Where Have All the Men Gone?

Like many intelligent men of my acquaintance, I’ve always carried something of a torch for Nigella Lawson, the well-known British television cook, popular author, and media personality.  I’m not sure whether it’s her exotically maternal beauty, or the way she brings an intelligent sensuality to the enjoyment of good food, or just that slightly husky, posh voice that sends the heart a-fluttering, but there you are.  If, as has been commented before, Dame Helen Mirren is the thinking man’s actress, then Nigella is clearly the thinking man’s foodie.

Thus when I learnt of what took place recently between her and her husband, PR guru and promoter of exceptionally bad art Charles Saatchi, at my favorite restaurant in London, I was absolutely appalled.  If there were no pictures of the event, one simply would not have believed it.  Mr. Saatchi, who is 70, is not exactly superhero material either in size or anything else, and one would think that a lady as intelligent as Ms. Lawson would not have allowed such an event to take place.  If someone had asked me what I thought would have played out in such a scenario, my prediction would have been that the moment the bounder reached to grab his wife’s throat, she would have jumped up from the table and left.  Instead, she simply took the assault he dished out.

Ms. Lawson and her children have apparently moved out of the home she shared with her husband, who has been cautioned by the police.  Fortunately she is in a position with respect to family, friends, and resources to get help, which sadly many victims of domestic violence are not.  I hope that both of these people get the help they need, since as we all know these cycles of abuse tend to repeat themselves.

Yet what I want us to think about in this situation is not why these incidents of domestic violence happen among supposedly educated people, or how to address them, since to that end I would direct you to an excellent piece on these questions by Conservative MP Dr. Sarah Wollaston in today’s Torygraph.  I want to ask a different question raised by the incident and specifically by these photographs, which might not occur to you at first glance.  Specifically: why did not a single man in that restaurant stand up to defend Ms. Lawson?

In asking this question I am not in any way discounting the ladies among my readers, who of course have an equal moral obligation to do something to aid someone in distress if they are capable of doing so.  After all, we only recently saw the incredible bravery of three British women who tried to aid the victim of a brutal murder carried out on a British soldier by Muslim fundamentalists in London.  Nor am I advocating a change to the judicial code, whereby one has a legal obligation to involve oneself in other people’s domestic disputes.

Yet we should not need a written code provision to tell us that when he sees someone physically assaulting a lady in public, no matter the identity of the assaulter, a gentleman intervenes.  How a restaurant full of management, waitstaff and patrons, let alone passersby outside where the couple were sitting, could simply stand there and do nothing EXCEPT TAKE PICTURES, simply boggles my mind.  It is clear that many of us men need to take a long, hard look at ourselves, and ask what has happened to our sense of honor, in standing up for those who are not in a position to do so for themselves, particularly women and children.

If this attitude strikes you as rather old-fashioned, then good: it’s meant to.  It seems we have so emasculated ourselves as a culture that, bizarrely enough, treatment of women has grown worse, not better.  She has become simply another sack of finite genetic material, and not a beautiful gift from God, as Eve was to Adam, meant to be treasured and protected.  Whatever our supposed multi-cultural sophistication today, the fact remains that if you choose to stand by and do nothing in a situation like this, then please do not have the gall to call yourself a gentleman, let alone a man. A real man does not allow weaker people, particularly the ladies, to be taken advantage of by bullies.

A society which does nothing to help its weakest members is one riddled with relativism and sophistry, which Edmund Burke would recognize as lethal to its survival. So yes, fellow, you should open AND hold the door for women; allow them to go through the doorway ahead of you; pull out their chair for them when they want to sit at table, and so on.  Most of all, however, you should never look the other way when you see your sister in distress.  For even if no one sees you walk by or avert your gaze, you can be sure that the Man Upstairs certainly has seen it.  And He is the most impartial of all judges.

Nigella

This should never have happened.

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Saying Farewell: A Friend Ascends Mount Carmel

I write this post with somewhat mixed emotions, because this is probably the last blog post of mine my friend Channing Dale, blogger and hostess of the “This Catholic Life” podcast, will ever read before she heads off into a life without new media.  Who knows, perhaps she (and many of you) would see this as a good thing.  So before she logs off for the last time, allow me to share some of my thoughts with you about this remarkable young woman, who has been called to the challenging, deeply spiritual life of the contemplative Carmelite Order.

You can listen to the story of Channing’s discernment of her religious vocation, and how she has been preparing for the new adventure of her life, by listening to this recent episode of the Catholic Weekend show, where she joined us to talk about how she came to realize that God was calling her in a very special way to be a bride of Christ.  As you can see, Channing has already taken down her website, This Catholic Life.  After tomorrow, she will be deactivating her social media accounts, as she enters into the contemplative, cloistered life in just a few weeks’ time.

I had the privilege of meeting Channing for the first time in real life at the Fortnight for Freedom closing mass celebrated on Independence Day last year at the National Basilica.  Not only did we attend mass together, but we ended up on the front page of The Catholic Standard, the newspaper of the Washington Archdiocese! Well, sort of:

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CloseUp

It is safe to say that was one of the absolute hottest, most stifling days I can recall being out and about in the Nation’s swamp capital, but spending time with such a poised, smart, and fun-loving young woman deeply committed to her faith, was a source of great hope and inspiration, knowing that gifted and intelligent people like her are responding to the call to religious life.

Then in January of this year, I got to meet up with Channing in person again, when she returned to Washington to participate in the March for Life.  I managed to record a special segment for the Catholic Weekend show with her and over a dozen other Catholic new media users, who gathered for a meet-up at the National Gallery of Art before the March began.  You can listen to that episode here, and to see more pictures of Channing and the rest of us, here is the link to the original post.

Though our friendship has not been one of very long duration, Channing has always been ready with prayers, encouragement, and humor throughout.  I shall miss being able to simply type her a message and have a near-immediate response, or seeing her ask for prayer intentions for those who need them.  Indeed, I shall particularly miss having her around during those moments when I lose my temper – not an infrequent occurrence, sadly – and need a bit of perspective on how not to pummel people into the ground on social media.

However I, do know that the calling which Channing is about to follow into the contemplative life is one which will bring her into an even deeper and more wonderful communion with Our Lord, and that she will be praying for all of us even as we pray for her.  The great Doctor of the Church and reformer of the Carmelites, St. Teresa of Avila, described the experience of her own entry into that life in a rather powerful way, in her “Autobiography”, and I can think of no better way to conclude this post as she prepares to tread the same path.  God bless you, Channing, as you enter into this new life with Christ, and please know that I and many others will be praying for you and wishing you well.

When I took the habit, the Lord soon made me understand how greatly he favors those who use force with themselves in serving him. No one realized that I had gone through all this; they all thought I had acted out of sheer desire. At the time my entrance into this new life gave me a joy so great that it has never failed me even to this day, and God converted the aridity of my soul into the deepest tenderness. Everything connected with the religious life caused me delight; and it is a fact that sometimes, when I was spending time in sweeping floors which I had previously spent on my own indulgence and adornment, and realized that I was now free from all those things, there came to me a new joy, which amazed me, for I could not understand whence it arose. Whenever I recall this, there is nothing, however hard, which I would hesitate to undertake if it were proposed to me. For I know now, by experience of many kinds, that if I strengthen my purpose by resolving to do a thing for God’s sake alone, it is His will that, from the very beginning, my soul shall be afraid, so that my merit may be the greater; and if I achieve my resolve, the greater my fear has been, the greater will be my reward, and the greater, too, will be my retrospective pleasure. Even in this life His Majesty rewards such an act in ways that can be understood only by one who has enjoyed them. This I know by experience, as I have said, in many very serious matters; and so, if I were a person who had to advise others, I would never recommend anyone, when a good inspiration comes to him again and again, to hesitate to put it into practice because of fear; for, if one lives a life of detachment for God’s sake alone, there is no reason to be afraid that things will turn out amiss, since He is all-powerful. May He be blessed for ever. Amen.

Group(L to R) Mike Gannon, Channing Dale, Fr. Kyle Sanders, the author, Pat Denny

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CNMC Boston: More Than A Meeting

With apologies for the admittedly dreadful pun, I want to share with my regular readers that I have been invited to participate in this year’s Catholic New Media Conference (“CNMC”) in Boston.  The conference will be held the weekend of October 19th, at the Archdiocesan Pastoral Center.  Other announced speakers include writer, blogger, and Patheos’ Catholic portal editor  Elizabeth Scalia, a.k.a. @TheAnchoress on Twitter; Jeff Young, the blogger/podcaster/radio host who goes by “The Catholic Foodie”; one of my regular co-hosts at the “Catholic Weekend” show, podcaster, blogger, and teacher-of-the-year extraordinaire Maria Johnson; and new media guru – er, Cardinal? – CEO and Founder of SQPN, our fearless leader Father Roderick Vonhögen.

The CNMC always sells out, and tickets are strictly limited. so if you are thinking about attending, don’t think too long.  Seats are already going fast, with first preference given to Boston-area residents.  Thus the sooner you register, for whatever level of participation you are interested in, the better.  For those not able to attend the CNMC in person, SQPN is also offering you the chance to register for a “virtual ticket”, which will give you access to audio and materials from the conference even if you cannot make it there yourself.

I am really humbled to have been asked to participate at the CNMC, and look forward to finally meeting in person some of the people with whom I have gotten to know through social media.  This is true particularly with respect to the people I have met through SQPN, back when I was simply a fanboy of the network, downloading podcasts, hanging out in chatrooms, or leaving feedback.  I am also looking forward to learning from the experiences of those who work in new media, and what they see as the opportunities and pitfalls of these tools in the future.

Of course I do not engage in media creation for a living.  Rather, it is  something I engage in with free time I may have, away from my career and my home life.  Whenever I am asked to do something for someone else, like write for a newspaper or make a media appearance, it always strikes me as somewhat improbable that I would be the person they turn to, when they are professionals who do what I do, and so much better, in new media.

Yet in discussion with an author friend the other day at brunch, she pointed out that the way one find’s one’s apostolate is not necessarily the same process by which one finds one’s career.  Different aspects of who we are and what we are interested in, can come to the aid of someone else, whether in terms of providing them physical assistance, emotional encouragement, exposing them to information and ideas they may not be aware of, and so on.  Thus, in an example which for obvious reasons I find rather inspiring, a businessman can manage his investments and projects all week, and then go be a superhero on the weekends for sick kids who need a bit of cheering up.

Regardless, whether you create new media or simply engage with it, the CNMC is a great way to get ideas, network, and share your experiences and questions with others who have similar interests to yours.  I am honored to have been invited to participate, and I know both the practical and spiritual dimensions of what we Catholics do in new media are topics which all of us will be able to benefit from discussing together, and in-depth, as part of the New Evangelization to which Pope Benedict XVI called us.  Hope to see many of you there!

CNMC

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Inauthentically Yours: Why Auction Houses Must Protect Themselves

Recently I was discussing some issues in art law with a friend, who asked what sorts of liabilities an auction house like Sotheby’s or Christie’s might have were they to bring a work to market which had some questionable legality to it.  The short answer to the question is, auction houses these days tend to be very cautious about selling art whose ownership background – what in the trade is known as “provenance” – is somewhat sketchy.  However even the great houses get it wrong sometimes: spectacularly wrong.

The classic example of an auction house getting into trouble with a seller or buyer is exemplified in a suit recently settled by Lempertz auctioneers in Cologne.  The house had brought to market a work purportedly by the important Abstract Expressionist painter Heinrich Campendonk (1889-1957), pictured below, which was sold in 2006 for $3.7 million.  At the time this was a new world record for the highest price paid for this artist’s work.  When the art gallery which acted as broker for the buyer became suspicious, upon closer examination of the work, the research trail eventually led police to a pair of art forgers who had been producing fakes of works in the style of well-known modernist painters for a number of years.  The discovery caused many collectors, museums, and galleries to go back and re-examine a number of their recent acquisitions, and in the process more than 50 paintings from the hands of these forgers were detected – including one purchased and later re-sold by actor Steve Martin.

What was particularly egregious on the part of the auction house in this case was that the current recognized expert-of-experts, if you will, on the life and work of Campendonk was never consulted by the auction house to authenticate the painting.  Even more bizarrely, said expert in fact lived in Cologne, the very same city where the painting was exhibited and sold.  While in bills of sale the old motto of “caveat emptor” often explains why courts will bar recovery, in this case there was no question that the buyer relied on the seller to have done their homework in bringing the painting to the floor, and the auction house failed in providing that service.  As a result, not only was Lempertz stuck with their own legal bill, but that of the plaintiff as well, in addition to having to provide full restitution of the purchase price, as part of the settlement agreement.

This case was a particularly egregious example of a failure to do the job which the auctioneer is supposed to do when a work comes in for valuation and sale.  However as interesting as such examples are, these slip-ups, while inevitable, are situations which most auctioneers and dealers do try to avoid.  Last month for example, Christie’s New York branch withdrew ten works by Brazilian modernist painters from its sale of modern and contemporary Latin American art, after questions were raised about their provenance and authenticity; the house indicated that further research and investigation were needed before the paintings could be offered for sale.

Then a few days later, Phillips auctioneers in New York withdraw a work by a Brazilian modernist which was to be sold in its own impending sale of Latin American art, after similar questions arose regarding its authenticity.  And Sotheby’s New York had to withdraw a work claimed to be by French Modernist Maurice Utrillo (1883-1955), when questions were raised about its authenticity through the “droit moral”, or “moral rights” to authenticate the work of a deceased painter whose work still falls under legal protection.  In these cases, the houses did their due diligence, in order to satisfy themselves and their potential buyers that fakes were not being offered as the genuine article.

Yet no matter how good an eye an auction house expert may have, it does not take very much for an inauthentic piece to make it into an auction catalogue and fall under the hammer for a high price.  Moreover, because of the ridiculously high sales levels being paid for modern and contemporary art at present, and the relative ease of forgery of such works, this is in fact a growth industry for art forgers, money launderers, and the black market.  Exposure to such litigation can be avoided, one suspects, largely by a change in attitude.

Auction houses dealing with works of art of such high monetary value need to make a point of handling each work that comes in through their doors with utter suspicion.  In other words, rather than waxing enthusiastic and assuring the consignor of how wonderful a piece is, the position of the valuer ought to be leaning more in the direction of refusing to sell a painting of questionable provenance, rather than trying to overlook the flaws in its pedigree.  The costs for being sloppy in one’s research and marketing can be very grave, indeed, not only to the bottom line, but also to one’s professional reputation, thereby reducing the possibility of future sales.

CampendonkFake

Fake Heinrich Campendonk painting sold by Lempertz in 2006 for $3.7 million

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Friends in High Places: St. Rita of Cascia

Those of you who read me on a regular basis know that I have a long-standing devotion to St. Rita of Cascia (1381-1457).  Wife, mother, and after her widowhood and the death of her children an Augustinian nun, Margherita Lotti de Mancini lived a life full of both emotional and physical suffering, but remained steadfastly devoted to Christ, and bore her crosses as best she could.  Along with St. Jude, her prayerful intercession is often sought by those facing an impossible situation to which there seems to be no remedy.  Yet despite knowing much about her, I find there is always more to discover, making me ever-more convinced that she was a good friend to fall in with.

I was deeply touched at my birthday party recently to learn that a group of my friends had agreed to pray a Novena to St. Rita on behalf of my intentions.  For my non-Catholic readers, please note that this is not worship: Catholics draw a distinction between worship, which is confined to God alone, and prayers asking for intercession.    The belief that the Church on Earth is united with the Church in Heaven, i.e. those of us who have “made it”, as it were, means that we are asking those who are already in God’s Presence to add our prayers to theirs, just as you might offer to pray on behalf of a friend of yours who is going through a rough time.  In this case, over the years I have asked St. Rita to pray for me on many occasions, not because I was not already directly asking God for help, but because I felt that she would take up my pleading my cause as well.

There are many pious stories about the life of this particular saint, but one which I only recently became aware of involves her life-long devotion to St. John the Baptist, one of her patron saints; in fact she was baptized in the church named after the Baptist in her native Cascia.  Now as it happens, I have for many years thrown a party in June to celebrate St. John the Baptist’s birthday, which is a favorite custom in Catalonia.  However his unexpected connection with one of my favorite saints, who lived many centuries after him, was previously unknown to me.

St. Rita’s husband was one of the victims of the long-standing feud between the Guelphs and the Ghibellines, the two prominent political factions of Medieval Italy.  In Umbria, as indeed as common throughout Italy in this period, there were assassinations and resulting vendettas that led to a great deal of bloodshed in an endless cycle.  With the murder of her husband, and the subsequent death of both her sons from the Plague, St. Rita wanted to fulfill her childhood hope of becoming an Augustinian nun, a hope which she had not been able to fulfill because her parents had instead arranged her marriage.  However the convent refused to take her, partially because they were worried that the vendetta which surrounded St. Rita’s husband’s family would be brought to their doorstep.

Through prayer to St. John the Baptist and her other patron saints for their intercession, and despite her being a widow with no political power, St. Rita managed to bring about a peace agreement between her husband’s family and the family that had ordered his assassination.  This document was signed before Cascian officials in a public ceremony, and permanently put an end to the local feuding and revenge murders.  Now St. Rita was at last able to successfully return to the convent and ask for admittance.  In fact it is said that the gates of the convent were opened for her in a vision by St. John the Baptist and her other favorite saints.

Having friends in high places is always a good thing, whether you are trying to get a table at a good restaurant, or whether you want to be bumped up to first-class on a flight.  So having a friend in the ultimate high place of all is a very good thing indeed.  I would encourage all of my readers to learn more about this wonderful saint, who understood human suffering so well and united herself spiritually in prayer to the sufferings of Christ, to serve Him, her family, and her community.  She is a dear friend whom you will very much love getting to know.

Santarita

Detail of “St. Rita of Cascia” window (19th Century)
Cathedral of St. Mary, Austin, Texas

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The Non-Luxury of Architectural Preservation

Of late I have been thinking a great deal about the topic of historic preservation in architecture, thanks to a number of news reports which I believe the reader will find interesting.  While spread across centuries, continents, and cultures, all of these stories bring home to us two key points.  The first and perhaps most obvious is that we lose pieces of human history all the time, often without realizing what has happened until they are gone.  Yet the second and perhaps more contentious is whether the question of historic preservation is something which only matters to those with the luxury to pursue it.

You may have read, gentle reader, of the destruction of a Mayan pyramid in Belize, which was bulldozed to be turned into road fill.  This took place despite the fact that the archaeological site, and the structure itself, have been known and marked for well over a century now, as part of a far larger complex which has yet to be scientifically excavated.  Even today, with all of our technology, the jungles of Central and South America still have many secrets yet to reveal to us.  There are many more things to be discovered in these areas, and which continue to occur on a regular basis, such as was announced recently in the discovery of a large statue from a pre-Columbian ball game court in Mexico.

In Egypt, scholars are alarmed at the increasing rate of destruction at the site of the ancient Roman city of Antinopolis, built by the Emperor Hadrian to honor his boy toy Antinous, who accidentally drowned – or was murdered, depending on whom you believe – in the Nile near this spot in 130 A.D.  Here, the nearly intact Roman hippodrome has been swallowed up both by the desert sands and an encroaching modern cemetery.  In addition the area of the ancient necropolis, or “city of the dead”, which has yielded numerous superb mummy portraits, is being converted into farmland for the burgeoning population of actual living people in the area to work.

Even in the United States, we can see the shocking destruction of buildings which are, if not as ancient as the aforementioned, not only old, but beautiful.  Take the demolition of old St. Patrick’s Church in suburban Albany. New York, a Neo-Gothic building from around the turn of the previous century.  Due to various factors including declining mass attendance, many of these old churches now serve shrinking populations.  Often this leaves the diocese or religious community which maintains these structures no choice but to put them up for sale.  In this case, the church is being replaced with a supermarket, which is perhaps rather too-telling

The story of architectural loss in the Americas, Egypt, and elsewhere is one not only based on values, but on resources.  It is all very well to pass a law saying that historic buildings must be preserved.  However if there is no enforcement mechanism in place to impose that law, nor the budget to fund it, then all the good intentions in the world will not halt demolition or decay.

There is also a kind of absolutist tendency among some in the historical preservation world to argue that anything more than a few years old is “historic”, and worth preserving.  We saw this in the battle over the hideous Third Church of Christ Scientist by “starchitect” I.M.Pei here in D.C., which unfortunately has yet to be demolished.  And indeed similar arguments are being made to preserve the even more egregiously awful and failing FBI Headquarters on Pennsylvania Avenue.  How anyone with an advanced degree could argue that, ”I think if it can be saved, it should be,” with a straight face is beyond me.

As in everything in life, the key here is to strike a balance.  For many poorer countries, preservation of architectural monuments and important buildings or ruins is simply not possible.  There are organizations like UNESCO to help them, but as we saw in the destruction of ancient structures in Mali during the Islamist uprisings, even international organizations can only coordinate restoration efforts up to a point.  These are often viewed as a luxury which wealthy, first-world countries alone have the means to play with.  For all of us, the loss of these pieces of the past, however they come about, are tragic, and call for our attention and, yes, our financial support, if we care about history, or architecture, or art.

Yet even at home, we can do our part in our own communities.  Rather than worrying so much over whether it is historically appropriate for our neighbor to paint his front door fire engine red, as is so often the kind of in-fighting that goes on in well-to-do historic neighborhoods, perhaps we ought to be looking with a more keen eye to see what is actually worth our time and effort to preserve.  Nothing built by the hands of man will last forever, after all, and by tailoring our preservation efforts to those structures which are not simply old, but exemplary of the best that human beings can do when they push themselves, we will all be better-served.

Watervliet

Demolition underway at St. Patrick’s Church
Watervliet, New York

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Is Tate Britain Rediscovering Its Purpose?

“Gloriously, satisfyingly reactionary,” is the assessment of the Torygraph’s art critic, Richard Dorment, on the renovations to Tate Britain, the London museum dedicated to British art from the 16th-21st centuries.  The museum’s Director, Penelope Curtis, has presided not only over the renovation of the galleries themselves, but in re-hanging the paintings contained within it in chronological order.  In so doing she is bucking an unfortunate trend which hit public museums like the Tate, and the Hirshhorn here in Washington among others, in which their sense of purpose was forgotten in the fight to re-brand themselves as beacons of hipster nonsense.

Beginning around a decade ago a number of public art institutions, inspired by the example of Sir Nicholas Serota at the Tate conglomerate began to rearrange the collections of painting and sculpture in their care.  The exercise lead to the works being displayed, not chronologically or in “schools”, as one would study them in art history, but in whatever bizarre arrangement the management felt would draw in the curiosity-seeking public, and get them more press.  Curators would decide that a group of completely unrelated works evoked thoughts – for them, anyway – about sex, the environment, a cause du jour, and so on, and group them together, often in a highly discordant fashion.

At the time, the art press went into raptures over the idea that this idea was something bold, new, and fresh – which of course it wasn’t.  If you have ever been to a private museum, such as The Wallace Collection in London, you know that oftentimes private collectors and their families hung pictures of different centuries and styles together in their homes.  They did so because they liked the way the pieces looked together, as well as matching the colors of the drapes, furniture, or carpets.  Some pieces then occupied the space they did because they were thematically suited to the purpose of a room, or conversely were banned from a particular room because they were ill-suited to it.  One would not like to see a painting of the beheading of St. John the Baptist hanging over the sideboard in the dining room, for example, even if it was by Sassetta.

However when more public institutions began to make similar idiosyncratic arrangements of their collections copying Serota’s lead, there was quite correctly a vociferously negative reaction from those of us who love good art, but who thought that museums  were losing their way.  There is a time and a place for creating what are popularly called “mash-ups” of seemingly conflicting elements in exhibition spaces:  it has always been the purview of the temporary exhibition to juxtapose works which might not otherwise be displayed nearby each other, so as to encourage the visitor see the connections between them.  Artists always influence each other, sometimes centuries apart, and so for these traveling shows the mixture of styles and centuries can work rather well.  The highly-regarded Manet/Velázquez show at The Metropolitan in 2003 was a good example of this.

The point of the public museum is not to indulge the personal whims, bad taste, and general ignorance of its leadership.  Serota for example once argued that the great High Renaissance master Raphael’s “Madonna of the Pinks” should be allowed to be sold and leave the country, since British public institutions needed to collect more “foreign” art – apparently forgetting the fact that Raphael was from Urbino in present-dy Italy, and never set foot in Britain in his lifetime.  Unfortunately this is the sort of person leading most major public art collections these days, and we all suffer as a result.

Rather museums are meant to be institutions which both preserve art for future generations, and educate us as to its history and meaning.  Having been established for the public good, they are provided with certain legal protections and exemptions, as well as taxpayer funding.  As a result, they are not meant to be a rich man’s plaything, nor a venue for proving to others in your field that you are a bigger hipster than they are.  Thus it is a very good thing indeed to see that Director Curtis has taken the time to examine the role of the art museum in public life, and to try to recapture a sense of purpose from which all may benefit.

TateInterior Loggia at Tate Britain, London

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