Apollo

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Articles in Oct, 2006 issue of Apollo

• Where do we come from? Where are we going? The Smithsonian American Art Museum in Washington, DC, has reopened after a major renovation and expansion of its collections. Its Chief Curator, Eleanor Jones Harvey, presents a selection of its new acquisitions
  by Elanor Jones Harvey
• Art in the pulpit: Helen Geddes welcomes a handsomely illustrated account of the three pulpits by Nicola and Giovanni Pisano that are among the great masterpieces of medieval sculpture
  by Helen Geddes
• Expanded memories: to mark his major exhibition opening in Japan this month, Bill Viola talks about his philosophy of art
  by Martin Gayford
• The Denver Art museum not just a one-minute 'wow'
  by Louise Nicholson
• An evangelical architect: a richly illustrated survey of Quinlan Terry's career makes John Martin Robinson wonder why this ardent classicist regards himself as a martyr of modernism when he is such a puritanical modernist himself
  by John Martin Robinson
• Ten to catch: Apollo's selection for the month ahead
• What will the rich do next?
  by Michael Hall
• Dross in the gold: In the March 1991 issue, Christopher Knight published a withering review of the new Armand Hammer Museum of Art in Los Angeles
  by Christopher Knight
• Art in the machine age: Sheeler's hidden human touch: an exhibition opening this month in Chicago strives to present Charles Sheeler's paintings and photography as a unified aesthetic enterprise
  by Yonna Yapou
• At home on Chestnut Street: historic New England has acquired a major new property, the Stephen Phillips House in Salem, Massachusetts. As Brian Pfeiffer explains, from the outside it appears to be a classic Federal-period mansion, but its history is as i
  by Brian Pfeiffer
• Avant-garde or kitsch? Simon Poe reviews three recent books on Millais and the Pre-Raphaelites, which range from worthy but indigestible to gripping and sumptuous
  by Simon Poe
• The sins of the world: Kenneth Bendiner argues that Robert Rauschenberg's 'combine' work Monogram is not a random assembly but a coherent whole that by alluding to Holman Hunt's The Scapegoat takes as its subject the sacrifice of Christ
  by Kenneth Bendiner
• A hybrid art: 18th-century European decoration on oriental ceramics has long been sidelined by specialists. This landmark publication should persuade them that they are wrong
  by Hilary Young
• My review of the new sculpture gallery at the V&A referred to scholarship as it is displayed, not to the museum's very laudable publications
  by John Kenworthy-Browne
• Pulsating out of the flame: a rich exploration of David Bomberg's art reveals his central role in 20th-century British painting
  by Jack Wakefield
• Too much money: Richard L. Feigen, one of America's most celebrated art dealers, argues that the extraordinary amount of money that has flooded into parts of the art market in the past 20 years is responsible for some pernicious developments, from the com
  by Richard L. Feigen
• Around the galleries: Susannah Woolmer previews major fall shows in New York, ranging from Wildenstein's splendid benefit show for the New Orleans Museum of Art to new work by Dale Chihuly and Alexander Creswell
  by Susannah Woolmer
• Working holiday: because the drawings he made there are now mostly in poor condition, Constable's visit to the Lake District in 1806 is usually regarded as a dead end in his career. An exhibition at Grasmere suggests otherwise
  by Hugh Belsey
• Taking the plunge: Nicholas Grimshaw's new spa at bath is a fine building, but its clinical austerity is surely at odds with its purpose
  by Gavin Stamp
• The Mond Bequest and the Barnes Collection: shall the dead hand rule?
  by Selby Whittingham
• City of light and mist: an opportunity to see original prints of some of Hoppe's finest London photographs reveals their unexpected depths and subtleties
  by Samson Spanier
• London news: when Robert Tuttle was appointed American ambassador to the Court of St James's in the summer of 2005, he and his wife, Maria, chose to make their official residence, Winfield House, in Regent's Park, London, a setting for modern American art
  by Michael Hall
• Hot baroque: an exhibition at Castel Sant' Angelo on the creation of baroque in 17th-century Rome ranges from architectural drawings and models to an impressive array of devotional and domestic objects
  by Andrew Hopkins
• From America for Florence: Mel Gibson and Sting may not often be associated with Florentine mannerist altarpieces, but, as Larry J. Feinberg explains, the support that they and many other benefactors are giving to a dynamic American organisation, the Frie
  by Larry J. Feinberg
• 19th-century German art: the scarcity of top-quality paintings by famous names is driving collectors to explore new areas of this buoyant market
  by Claudia Herstatt
• The upper art side: a rediscovered painting by gravelot stars at New York's international fine art fair, while in Paris Brassai's estate is being auctioned
  by Susan Moore
• Art dealer, publisher, Jew: Vera Grodzinski welcomes an account of the career of Paul Cassirer, the art dealer and publisher who did so much to introduce French modernism to Germany
  by Vera Grodzinski