, look around and get bored. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Doing]]></category><category><![CDATA[a]]></category><category><![CDATA[Double]]></category><category><![CDATA[Take]]></category><category><![CDATA[at]]></category><category><![CDATA[Richard]]></category><category><![CDATA[Prince's]]></category><category><![CDATA[Rephotography]]></category><category><![CDATA[Richard Prince]]></category><category><![CDATA[Jan Vermeer]]></category><category><![CDATA[Playboy Enterprises Inc.]]></category><category><![CDATA[Diane Arbus]]></category><category><![CDATA[Edward Hopper]]></category><category><![CDATA[Guggenheim Museum]]></category><category><![CDATA[Netherlands]]></category><category><![CDATA[United States]]></category><category><![CDATA[New York]]></category></item>
<item><title><![CDATA[ Vive la Similarité ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2007/10/12/AR2007101200543.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2007/10/12/AR2007101200543.html?nav=rss_opinion/columns</guid><pubDate>Sun, 14 Oct 2007 00:00:00 EDT</pubDate><description><![CDATA[ BALTIMORE -- To understand some of the greatest French artists of the 19th century, from Jacques-Louis David to Claude Monet, it helps to think about a pair of pants. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Vive]]></category><category><![CDATA[la]]></category><category><![CDATA[Similarité]]></category><category><![CDATA[Claude Monet]]></category><category><![CDATA[Jacques-Louis David]]></category><category><![CDATA[William T. Walters]]></category><category><![CDATA[Jean-Baptiste Camille Corot]]></category><category><![CDATA[Baltimore]]></category><category><![CDATA[The Walters Art Museum]]></category><category><![CDATA[Barbizon International LLC]]></category><category><![CDATA[Charles Stuckey]]></category><category><![CDATA[Charlotte Corday]]></category><category><![CDATA[Jean-Auguste-Dominique Ingres]]></category><category><![CDATA[France]]></category></item>
<item><title><![CDATA[ Art Museum Expansion: A Constructive Trend? ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2007/10/05/AR2007100500240.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2007/10/05/AR2007100500240.html?nav=rss_opinion/columns</guid><pubDate>Sun, 07 Oct 2007 00:00:00 EDT</pubDate><description><![CDATA[ All around the world, and right across this continent, art museums are launching or planning expansions, attracting larger crowds and greater attention than ever before. From the august Prado in Madrid and the Uffizi in Florence to museums in Atlanta, Boston, Chicago, Denver, Houston, Kansas City, Los Angeles, Milwaukee, Philadelphia, Richmond, Seattle, Toronto, Vienna -- you hardly need to skip a letter in an A to Z of notable cities -- institutions are bigger than ever before, or on the way to getting bigger. More art will be seen by more people in more space. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Art]]></category><category><![CDATA[Museum]]></category><category><![CDATA[Expansion:]]></category><category><![CDATA[A]]></category><category><![CDATA[Constructive]]></category><category><![CDATA[Trend?]]></category><category><![CDATA[London]]></category><category><![CDATA[Seattle]]></category><category><![CDATA[Tate Modern]]></category><category><![CDATA[Venice]]></category><category><![CDATA[Design Museum London]]></category><category><![CDATA[The Museum of Modern Art]]></category><category><![CDATA[New York]]></category></item>
<item><title><![CDATA[ Turner, in Full Light ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2007/09/30/AR2007093001628.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2007/09/30/AR2007093001628.html?nav=rss_opinion/columns</guid><pubDate>Mon, 01 Oct 2007 00:00:00 EDT</pubDate><description><![CDATA[ Joseph Mallord William Turner is Britain's greatest artist because his radical watercolors are so much about pure tone and color that they foreshadow much later abstraction.<br clear="all"/><a href="http://ad.doubleclick.net/jump/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295505813" target="_blank"><img src="http://ad.doubleclick.net/ad/wpni.rss/opinion/columns;pos=ad9;tile=9;ad=rss;sz=479x40;ord=35295505813" border="0" vspace="5"></a> ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Turner,]]></category><category><![CDATA[in]]></category><category><![CDATA[Full]]></category><category><![CDATA[Light]]></category><category><![CDATA[J.M.W. Turner]]></category><category><![CDATA[National Gallery of Art]]></category><category><![CDATA[United Kingdom]]></category><category><![CDATA[Waterloo]]></category><category><![CDATA[Ariel Left]]></category><category><![CDATA[Covent Garden]]></category><category><![CDATA[John Ruskin]]></category><category><![CDATA[London]]></category><category><![CDATA[Rembrandt van Rijn]]></category><category><![CDATA[Egypt]]></category><category><![CDATA[Royal Academy of Arts]]></category></item>
<item><title><![CDATA[ The Fire Works Show ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2007/09/30/AR2007093001385.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2007/09/30/AR2007093001385.html?nav=rss_opinion/columns</guid><pubDate>Mon, 01 Oct 2007 00:00:00 EDT</pubDate><description><![CDATA[ One small room in the National Gallery's Turner show has been devoted to two oil paintings of "The Burning of the Houses of Lords and Commons" and to 11 glowing, barely-there watercolors of that and other fires. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[The]]></category><category><![CDATA[Fire]]></category><category><![CDATA[Works]]></category><category><![CDATA[Show]]></category><category><![CDATA[National Gallery of Art]]></category><category><![CDATA[London]]></category><category><![CDATA[Rome]]></category><category><![CDATA[House of Lords]]></category><category><![CDATA[Parliament of the United Kingdom]]></category><category><![CDATA[Washington, DC]]></category></item>
<item><title><![CDATA[ Back to Color School: Four Lessons on Morris Louis ]]></title><link>http://www.washingtonpost.com/wp-dyn/content/article/2007/09/28/AR2007092800341.html?nav=rss_opinion/columns</link><guid isPermaLink="true">http://www.washingtonpost.com/wp-dyn/content/article/2007/09/28/AR2007092800341.html?nav=rss_opinion/columns</guid><pubDate>Sun, 30 Sep 2007 00:00:00 EDT</pubDate><description><![CDATA[ Abstract art? Yawn. ]]></description><dc:creator><![CDATA[Blake Gopnik]]></dc:creator><category><![CDATA[Back]]></category><category><![CDATA[to]]></category><category><![CDATA[Color]]></category><category><![CDATA[School:]]></category><category><![CDATA[Four]]></category><category><![CDATA[Lessons]]></category><category><![CDATA[on]]></category><category><![CDATA[Morris]]></category><category><![CDATA[Louis]]></category><category><![CDATA[Morris Louis]]></category><category><![CDATA[Alexander Nemerov]]></category><category><![CDATA[Baltimore]]></category><category><![CDATA[Clement Greenberg]]></category><category><![CDATA[James Michener]]></category><category><![CDATA[Joe McCarthy]]></category><category><![CDATA[Morris Louis Bernstein]]></category><category><![CDATA[Red Square]]></category><category><![CDATA[Richard Nixon]]></category><category><![CDATA[Shepherd Steiner]]></category><category><![CDATA[Kennedy Committee]]></category><category><![CDATA[The Hirshhorn Museum and Sculpture Garden]]></category><category><![CDATA[New York]]></category><category><![CDATA[Washington, DC]]></category></item>
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