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A 21st-Century Museum With Puritan Bones
The New York Times 6.7.03
The new Peabody Essex Museum in Salem, Mass., which he designed to incorporate several earlier buildings, including a museum built in 1799. The atrium suggests a 19th-century streetscape beneath a billowing 21st-century roof.

'Trash' to brash: China's contemporary art
Asia Times 4.7.03
With all the art indicators pointing east at the 50th Venice Biennale, Beijing's arbiters of taste are being sharply reminded that much of Chinese contemporary art discarded as trash here at home is a hot commodity abroad.
At least 30 Chinese artists are showcasing their work at the international exhibitions at the Biennale, which opened on June 14 and runs until November 2. The official representation of six artists - ironically those led by the Ministry of Culture - was canceled because of the outbreak of severe acute respiratory syndrome (SARS).
The participation of the Ministry of Culture marks the first time the state has given its blessing to the display of China's avant-garde art at the all-important Biennale. It also indicates a watershed in official policy, which has thus far held that Chinese contemporary art as subversive, disturbing and too abstract to appeal to Chinese esthetics.

Intermittents: la dernière chance
Liberation 5.7.03
Pour le gouvernement confronté au conflit des intermittents du spectacle, c'est le week-end de la dernière chance : soit il annonce des mesures permettant de sortir du conflit, soit il risque de se retrouver face à des perturbations tous azimuts, touchant non seulement les festivals, dont celui d'Avignon qui débute mardi, mais aussi le Tour de France ou les cérémonies du 14-juillet.

Guggenheim: back to the basics
New York Posts 3.7.03
As cynical New Yorkers, we can see the Guggenheim's latest offering, "From Picasso to Pollock: Classics of Modern Art," as a retreat, if not an outright defeat.
A source of ongoing glee has been the way the Guggenheim was taken down a notch since those high-flying days of the late '90s when, under its imperious director Thomas Krens, it seemed to grow more massive and menacing by the hour, opening up museums throughout the world, forming alliances with the oldest and most prestigious art institutions in Russia and Austria.
How quickly things have changed!