The View from Here
Amid all the horrifying developments of the past week—coronavirus, the death of Kobe Bryant, the Kushner-Trump “peace plan” for the Middle East—there was one especially chilling bit of news…
I have always loved ballet. Cherished childhood lessons grew into an infatuation thanks to the international stars I saw perform during my teens. Adult demands, however, redirected my energies toward business, and then fashion history, and my ardor for ballet slumbered. For decades, my eyes skimmed over the midcentury evening dresses—fitted satin bodices, voluminous tulle skirts—that filled the fashion editorials and museum costume collections I studied in depth. Quietly these beautiful images and garments assembled themselves in my subconscious. About three years ago, I began to ponder how modern fashion came to appropriate these elements of the classical ballerina’s raiment. And why? READ ON
It’s the defining artwork of the Catholic Church (according to George Clooney’s character in the 2014 movie The Monuments Men) and as great a work of art as any ever stowed in a salt mine for safekeeping. It is endlessly scrutinized and never wholly comprehended. It’s a cabinet of curiosities, both for the ingenuity of its construction—a set of painted panels unfolding to reveal another set within—and for the way it embodies the career of the enigmatic artist who made it. It is the Adoration of the Mystic Lamb, completed in Ghent in 1432, and the focus of a new show there, “Van Eyck: An Optical Revolution.” READ ON
Graydon Carter and Alessandra Stanley
Chris Garrett Michael Hainey George Kalogerakis Nathan King
Angela Panichi
John Tornow
Jim Kelly
Laura Jacobs
Ashley Baker
Ash Carter
Julia Vitale
Cazzie David
Emma Freud
Walter Isaacson
Pico Iyer
John Lahr
James Wolcott
Ann Schneider
Bob Mankoff
Randall Poster
Elena Clavarino Clementine Ford Alex Oliveira
Isabelle Harvie-Watt
Bridget Arsenault
Adam Nadler
Matt Kapp
Emine Gozde Sevim
H. Scott Jolley
Elinor Schneider
Emily Davis
Anjali Lewis
Marc Leyer
Madeline Spates