Liberal Arts names psychology student Cherish Graham as 2026 Schwartz Fellow - The Pennsylvania State University

In the decades after the death of the Dutch artist Johannes Vermeer in 1675, few knew his name or work. He was so unknown that his paintings were sold with the forged signatures of more popular artists attached. All that changed in the mid-19th century, when his art was reassessed by French critics. Today Vermeer is one of the most admired painters in the world, although, says art historian Andrew Graham-Dixon, he has “proved stubbornly resistant to interpretation”. Vermeer: A Life Lost and Found, Graham-Dixon’s biography which was six years in the writing, endeavours to answer some unresolved questions, among them: what was Vermeer’s life like? Why did he paint the way he did? What was the intent behind his paintings, of which only 36 exist? Unlike the Dutch genre painters of his time, the Delft-born Vermeer painted solemn yet luminous works featuring women in domestic settings and engaged in activities such as reading, writing, playing music or pouring milk. His ability to render light, and its softening effect on rooms and people, was unparalleled. Graham-Dixon is the book’s narrator and his reading is sharp, authoritative and animated.

A a man died of a freak accident on the property on Friday during a walking tour.

'The fair is proceeding as planned and final preparations are underway,' a spokesperson said. The post After Protests and Riots, Art Basel Readies Paris Show appeared first on Artnet News .

MIRROR-FINISH ACRYLIC PANELS CONCEAL pavilion IN GUADALAJARADesigned by errre taller, Sfumato is a temporary reflective pavilion that reinterprets the Cubo MEM, a prominent sculptural landmark at the ITESO architecture complex in Guadalajara, Mexico. Selected as the winning proposal for the inaugural Pabellón MEM competition, the project investigates how an existing architectural structure can become visually imperceptible while maintaining its physical footprint.all images ©errre tallerCONCEALED STEEL FRAMING FORMS MONOLITHIC SKYWARD PAVILIONThe intervention by studio errre taller wraps the 6.40 × 6.40-meter cube in a reflective envelope composed of 3 mm mirror-finish acrylic panels. The standard 1.22 × 2.44-meter sheets are combined with 76 cm cut sections to maximize material efficiency while maintaining surface continuity. The panels are attached using double-sided tape and silicone to a light-gauge metal stud-and-track framing system supported by an interior wooden sub-structure fixed to the original PTR steel frame. To preserve the illusion of a monolithic volume, a single access portal is positioned discreetly on the less prominent west face.

In August 2019, Omar Rajeh sat in his bedroom, listening to the sound of pounding percussion with his world in crisis. In the midst of political instability, Citerne Beirut, a theatre and cultural centre Rajeh had founded in his native Lebanon, was forced to close, dismantled by order of the local government, who planned to build an incinerator on the site. Heartfelt … Omar Rajeh in Dance Is Not for Us. Photograph: Tristram Kenton/the GuardianRajeh tells us that as a teenager, coming of age at the end of the Lebanese civil war, dance had always seemed like the most revolutionary thing he could do. Now here he is, more than three decades later, still dancing – out of frustration, defiance, resistance and a desire to connect. As the percussive score gains momentum, Rajeh’s busy body builds up a sweat. In this danced stream of consciousness, Rajeh is not always an especially elegant mover, but he dances like it’s a necessary thing to do. Part of this year’s Dance Umbrella festival, Dance Is Not for Us is a solo that appears at times like an explosion of physical instinct, but it is mostly calm, considered musings on the nature of choreography, with all its workings exposed.