My comment has largely to do with the way art is presented. It’s a strident but useful summary of a particular view of art’s function in a particular moment: “We are for the large shape because it has the impact of the unequivocal.…We are for flat forms because they destroy illusion and reveal truth.” It was bombast in the service of humanism, but if you look at the work they were making, it doesn’t look bombastic at all-it’s lyrical and curious, as if they’re excitedly feeling their way forward in the dark. “Make the spectator see the world our way, not his way” comes from a letter Mark Rothko and Adolph Gottlieb wrote to The New York Times in 1943, when a baffled critic invited them to explain their work and its aims. I like that Piranesi proselytized, but for a kind of anti-parochialism. Today, you’ve written, exhibitions and their wall texts too often try to “make the spectator see” in a particular way, and contemporary art, “despite its many claims of ‘intervening’ in systems of oppression, often mimics rather than disrupts the worst impulses of the world at large.” Yeah, Artemis of Ephesus as a clock-not for Wirecutter. Susan Tallman: Well, we don’t like overstuffed ornamentation, and we get twitchy about the propriety of cultural appropriation and fusion. technological adventurism.” This time out you cite his 1769 “manifesto” on the cosmopolitan classicism of Rome as “a defense of multiculturalism avant la lettre,” whose pages “challenge the limits and prejudices of our own aesthetic rulebook.” Such as? In your editor’s note you called him a “multi-tasking globalist in tune with 21st c. Prudence Crowther: The very first issue of Art in Print, the international print journal you founded and edited between 2011–2019, included a discussion of new physical and digital fabrications of Piranesi’s designs. I interviewed Tallman by e-mail about Piranesi’s enduring relevance, the coercive wall texts at contemporary museums, and the fluctuating stature of prints. And yet, as she says, he’s never really gone away, his prints popping up even in Logan Roy’s living room in the fourth season of Succession. In the May 11 issue she reviews a new exhibition and three books devoted to Giovanni Battista Piranesi, following a resurgence of interest in the master draftsman and printmaker, architect, and entrepreneur on the three-hundredth anniversary of his birth. They got a dynamic playmaker, an explosive playmaker and that’s what I want to bring to the team.Susan Tallman has been writing about art and artists in The New York Review since 2019-on Vija Celmins, Gerhard Richter (“the poet of uncertainty”), the history of craft, Philip Guston, Hilma af Klint (“there are lots of snails”), Jasper Johns, and the “compositional aplomb” of Kerry James Marshall, among other subjects. You know, the Giants really got a playmaker. “I feel like I’m probably the best deep threat receiver in the draft,” said Hyatt, who runs a 4.4 second 40-yard dash. The 6-foot Hyatt had 11 catches of 40-plus yards, seven of 50-plus and five of 60-plus last season, all tops in major college football. While the selection of Schmitz makes up for losing centers Jon Feliciano and Nick Gates in free agency, the Giants are hoping Hyatt turns out to be their first big-play receiver since Odell Beckham Jr. 73 overall in the third round to take Hyatt, the speedster from Tennessee who caught 15 touchdowns this past season, including an SEC-record five against Alabama. The Giants grabbed Schmitz of Minnesota in the second round and then traded up to No. (AP) - The New York Giants may finally have found a deep-threat receiver and a center for quarterback Daniel Jones, taking John Michael Schmitz and speedy wide out Jalin Hyatt in the second and third rounds of the NFL draft Friday night.
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