It started with a note I found tucked into an anthology of poems edited by Selden Rodman, a book I opened rarely, though there was a time when I was young I had read it so closely and so many times I had most of the poems memorized. The note lay in the spine of the book against a poem of Arthur Rimbaud's titled, I think, "The Twelve-Year-Old Poet." On it are four names printed out in my sure and youthful twenty-one-year-old hand: Baghdad, Koweit, Sakakah, Jaffa.
When I lived in Ottawa in the 1970s, I used to enjoy passing lazy afternoons at the National Gallery looking at the pictures. I remember how surprised I was when I first encountered the Group of Seven collection. These paintings were completely familiar—I’d seen them in schoolbooks and on calendars, posters, t-shirts, everywhere—yet at the same time they were completely unexpected.
Any author who can attract a crowd to listen to explanations of changes in plate tectonics theory over several decades deserves applause, and the best-selling author Simon Winchester did just that, in a conversation with Hal Wake at the 18th Annual V
Yishu: Journal of Contemporary Chinese Art is a new quarterly published in Taiwan and Canada by the anonymously named Art and Collection Group Ltd., which turns out to be an ambitious group of editors, writers, curators and artists in several countri
October 21, 2005, marked the 200th anniversary of the great naval battle of Trafalgar, an engagement in which Admiral Nelson and the British fleet ended Napoleon’s dream of invading England by crushing the French and Spanish fleets off the southwest