Curators Noriko Murai of Temple University and the Gardner's Alan Chong re-create the feel of that room with their jewel-box installation. It reflects Gardner's typical eclecticism — snarling shaggy 15th-century Japanese wooden fu dogs, tiny silver and enamel 19th-century Chinese opium boxes, an 18th-century Japanese writing box dazzlingly decorated with gold and silver palms, a 19th-century Indian box intricately decorated with silver floral interlace, a 17th-century Japanese screen depicting scenes from The Tale of Genji. Gardner's Martha Stewart side comes out in a (re-created) door that she decorated with 24 woodblocks — not the prints, the blocks themselves, which intrigue with their intricate carving.
The black gallery walls and spotlights give everything a feel of majesty and reverence. And draw your eye to a 17th-century gilded-bronze Chinese Buddha seated on a lotus-leaf throne. He's awesomely calm.
Read Greg Cook's blog at gregcookland.com/journal.
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Three's company, Review: Littlerock, Exposures, More
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Luis Meléndez himself greets you at the outset of "Luis Meléndez: Master of the Spanish Still Life" at the Museum of Fine Arts. He seems a haughty 31-year-old in this 1746 self-portrait, standing in a fine silk coat and ruffled shirt and holding up a chalk drawing (note the chalk in his hand) of a hunky nude dude.
- The rules of his game
Given that every theater season seems to bring a new production of a Chekhov play, it's surprising that so few movies have been made of his dramas, or of his short stories. Or maybe not so surprising: Chekhov is perilously difficult for filmmakers.
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"Listen, I will go on record saying I love Feist, I love Neko Case. I love that music. But that shit's easy listening for the twentysomethings. It fucking is. It's not hard to listen to any of that stuff."
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