Judith H. Dobrzynski
Judith H. Dobrzynski
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Pundicity: Informed Opinion and Review

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Logging On
A Connecticut Artisan Revives The Art of Faux Bois

July-August 2-14  •  Traditional Home

There's a touch of irony in the career trajectory of Michael Fogg. He started out a dozen years ago as a cabinet-maker, crafting and installing wooden bookshelves, cupboards and carvings. But he found the competition stiff and the road to success steep. Then one day he came across a magazine article about Carlos Cortes, a San Antonio-based maker of concrete "faux bois" furniture that looks and feels like wood. Fogg taught himself the craft, partly by watching videos on the web, and in 2012 made it his main occupation.

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A nonbeliever, proselytizing for religious art at the Morgan
In his 20s, Roger S. Wieck lost his religion, but not his appreciation for religious art

June 22, 2014  •  Al Jazeera America

NEW YORK — Roger S. Wieck is glowing like a doting father, though the cause is a tiny painting that sits in a glass vitrine in the center of a gallery at the Morgan Library & Museum. Occupying the left-hand page of a 2.75-by-2-inch prayer book made for Queen Claude of France (1499–1524), the painting portrays the Holy Trinity (at left, top). God the Father and God the Son have identical faces, he points out, signifying that they are one being. "Christ is pre-Incarnate; he doesn't have wounds," Wieck says. "God the Father is asking Christ to swear that he will fulfill the Father's pledge to send Christ as a sacrifice for our sins." The Holy Spirit, in the form of a dove, hovers above. With increasing zeal, Wieck expounds on other aspects of "Trinity Adored by the Choirs of Angels"— how it's surrounded by a cordeliere whose knots reference those on belts worn by the Franciscan orders, for example.

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Art Review: On Fertile Aesthetic Ground
"Of Green Leaf, Bird, and Flower" At Yale

May 29, 2014  •  The Wall Street Journal

New Haven

The first thing to know about "Of Green Leaf, Bird, and Flower: Artists' Books and the Natural World," an exhibition at the Yale Center for British Art here, is that it's misnamed. While the poetic first half works—the phrase comes from a 19th-century verse by William Gardiner—the second half is far too limiting. The exhibition presents prints, drawings, collages, specimen books, field notes, cut-paper objects, photographs, video, sound and multimedia pieces as well as books—plus some 18th- and 19th-century microscopes.

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Modernizing Art History
A Cultural Conversation With James Cuno, Getty Trust

April 29, 2014  •  The Wall Street Journal

New York

James Cuno, the president and CEO of the J. Paul Getty Trust, presented a rather unlikely picture when I met him here one early spring day at the Harvard Club. Trim and bearded, he was wearing jeans, which stood out in the sea of dark-suited alums in the Grill Room.

In some ways, Mr. Cuno is also an unlikely evangelist for the subject of our meeting: pushing art historians into the digital age. As he cheerfully admitted, "I'm not a tech guy. I just use it." Nevertheless, he grasps the potential of exploiting digital technologies in ways that go far beyond the current norm to create and disseminate new knowledge about art—and is outspoken about it.

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Shedding a Light on Islamic Art's Great Treasure

March 20, 2014  •  The New York Times

SABIHA AL KHEMIR was visiting a solar energy plant in Spain about four years ago when inspiration struck. Her host, the foundation of a Spanish company with interests in alternative energy, wanted her to conceive an Islamic art exhibition for Seville to recognize Spain's 800-year history under Moorish rule and ideally to tie her concept into the Seville-based company's work. Touring the solar plant, the Tunisian-born curator found her organizing principle.

"It was an incredible experience," Ms. Al Khemir, 55, recalled. "Light was everywhere."

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