In this series of essays, Roger Kimball, managing editor of the New Criterion and an art critic for the London Spectator, illuminates some of the chief spiritual itineraries of modern art. His wide range of subjects includes Vincent van Gogh, Clement Greenberg, the Barnes Foundation, Matthew Barney, Mark Rothko, and the Whitney Biennial, as well as the way in which Gilbert and George demonstrate the psychopathology of current cultural influences. Kimball observes that most of the really invigorating action in the art world today is a quiet affair. It takes place not at the Tate Modern in London or at the Museum of Modern Art in New York but off to one side, out of the limelight. It usually involves not the latest thing but permanent things, measured not by the buzz they create but by silences they inspire.

These provocative, stimulating essays will open your eyes to the fascinating world of art.

In this series of essays, Roger Kimball, managing editor of the New Criterion and an art critic for the London Spectator, illuminates some of the chief spiritual itineraries of modern art. His wide range of subjects includes Vincent van Gogh, Clement Greenberg, the Barnes Foundation, Matthew Barney, Mark Rothko, and the Whitney Biennial, as well as the way in which Gilbert and George demonstrate the psychopathology of current cultural influences. Kimball observes that most of the really invigorating action in the art world today is a quiet affair. It takes place not at the Tate Modern in London or at the Museum of Modern Art in New York but off to one side, out of the limelight. It usually involves not the latest thing but permanent things, measured not by the buzz they create but by silences they inspire.

These provocative, stimulating essays will open your eyes to the fascinating world of art.

In this series of essays, Roger Kimball, managing editor of the New Criterion and an art critic for the London Spectator, illuminates some of the chief spiritual itineraries of modern art. His wide range of subjects includes Vincent van Gogh, Clement Greenberg, the Barnes Foundation, Matthew Barney, Mark Rothko, and the Whitney Biennial, as well as the way in which Gilbert and George demonstrate the psychopathology of current cultural influences. Kimball observes that most of the really invigorating action in the art world today is a quiet affair. It takes place not at the Tate Modern in London or at the Museum of Modern Art in New York but off to one side, out of the limelight. It usually involves not the latest thing but permanent things, measured not by the buzz they create but by silences they inspire.

These provocative, stimulating essays will open your eyes to the fascinating world of art.