Ruins in the American collective consciousness
The field of decorative arts reflects the inheritance of patriarchy in ways that are rarely acknowledged.
The Museum of the American Revolution in Philadelphia opened on April 19th.
Anxiety about fake news has also been greeted with bemusement by historians, who note that the phenomenon is hardly new.
David Remnick, in a post-election piece in the New Yorker, went so far as to describe Trump as “vulgarity unbounded.” Are we about to have a four-year crash course in this topic? Maybe it’s time to take a closer look.
In April 1914 the Modernist Studios in New York City held an “Exposition of Bad Taste.” Wallpaper patterns that had been popular in the 1880s served as the backdrop for a crowded display comprising “marble-topped furniture, seaweed, wax flowers, and other treasures under glass; samplers, homemade paintings, ornate chinaware of every description, and countless articles such as were considered extremely genteel in the old days.”
There’s trouble on Monument Avenue. This grand boulevard in Richmond, Virginia, is the symbolic heart of the city. It is leafy and quiet, and lined with grand architecture dating largely from the early twentieth century. As its name suggests, it also features a series of monuments. One is dedicated to the tennis player Arthur Ashe. All the others pay tribute …