What can we expect from the US Pavilion at Venice?

 
 
Caravaggio's victorious Cupid ͏‌ 
 
 
 
 
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Jonathan Griffin defends Alma Allen, the US pick for the Venice Biennale
 
Jonathan Griffin defends Alma Allen, the US pick for the Venice Biennale
It can be grating to hear people proudly declaring they've never heard of an artist, as if ignorance proves that person's irrelevance. It is especially annoying when – as with Alma Allen, who was announced in November as a surprise pick to represent the United States at the Venice Biennale – it is someone you've been following for years.
 
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Will Wiles declares his love for a once-loathed modern building
 
Will Wiles declares his love for a once-loathed modern building
Completed in 1968, the History Faculty Building at Cambridge has been plagued by functional problems ever since, all of which I enjoyed first hand as a student in the 1990s. This had made it, for some, an emblem of the failings of modern architecture in general, and in 1985 it had escaped demolition by one vote in the University Senate. But now £60 million has been pledged towards a major refit. At last, the History Faculty might be able to put its troubled past behind it.
 
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Edward Behrens announces the first winner of the Apollo Prize for Drawing
 
Edward Behrens introduces the Apollo Prize for Drawing
Last year was not only Apollo's centenary but also the 25th anniversary of the Royal Drawing School. To mark these great events, we have established the Apollo Prize for Drawing and are also funding a scholarship, for one pupil annually, to take up the Drawing Year. The scholarship is fully funded, so that background does not determine entry, while the prize is a £1,000 award to enable an artist who completes the course to continue their practice.
 
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Yosola Olorunshola finds Otobong Nkanga joining the dots
 
Yosola Olorunshola finds Otobong Nkanga joining the dots
The motif of sharp lines piercing, holding and suspending things in place runs through the exhibition, be it in works on canvas, monumental tapestries or floor-based installations. Similarly, traces of her drawings appear in later works that are more ambitious in scale. The glimmering tapestry series Unearthed (2021) depicts undersea worlds that are simultaneously enchanting and unsettling. Transformed by the triangular slave trade, mining exploitation and climate change, the aquatic world becomes a punctured and entangled space in Nkanga's imaginary, a deep-sea burial ground where mechanised human limbs sink and fuse with plant matter.
 
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Breeze Barrington on Caravaggio's portrait of a triumphant Cupid
 
Breeze Barrington on Caravaggio's portrait of a triumphant Cupid
For all the naturalism of the work, it is also a piece of theatre – for example, the eagle wings on Cupid's back, so skilfully painted, playfully brushing against his thigh, were a stage prop, borrowed from Caravaggio's friend and fellow artist, Orazio Gentileschi. Even the presentation of the painting when it was hung in the gallery of the Palazzo was a theatrical event: concealed behind a green curtain which could be dramatically opened to reveal the risqué work behind.
 
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In the current issue…
 
How did 'the most imperious woman in 19th-century Britain' come by some her dazzling jewels? Emma Edwards of the V&A explains
 
How did 'the most imperious woman in 19th-century Britain' come by some of her dazzling jewels? Emma Edwards of the V&A explains
At the coronation of the 20-year-old Queen Victoria, in Westminster Abbey in 1838, an older woman caught the eye of Benjamin Disraeli. Clad in ermine-trimmed scarlet robes and bedizened with jewels, she looked, he wrote, 'like an empress' as she 'blazed among the peeresses'. This imposing figure was Frances Anne Vane, the Marchioness of Londonderry, who left rather an impression on the future prime minister. 'She was a tyrant in her way,' he wrote in 1874, after assuming office for the second time, 'but one remembers only the good in her.'
 
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