Previous: American Watercolor at the PMA (2)

A Tale of Two Georges

Post #1789 • May 15, 2017, 2:24 PM

[Image: Georges Seurat, Circus Sideshow (Parade de cirque), 1887–88, oil on canvas, 39 1/4 x 59 inches, courtesy of the Metropolitan Museum of Art]

Georges Seurat, Circus Sideshow (Parade de cirque), 1887–88, oil on canvas, 39 1/4 x 59 inches, courtesy of the Metropolitan Museum of Art

I neglected to mention when it first went live and appeared in the print edition that my review of Seurat's Circus Sideshow at the Met came out at the beginning of the month in The New Criterion. Paywalled, but quite a bit less than a typical 19th-century circus admission, once adjusted for inflation.

Last week my TNC review of the American Watercolor show at the PMA got picked up by Prufrock. I have long admired Micah Mattix's work on Prufrock and I'm enormously pleased to have written something that merited his notice. You too should subscribe.

Then, over the weekend, I was cited in an essay excoriating cultural appropriation by no less than George Will at no less than the Washington Post. It's a good day for a writer when George Will thinks you're quoteworthy.

In other news, my website is now serving from franklin.art. The initial, professional-period buy-in for these new .art top-level domains was set to a price roundly booed by the art world, but having unloaded one of my own domain name acquisitions from 2004 a short while ago (which paid for the new one), I know what happens to prices once the name parkers move in. With a last name like mine, which looks like some German hit a wall, I figured I would go for it.

I spent several man-months coding the site itself over the last year and change. It's based around the idea of ontology triples, which I borrowed from OWL, so there's a table that lists relevant claims in the form of, for instance, |art-id|uses-medium|watercolor|. That makes it possible to resolve URLs like franklin.art/show-art/uses-medium/watercolor/. Poke around, there's stuff there. I'm fairly certain that I'm the only fine-art painter on the planet who can explain Muenchian Grouping to you.

Last but not least, Delicious Line is cranking along impressively, if I do say so. I'm overdue for a blog post about where the idea for this came from and how I plan to make it work, but in brief, I'm the Editor-In-Chief of the publication and director of the 501(c)(3) corporation that produces it. Of course I write for the site as well, with seven reviews thus far. As it happens, you can write for it too, fifteen others have done so. But at the very least you should sign up for the email blast with new reviews that goes out on Friday mornings, which I have dubbed the Weekly Letter.

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