<?xml version="1.0" encoding="UTF-8"?>
<?xml-stylesheet href="/style/rss/rss_feed.xsl" type="text/xsl" media="screen"?><?xml-stylesheet href="/style/rss/rss_feed.css" type="text/css" media="screen" ?><rss version="2.0"><channel><title>Clipmarks | horst's clips</title><link>http://clipmarks.com/clipper/horst/</link><feedUrl>http://rss.clipmarks.com/clipper/horst/</feedUrl><ttl>15</ttl><description>Clip, tag and save information that's important to you. Bookmarks save entire pages...Clipmarks save the specific content that matters to you!</description><language>en-us</language><item><title>Saatchi - chinese Art</title><link>http://clipmarks.com/clipmark/AF82D521-9001-4EC5-9BE4-C4E1A2C62998/</link><description>&lt;b&gt;clipped by:&lt;/b&gt; &lt;a href="http://clipmarks.com/clipper/horst/"&gt;horst&lt;/a&gt;&lt;br&gt;&lt;div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"&gt;&lt;div style="background-color:"&gt;&lt;div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"&gt;&lt;span style="color:#FFFFFF;font-weight:bold;"&gt;Clip Source: &lt;a style="color:#FFFFFF;" href="http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/" title="http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/"&gt;entertainment.timesonline.co.uk&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;H1 class="index padding-bottom-5"&gt;&lt;SPAN class="color-bd0000"&gt;&lt;/SPAN&gt;&lt;A href="http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article4867527.ece" class="link-06c"&gt;
Revolution at the new Saatchi Gallery
&lt;/A&gt;&lt;/H1&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;img src="http://clipmarks.com/image_cache/horst/512/18639083-0525-458F-986F-0A6DEED576C7.jpg" alt="Saatchi Gallery Chelsea" /&gt;&lt;br /&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;P class="small"&gt;
Saatchi’s new gallery, a huge home for his great passion for Chinese art, reestablishes his importance to modern art
&lt;/P&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;br&gt;&lt;div style="margin-bottom: 40px;"&gt;&lt;/div&gt;</description><clipSource>http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/</clipSource><pubDate>Mon, 06 Oct 2008 01:49:33 GMT</pubDate></item><item><title>Rothko in London</title><link>http://clipmarks.com/clipmark/D967876A-EABB-4D4A-973F-CDE0901B2CF1/</link><description>&lt;b&gt;clipped by:&lt;/b&gt; &lt;a href="http://clipmarks.com/clipper/horst/"&gt;horst&lt;/a&gt;&lt;br&gt;&lt;div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"&gt;&lt;div style="background-color:"&gt;&lt;div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"&gt;&lt;span style="color:#FFFFFF;font-weight:bold;"&gt;Clip Source: &lt;a style="color:#FFFFFF;" href="http://archive.timesonline.co.uk/tol/template/2.0-0/archive/imageViewer.jsp?disxLocation=3140&amp;disyLocation=251&amp;imgWidth=5422&amp;imgHeigth=7342&amp;xmlID=ARCHIVE-The_Times-1961-11-07-15-011&amp;thumbPath=http://archive.timesonline.co.uk/archiveimg/thumbnail/1961/11/07/15/pthumb_ARCHIVE-The_Times-1961-11-07-15.jpg&amp;wordCords=&amp;PageString=1961/11/07/15/~0FFO-1961-NOV07-015~ARCHIVE-The_Times-1961-11-07-15-011:false:3140,251,5314,551harcd3143,171,5274,243arcd3134,554,5311,620arcd3140,626,3891,3740arcd3880,629,4611,2406arcd4589,626,5343,2400arcd:art&amp;pageId=ARCHIVE-The_Times-1961-11-07-15" title="http://archive.timesonline.co.uk/tol/template/2.0-0/archive/imageViewer.jsp?disxLocation=3140&amp;disyLocation=251&amp;imgWidth=5422&amp;imgHeigth=7342&amp;xmlID=ARCHIVE-The_Times-1961-11-07-15-011&amp;thumbPath=http://archive.timesonline.co.uk/archiveimg/thumbnail/1961/11/07/15/pthumb_ARCHIVE-The_Times-1961-11-07-15.jpg&amp;wordCords=&amp;PageString=1961/11/07/15/~0FFO-1961-NOV07-015~ARCHIVE-The_Times-1961-11-07-15-011:false:3140,251,5314,551harcd3143,171,5274,243arcd3134,554,5311,620arcd3140,626,3891,3740arcd3880,629,4611,2406arcd4589,626,5343,2400arcd:art&amp;pageId=ARCHIVE-The_Times-1961-11-07-15"&gt;archive.timesonline.co.uk&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="padding: 10px;"&gt;&lt;img src="http://clipmarks.com/image_cache/horst/512/4E0356FB-89F0-47B8-98BE-646489BBA042.gif" alt="Click and drag the image to move around the page" /&gt;&lt;br /&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;img src="http://clipmarks.com/image_cache/horst/512/8B2FDB44-A746-4BA6-93D6-CE6131289AC6.gif" alt="Click and drag the image to move around the page" /&gt;&lt;br /&gt;&lt;/div&gt;&lt;div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"&gt;&lt;span style="color:#FFFFFF;font-weight:bold;"&gt;Clip Source: &lt;a style="color:#FFFFFF;" href="http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/" title="http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/"&gt;entertainment.timesonline.co.uk&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;H1 class="index padding-bottom-5"&gt;&lt;SPAN class="color-bd0000"&gt;&lt;/SPAN&gt;&lt;A href="http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article4820285.ece" class="link-06c"&gt;
Mark Rothko in a whole new light
&lt;/A&gt;&lt;/H1&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;img src="http://clipmarks.com/image_cache/horst/512/D091F148-EEFE-43B1-957C-B204C026B000.jpg" alt="Mark Rothko exhibition at the Tate modern London" /&gt;&lt;br /&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;P class="small"&gt;
History paints Rothko as modernism’s martyr - unavoidably tragic - but a startling Tate show suggests we’ve had him wrong all these years
&lt;/P&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;br&gt;&lt;div style="margin-bottom: 40px;"&gt;&lt;/div&gt;</description><clipSource>http://archive.timesonline.co.uk/tol/template/2.0-0/archive/imageViewer.jsp?disxLocation=3140&amp;disyLocation=251&amp;imgWidth=5422&amp;imgHeigth=7342&amp;xmlID=ARCHIVE-The_Times-1961-11-07-15-011&amp;thumbPath=http://archive.timesonline.co.uk/archiveimg/thumbnail/1961/11/07/15/pthumb_ARCHIVE-The_Times-1961-11-07-15.jpg&amp;wordCords=&amp;PageString=1961/11/07/15/~0FFO-1961-NOV07-015~ARCHIVE-The_Times-1961-11-07-15-011:false:3140,251,5314,551harcd3143,171,5274,243arcd3134,554,5311,620arcd3140,626,3891,3740arcd3880,629,4611,2406arcd4589,626,5343,2400arcd:art&amp;pageId=ARCHIVE-The_Times-1961-11-07-15</clipSource><pubDate>Sat, 04 Oct 2008 12:02:20 GMT</pubDate></item><item><title>Kunstmakt N.Y.</title><link>http://clipmarks.com/clipmark/FB011D08-E162-4E87-BA03-70A38AA8E28E/</link><description>&lt;b&gt;clipped by:&lt;/b&gt; &lt;a href="http://clipmarks.com/clipper/horst/"&gt;horst&lt;/a&gt;&lt;br&gt;&lt;div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"&gt;&lt;div style="background-color:"&gt;&lt;div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"&gt;&lt;span style="color:#FFFFFF;font-weight:bold;"&gt;Clip Source: &lt;a style="color:#FFFFFF;" href="http://www.nzz.ch/nachrichten/kultur/aktuell/noch_nicht_auf_den_hund_gekommen_1.1019127.html" title="http://www.nzz.ch/nachrichten/kultur/aktuell/noch_nicht_auf_den_hund_gekommen_1.1019127.html"&gt;www.nzz.ch&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;H1&gt;Noch nicht auf den Hund gekommen&lt;/H1&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;H2&gt;Erste Anzeichen der Finanzkrise beim Kunstmarkt während der New Yorker Asia Week&lt;/H2&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;P class="quelle redaktor nolead"&gt;
        	Christian Schaernack
	    &lt;/P&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;In New York City geht die nackte Angst um. Wie in Schockstarre verfolgen die Amerikaner, wie die Fundamente ihres Wohlstands durch die gewaltigen Fliehkräfte der kollabierenden Finanzmärkte weggefegt zu werden drohen. Derweil zieht der Hurrikan, der an der Wall Street seinen Anfang nahm, tiefe Furchen durch die gesamte Stadt. Die Luxusboutiquen sind gespenstisch leer, die Tische der teuren Restaurants bleiben unbesetzt, Manhattans Immobilienmarkt – lange immun gegen die Krise im Lande – kippt. &lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;DIV class="thumb"&gt;
			    	 
					  
 		  
                   
			
				&lt;IMG width="160" title="Zeng Fanzhi: «Mask Series». Das Bild erzielte bei Sotheby's 1,08 Millionen Dollar." alt="Zeng Fanzhi: «Mask Series». Das Bild erzielte bei Sotheby's 1,08 Millionen Dollar." src="http://www.nzz.ch/images/Bild_lead_1.1022817.jpg" /&gt;
			
			
			 
			  	&lt;DIV title="Bild anklicken für Vollansicht" class="blowUp"&gt;&lt;IMG alt="Bild anklicken für Vollansicht" src="http://www.nzz.ch/static-images/popup-open.gif" class="blowUp" /&gt;&lt;/DIV&gt;
					 
				
			  	Zeng Fanzhi: «Mask Series». Das Bild erzielte bei Sotheby's 1,08 Millionen Dollar.
				       (Bild: pd)
			    &lt;/DIV&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;br&gt;&lt;div style="margin-bottom: 40px;"&gt;&lt;/div&gt;</description><clipSource>http://www.nzz.ch/nachrichten/kultur/aktuell/noch_nicht_auf_den_hund_gekommen_1.1019127.html</clipSource><pubDate>Sat, 04 Oct 2008 11:51:22 GMT</pubDate></item><item><title>Trianon</title><link>http://clipmarks.com/clipmark/15DB008F-8B36-4C85-9457-4B83CDE9C645/</link><description>&lt;b&gt;clipped by:&lt;/b&gt; &lt;a href="http://clipmarks.com/clipper/horst/"&gt;horst&lt;/a&gt;&lt;br&gt;&lt;div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"&gt;&lt;div style="background-color:"&gt;&lt;div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"&gt;&lt;span style="color:#FFFFFF;font-weight:bold;"&gt;Clip Source: &lt;a style="color:#FFFFFF;" href="http://www.lefigaro.fr/culture/index.php" title="http://www.lefigaro.fr/culture/index.php"&gt;www.lefigaro.fr&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;H1&gt;&lt;A href="http://www.lefigaro.fr/culture/2008/09/25/03004-20080925ARTFIG00384--versailles-la-resurrection-du-petit-trianon-.php"&gt; La spectaculaire restauration &lt;BR /&gt;du Petit Trianon&lt;BR /&gt; &lt;/A&gt;&lt;/H1&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;img src="http://clipmarks.com/image_cache/horst/512/A1936CDA-9996-441D-B29F-481513999977.jpg" alt="La spectaculaire restauration &lt;br/&gt;du Petit Trianon&lt;br/&gt;" /&gt;&lt;br /&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;H2&gt;La totalité des espaces intérieurs est désormais restaurée et remeublée dans l'ambiance de l'époque de Marie-Antoinette.&lt;BR /&gt;&lt;/H2&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;br&gt;&lt;div style="margin-bottom: 40px;"&gt;&lt;/div&gt;</description><clipSource>http://www.lefigaro.fr/culture/index.php</clipSource><pubDate>Sat, 27 Sep 2008 01:41:16 GMT</pubDate></item><item><title>Damien Hirst</title><link>http://clipmarks.com/clipmark/C11292F7-7780-4D7F-9F20-E4D9A0B32981/</link><description>&lt;b&gt;clipped by:&lt;/b&gt; &lt;a href="http://clipmarks.com/clipper/horst/"&gt;horst&lt;/a&gt;&lt;br&gt;&lt;div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"&gt;&lt;div style="background-color:"&gt;&lt;div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"&gt;&lt;span style="color:#FFFFFF;font-weight:bold;"&gt;Clip Source: &lt;a style="color:#FFFFFF;" href="http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/" title="http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/"&gt;entertainment.timesonline.co.uk&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;P class="small text-666 line-height-1em"&gt;Thursday September 18, 2008&lt;/P&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;H2 class="sub-heading caps float-left"&gt;Visual Arts&lt;/H2&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;H1 class="index padding-bottom-5"&gt;&lt;SPAN class="color-bd0000"&gt;&lt;/SPAN&gt;&lt;A href="http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article4769953.ece" class="link-06c"&gt;
Hirst makes £95m in Sotheby's sale
&lt;/A&gt;&lt;/H1&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;img src="http://clipmarks.com/image_cache/horst/512/135F5F33-F3AD-46AE-93A6-7C60997EF8AD.jpg" alt="Damien Hirst" /&gt;&lt;br /&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;br&gt;&lt;div style="margin-bottom: 40px;"&gt;&lt;/div&gt;</description><clipSource>http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/</clipSource><pubDate>Thu, 18 Sep 2008 02:34:50 GMT</pubDate></item><item><title>Amy Tan</title><link>http://clipmarks.com/clipmark/D1E0E1EE-32FC-4F19-BAB4-3C2058E9F523/</link><description>&lt;b&gt;clipped by:&lt;/b&gt; &lt;a href="http://clipmarks.com/clipper/horst/"&gt;horst&lt;/a&gt;&lt;br&gt;&lt;div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"&gt;&lt;div style="background-color:"&gt;&lt;div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"&gt;&lt;span style="color:#FFFFFF;font-weight:bold;"&gt;Clip Source: &lt;a style="color:#FFFFFF;" href="http://www.nytimes.com/2008/09/15/arts/music/15bone.html" title="http://www.nytimes.com/2008/09/15/arts/music/15bone.html"&gt;www.nytimes.com&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;NYT_KICKER&gt;Music Review | 'The Bonesetter’s Daughter'&lt;/NYT_KICKER&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;NYT_HEADLINE type=" " version="1.0"&gt;
3 Generations of Chinese Women Find Voice in Opera
&lt;/NYT_HEADLINE&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;DIV class="byline"&gt;By &lt;A title="More Articles by Anthony Tommasini" href="http://topics.nytimes.com/top/reference/timestopics/people/t/anthony_tommasini/index.html?inline=nyt-per"&gt;ANTHONY TOMMASINI&lt;/A&gt;&lt;/DIV&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;DIV class="timestamp"&gt;Published: September 14, 2008 &lt;/DIV&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;P&gt;SAN FRANCISCO — Opera is a form of total theater, so writing and producing one is always a collaborative process. But “The Bonesetter’s Daughter,” by the composer Stewart Wallace, with a libretto by &lt;A title="More articles about Amy Tan." href="http://topics.nytimes.com/top/reference/timestopics/people/t/amy_tan/index.html?inline=nyt-per"&gt;Amy Tan&lt;/A&gt;, based on her best-selling 2001 novel, may set a new standard for operatic collaboration. &lt;/P&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;img src="http://clipmarks.com/image_cache/horst/512/40297C81-8157-4D2C-B5B7-D128E6ECF25D.jpg" alt="" /&gt;&lt;br /&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;P class="caption"&gt;
Zheng Cao, left, and Qian Yi in the San
Francisco Opera production of "The Bonesetter’s Daughter." 
&lt;/P&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;br&gt;&lt;div style="margin-bottom: 40px;"&gt;&lt;/div&gt;</description><clipSource>http://www.nytimes.com/2008/09/15/arts/music/15bone.html</clipSource><pubDate>Tue, 16 Sep 2008 17:09:01 GMT</pubDate></item><item><title>Amy Tan</title><link>http://clipmarks.com/clipmark/3A3596D3-CAF2-4ADD-ABE7-5DFDECF1CF99/</link><description>&lt;b&gt;clipped by:&lt;/b&gt; &lt;a href="http://clipmarks.com/clipper/horst/"&gt;horst&lt;/a&gt;&lt;br&gt;&lt;div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"&gt;&lt;div style="background-color:"&gt;&lt;div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"&gt;&lt;span style="color:#FFFFFF;font-weight:bold;"&gt;Clip Source: &lt;a style="color:#FFFFFF;" href="http://www.nytimes.com/pages/arts/index.html" title="http://www.nytimes.com/pages/arts/index.html"&gt;www.nytimes.com&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;DIV class="kicker"&gt;Music Review | 'The Bonesetter’s Daughter'&lt;/DIV&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;H5&gt;




&lt;A href="http://www.nytimes.com/2008/09/15/arts/music/15bone.html?ref=arts"&gt;3 Generations of Chinese Women Find Voice in Opera&lt;/A&gt; 

&lt;/H5&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;img src="http://clipmarks.com/image_cache/horst/512/048CF88E-FE61-49F4-AA8E-8BC0D9DC8D2E.jpg" alt="3 Generations of Chinese Women Find Voice in Opera" /&gt;&lt;br /&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;DIV class="byline"&gt;By ANTHONY TOMMASINI&lt;/DIV&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;P class="summary"&gt;“The Bonesetter’s Daughter,” by the composer Stewart Wallace, with a libretto by Amy Tan, based on her best-selling 2001 novel, may set a new standard for operatic collaboration.&lt;/P&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;br&gt;&lt;div style="margin-bottom: 40px;"&gt;&lt;/div&gt;</description><clipSource>http://www.nytimes.com/pages/arts/index.html</clipSource><pubDate>Mon, 15 Sep 2008 21:24:01 GMT</pubDate></item><item><title>Jeff Koons in Paris</title><link>http://clipmarks.com/clipmark/AF5D47A7-956A-41B6-8031-CC75DBFC2032/</link><description>&lt;b&gt;clipped by:&lt;/b&gt; &lt;a href="http://clipmarks.com/clipper/horst/"&gt;horst&lt;/a&gt;&lt;br&gt;&lt;div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"&gt;&lt;div style="background-color:"&gt;&lt;div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"&gt;&lt;span style="color:#FFFFFF;font-weight:bold;"&gt;Clip Source: &lt;a style="color:#FFFFFF;" href="http://www.lefigaro.fr/culture/index.php" title="http://www.lefigaro.fr/culture/index.php"&gt;www.lefigaro.fr&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;H1&gt;&lt;A href="http://www.lefigaro.fr/culture/2008/09/10/03004-20080910DIAWWW00514-koons-un-artiste-sulfureux-chez-le-roi-soleil.php"&gt; Koons, un artiste sulfureux&lt;BR /&gt;chez le Roi-Soleil &lt;/A&gt;&lt;/H1&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;img src="http://clipmarks.com/image_cache/horst/512/D39B6557-B2E7-4373-A460-DFF962157D16.jpg" alt="Koons, un artiste sulfureux&lt;br&gt;chez le Roi-Soleil" /&gt;&lt;br /&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;Découvrez l'exposition «révolutionnaire» de &lt;A href="http://www.lefigaro.fr/culture/2008/09/10/03004-20080910ARTFIG00334-toute-la-planete-reunie-a-versailles-pour-jeff-koons-.php"&gt;Jeff Koons&lt;/A&gt; dans le joyau de la monarchie française, à Versailles, jusqu'au 14 décembre.&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;br&gt;&lt;div style="margin-bottom: 40px;"&gt;&lt;/div&gt;</description><clipSource>http://www.lefigaro.fr/culture/index.php</clipSource><pubDate>Sat, 13 Sep 2008 04:22:31 GMT</pubDate></item><item><title>H.I.V. in Africa</title><link>http://clipmarks.com/clipmark/C48DA42C-8212-4795-A13A-59DABE86E40B/</link><description>&lt;b&gt;clipped by:&lt;/b&gt; &lt;a href="http://clipmarks.com/clipper/horst/"&gt;horst&lt;/a&gt;&lt;br&gt;&lt;div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"&gt;&lt;div style="background-color:"&gt;&lt;div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"&gt;&lt;span style="color:#FFFFFF;font-weight:bold;"&gt;Clip Source: &lt;a style="color:#FFFFFF;" href="http://www.nytimes.com/2008/08/30/world/africa/30zimbabwe.html?ref=africa" title="http://www.nytimes.com/2008/08/30/world/africa/30zimbabwe.html?ref=africa"&gt;www.nytimes.com&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;NYT_HEADLINE type=" " version="1.0"&gt;
Zimbabwe Lifts Ban on Aid Groups, but Its Effects Linger
&lt;/NYT_HEADLINE&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;img src="http://clipmarks.com/image_cache/horst/512/FB802D3A-C348-4B8C-A14F-C84BFD518E8F.jpg" alt="" /&gt;&lt;br /&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;P class="caption"&gt;
A 17-year-old H.I.V. patient in a rural Zimbabwe hospital. The suspension of aid operations deprived more than a million people of assistance, aid donors said.
&lt;/P&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt; &lt;A title="More news and information about Zimbabwe." href="http://topics.nytimes.com/top/news/international/countriesandterritories/zimbabwe/index.html?inline=nyt-geo"&gt;Zimbabwe&lt;/A&gt; lifted an almost three-month-old ban on the work of aid groups on Friday. &lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;br&gt;&lt;div style="margin-bottom: 40px;"&gt;&lt;/div&gt;</description><clipSource>http://www.nytimes.com/2008/08/30/world/africa/30zimbabwe.html?ref=africa</clipSource><pubDate>Sat, 13 Sep 2008 03:54:40 GMT</pubDate></item><item><title>Tattoo-China</title><link>http://clipmarks.com/clipmark/A86E0A5A-ECDE-4237-A7E2-4A6919969A78/</link><description>&lt;b&gt;clipped by:&lt;/b&gt; &lt;a href="http://clipmarks.com/clipper/horst/"&gt;horst&lt;/a&gt;&lt;br&gt;&lt;div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"&gt;&lt;div style="background-color:"&gt;&lt;div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"&gt;&lt;span style="color:#FFFFFF;font-weight:bold;"&gt;Clip Source: &lt;a style="color:#FFFFFF;" href="http://www.nytimes.com/pages/arts/design/index.html" title="http://www.nytimes.com/pages/arts/design/index.html"&gt;www.nytimes.com&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;P class="summary"&gt;Slowly, tattooing is overcoming an ancient stigma in Beijing.&lt;/P&gt;&lt;/div&gt;&lt;/div&gt;&lt;div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"&gt;&lt;span style="color:#FFFFFF;font-weight:bold;"&gt;Clip Source: &lt;a style="color:#FFFFFF;" href="http://www.nytimes.com/2008/08/24/sports/olympics/24tattoo.html?ref=design" title="http://www.nytimes.com/2008/08/24/sports/olympics/24tattoo.html?ref=design"&gt;www.nytimes.com&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;P class="caption"&gt;
&lt;STRONG&gt;OLYMPIC SPIRIT&lt;/STRONG&gt; Tattoo parlors have attracted many during the Games.
&lt;A href="http://www.nytimes.com/slideshow/2008/08/22/sports/olympics/0824-TATTOO_index.html"&gt;More Photos &amp;gt;&lt;/A&gt;
&lt;/P&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;P&gt;Although every Chinese child is taught the legend of Yue Fei, a 12th-century general whose mother tattooed “serve the country with utmost loyalty” on his back, tattoos were considered disreputable in China for centuries. Imperial courts tattooed criminals’ faces before sending them into exile. By the 1949 revolution, the tattoo was the favored mark of crime syndicates and subsequently condemned by the Communist Party. Today, tattoos remain taboo for many of China’s elder generation, which sneers at the sight of a sun or lotus inked on the back of a trendy neighbor.&lt;/P&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;br&gt;&lt;div style="margin-bottom: 40px;"&gt;&lt;/div&gt;</description><clipSource>http://www.nytimes.com/pages/arts/design/index.html</clipSource><pubDate>Thu, 28 Aug 2008 20:52:23 GMT</pubDate></item><item><title>Ditko</title><link>http://clipmarks.com/clipmark/66C2C0ED-0EAC-4D74-894B-89301F3EF481/</link><description>&lt;b&gt;clipped by:&lt;/b&gt; &lt;a href="http://clipmarks.com/clipper/horst/"&gt;horst&lt;/a&gt;&lt;br&gt;&lt;div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"&gt;&lt;div style="background-color:"&gt;&lt;div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"&gt;&lt;span style="color:#FFFFFF;font-weight:bold;"&gt;Clip Source: &lt;a style="color:#FFFFFF;" href="http://www.nytimes.com/2008/08/17/books/review/Wolk-t.html?ref=design" title="http://www.nytimes.com/2008/08/17/books/review/Wolk-t.html?ref=design"&gt;www.nytimes.com&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;NYT_HEADLINE _moz-userdefined="" type=" " version="1.0"&gt;
From Spider-Man to Ayn Rand
&lt;/NYT_HEADLINE&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;He split with Lee and Marvel in 1966. By then, he’d fallen under the spell of Ayn Rand and Objectivism, and started producing an endless string of ham-fisted comics about how A is A and there is no gray area between good and evil and so on. “The Hawk and the Dove,” for instance, concerns two superhero brothers who … oh, you’ve already figured it out. Ditko could still devise brilliantly disturbing visuals — the Question, one of his many Objectivist mouthpieces, is a man in a jacket, tie and hat, with a blank expanse of flesh for a face — and his drawing style kept evolving, even as his stories tediously parroted “Atlas Shrugged” and “The Fountainhead” at the expense of character, plot and ultimately bearability. &lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;br&gt;&lt;div style="margin-bottom: 40px;"&gt;&lt;/div&gt;</description><clipSource>http://www.nytimes.com/2008/08/17/books/review/Wolk-t.html?ref=design</clipSource><pubDate>Sun, 17 Aug 2008 21:54:58 GMT</pubDate></item><item><title>Enceladus X</title><link>http://clipmarks.com/clipmark/D39E7A0F-00D7-400F-A0AF-1038373014C7/</link><description>&lt;b&gt;clipped by:&lt;/b&gt; &lt;a href="http://clipmarks.com/clipper/horst/"&gt;horst&lt;/a&gt;&lt;br&gt;&lt;div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"&gt;&lt;div style="background-color:"&gt;&lt;div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"&gt;&lt;span style="color:#FFFFFF;font-weight:bold;"&gt;Clip Source: &lt;a style="color:#FFFFFF;" href="http://www.nytimes.com/2008/08/16/science/space/16cassini.html?ref=us" title="http://www.nytimes.com/2008/08/16/science/space/16cassini.html?ref=us"&gt;www.nytimes.com&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;P&gt;Exquisite close-ups of fissures on a tiny frozen &lt;A title="More articles about the Moon." href="http://topics.nytimes.com/top/news/science/topics/moon/index.html?inline=nyt-classifier"&gt;moon&lt;/A&gt; of Saturn will provide the latest clues in solving the riddle of how a 310-mile-wide ice ball could possibly be shooting geysers of vapor and icy particles.&lt;/P&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;br&gt;&lt;div style="margin-bottom: 40px;"&gt;&lt;/div&gt;</description><clipSource>http://www.nytimes.com/2008/08/16/science/space/16cassini.html?ref=us</clipSource><pubDate>Sat, 16 Aug 2008 22:15:02 GMT</pubDate></item><item><title>Enceladus</title><link>http://clipmarks.com/clipmark/AD5DEBF9-D592-4FAF-B17C-E3F9A8E33315/</link><description>&lt;b&gt;clipped by:&lt;/b&gt; &lt;a href="http://clipmarks.com/clipper/horst/"&gt;horst&lt;/a&gt;&lt;br&gt;&lt;div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"&gt;&lt;div style="background-color:"&gt;&lt;div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"&gt;&lt;span style="color:#FFFFFF;font-weight:bold;"&gt;Clip Source: &lt;a style="color:#FFFFFF;" href="http://www.nytimes.com/pages/national/index.html" title="http://www.nytimes.com/pages/national/index.html"&gt;www.nytimes.com&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;P class="summary"&gt;The NASA spacecraft Cassini has taken razor sharp close-ups of Enceladus, which has jumped to near the top of the list of potential places for life in the solar system.&lt;/P&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;DIV class="byline"&gt;By KENNETH CHANG&lt;/DIV&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;H5&gt;




&lt;A href="http://www.nytimes.com/2008/08/16/science/space/16cassini.html?ref=us"&gt;NASA Has Its Closest Look at Geysers on Saturn Moon&lt;/A&gt; 

&lt;/H5&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;br&gt;&lt;div style="margin-bottom: 40px;"&gt;&lt;/div&gt;</description><clipSource>http://www.nytimes.com/pages/national/index.html</clipSource><pubDate>Sat, 16 Aug 2008 20:00:10 GMT</pubDate></item><item><title>Peter Saul - Bush at Abu Ghraib</title><link>http://clipmarks.com/clipmark/156C5780-08A5-414F-9638-B83CD50F4726/</link><description>&lt;b&gt;clipped by:&lt;/b&gt; &lt;a href="http://clipmarks.com/clipper/horst/"&gt;horst&lt;/a&gt;&lt;br&gt;&lt;div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"&gt;&lt;div style="background-color:"&gt;&lt;div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"&gt;&lt;span style="color:#FFFFFF;font-weight:bold;"&gt;Clip Source: &lt;a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2008/08/16/arts/design/20080816_SAUL_SLIDESHOW_5.html" title="http://www.nytimes.com/slideshow/2008/08/16/arts/design/20080816_SAUL_SLIDESHOW_5.html"&gt;www.nytimes.com&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;DIV class="caption"&gt;Peter Saul's "Bush at Abu Ghraib," 2006; acrylic on canvas 78 x 90 inches (198.1 x 228.6 cm); Hall Collection. 
&lt;DIV class="singleRule"&gt;&lt;/DIV&gt;
&lt;P&gt;What is the appropriate venue for art that stirs together John Wayne Gacy and Angela Davis, Mickey Mouse and Ethel Rosenberg, Stalin and Willem de Kooning, Basil Wolverton and George W. Bush, and spikes the broth with prickly references to capitalism, Communism, homophobia, feminism, Black Power, racism, pedophilia and art-world politics, and last but not least, to the aging, decaying, self-lacerating artist himself?  
&lt;/P&gt;&lt;/DIV&gt;&lt;/div&gt;&lt;/div&gt;&lt;hr size="2" color="#666666" /&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;P class="credit"&gt;Photo: Image courtesy of the Orange County Museum of Art&lt;/P&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;br&gt;&lt;div style="margin-bottom: 40px;"&gt;&lt;/div&gt;</description><clipSource>http://www.nytimes.com/slideshow/2008/08/16/arts/design/20080816_SAUL_SLIDESHOW_5.html</clipSource><pubDate>Sat, 16 Aug 2008 13:04:43 GMT</pubDate></item><item><title>Peter Saul</title><link>http://clipmarks.com/clipmark/77470844-49B2-4D4F-A68B-F27C67AD1B63/</link><description>&lt;b&gt;clipped by:&lt;/b&gt; &lt;a href="http://clipmarks.com/clipper/horst/"&gt;horst&lt;/a&gt;&lt;br&gt;&lt;div border="2" style="margin-top: 10px; border:#000000 1px solid;" width="90%"&gt;&lt;div style="background-color:"&gt;&lt;div align="center" width="100%" style="padding:4px;margin-bottom:4px;background-color:#666666;overflow:hidden;"&gt;&lt;span style="color:#FFFFFF;font-weight:bold;"&gt;Clip Source: &lt;a style="color:#FFFFFF;" href="http://www.nytimes.com/slideshow/2008/08/16/arts/design/20080816_SAUL_SLIDESHOW_10.html" title="http://www.nytimes.com/slideshow/2008/08/16/arts/design/20080816_SAUL_SLIDESHOW_10.html"&gt;www.nytimes.com&lt;/a&gt;&lt;/span&gt;&lt;/div&gt;&lt;div style="padding: 10px;"&gt;&lt;div style="text-align:left;"&gt;&lt;DIV class="caption"&gt;Peter Saul's "Cold Sweat," 1999; acrylic on canvas, 55 x 66 3/4 inches (140.3 x 169.5 cm); private collection, New York; courtesy David Nolan Gallery, New York.  
&lt;DIV class="singleRule"&gt;&lt;/DIV&gt;
&lt;P&gt;Such images — Rembrandt’s late self-portraits are not all that far away — have increased in number as Mr. Saul has grown older. Yet his work continues to look youthfully of the moment. And for young artists he is, for several reasons, a worthy role model.  
&lt;/P&gt;&lt;P&gt;He has kept himself more or less clear of the art world, so owes it nothing. He has also kept clear of fashion and, with scant critical encouragement until recent years, has gone his own masterfully realized hideous-hilarious way. And that way has been based on taking a fundamentally facile genre, Surrealism, and loading it with purposeful, critical content.&lt;/P&gt;&lt;/DIV&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;&lt;br&gt;&lt;div style="margin-bottom: 40px;"&gt;&lt;/div&gt;</description><clipSource>http://www.nytimes.com/slideshow/2008/08/16/arts/design/20080816_SAUL_SLIDESHOW_10.html</clipSource><pubDate>Sat, 16 Aug 2008 13:01:25 GMT</pubDate></item></channel></rss>