Giuseppe Arcimboldo (Italian, 1527 - 1593), Fire, 1566. Kunsthistorisches Museum, Vienna.
This Winter 2016 issue of TAS brings two articles and a curated project. I am delighted that John Bell, who is Director of the Ballard Institute and Museum of Puppetry at the University of Connecticut and an alumnus of the Bread and Puppet Theatre, has curated "The Persistence of Puppets, Masks, and Performing Objects" for TAS. On a personal note, the Bread and Puppet Theatre that has been performing for more that fifty years is one of my favorites; I have traveled to see them in action whenever possible.
I had the pleasure of seeing Habsburg Splendor at the High Museum in Atlanta with George Hornbein, who offers a very interesting perspective on this collection from the Kunsthistorisches Museum, Vienna. George Hornbein is an architect who has been dividing his time between Atlanta and Costa Rica. I am very thankful for George’s writing; he has been writing for us since the very first issue of TAS where he wrote about Daniel Libeskind’s new Denver Art Museum. I am looking forward to more articles from him.
These works in the exhibition Habsburg Splendor (shown in Houston and Minneapolis before arriving at the High) were commissioned or collected by the Habsburgs from the 13th through the 20th centuries. The paintings are exceptional and the excess is something to behold. They are all back in Vienna now, and I look forward to seeing them sometime in their permanent home.
Finally, I have written about the choreographer Mark Morris on the occasion of the Mark Morris Dance Group’s returning to Atlanta after not performing here for fifteen years. MMDG performance was extraordinary, and I hope all will have the opportunity to see this company.
Wishing all a very Happy New Year, Ground Hog Day, and Valentine’s Day, as well as a spectacular 2016.
All my best,
The Art Section
Deanna Sirlin is an artist. Her recent book is She's Got What It Takes: American Women Artists In Dialogue was Published by Charta Art Books 2013.