Francis Picabia’s Chameleonic Style
JSTOR Daily — February 15, 2017
The Museum of Modern Art’s current retrospective of Francis Picabia’s work has been celebrated by critics for shining a spotlight on one of modernism’s most confounding founders. ArtNews called the exhibit “one of the best shows of the year,” and Forbes declared it “exhilarating.”
What strikes most visitors is the exhibit’s sheer variety. Throughout his career, Picabia careened between styles, flipping from Cubism to Dadaism, from abstraction to portraiture. In fact, he rarely stuck with a style for more than a few years. A fiercely independent artist, he ignored movements and shunned trends. “If you want to have clean ideas, change them as often as your shirt,” Picabia advised.
The Road to Prehistory
American Archaeology — Fall 2016
U.S. Highway 175 emerges from the sprawl of Dallas, shaking off the suburbs as it stretches southeast. Just beyond the city of Athens, this four-lane highway narrows to two lanes. Through Anderson and Cherokee counties it continues up and down rolling hills until it reaches Jacksonville, and terminates at the intersection with U.S. Highway 69.
Southeast of Athens, the highway runs along a low hill. In the sparse shade provided by a few tents, a team of archaeologists scrapes and sifts the soil near the roadway. Some 500 years ago, a small community of Caddo people occupied this hillside. They grew maize and beans, made tools from bone and rock, lives and died, and were buried in this quiet corner of the world. But this hillside is soon to be transformed. U.S. 175 is scheduled to be widened to four lanes and portions of the Caddo sites will be bulldozed and paved. Work is already underway several miles back toward Athens, with crews grading the new roadway with enormous earth-moving equipment.