When that poor women recently fell into and tore Picasso’s “The Actor” at the Metropolitan Museum of Art, nobody questioned whether the painting should be repaired. The only issue seemed to be how — and as of right now, the Met either doesn’t know or isn’t revealing the answer.
This is a no-brainer. The master paints the work, an adult-education student tumbles into it: Despite the power differential between the two, we’re still working in the realm of the human.
Repairing nature, on the other hand, is a bit more jarring. This is likely why Richard Barnes’ photographs of natural history dioramas in various state of repair have drawn attention since they were collected in a book of his work Animal Logic, released in the fall.
To equate natural history dioramas with… More…