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In 1973, she returned to New York and worked in the conservation studio of Marco Grassi, [1] where she restored Old Master paintings [2] for private and museum clients, including Stanley Moss, E.V. Thaw, Robert Dance, the Metropolitan Museum of Art in New York, the Norton Simon Collection in Pasadena, and the Thyssen-Bornemisza Collection.
The New York Times Archival Library, also known as "the morgue", [1] is the collected clippings and photo archives of the New York Times (NYT) newspaper. It is located in a separate building from the main Times offices, in the basement of the former New York Herald Tribune on West 41st Street.
Sunday Review is the opinion section of The New York Times. It contains columns by a number of regular contributors (such as David Brooks and Paul Krugman ), and usually includes editorials, which are opinion pieces written by the Editorial Board.
Moss joined the editorial staff of The Economist, where he was an editorial writer and special correspondent from 1970 to 1980, reporting from some 35 countries.He edited The Economist's weekly Foreign Report from 1974–1980, and wrote for many other publications, including The Daily Telegraph, The New York Times Magazine, The New Republic and Commentary.
The New York Times Book Review (NYTBR) is a weekly paper-magazine supplement to the Sunday edition of The New York Times in which current non-fiction and fiction books are reviewed. It is one of the most influential and widely read book review publications in the industry. [2] The magazine's offices are located near Times Square in New York City.
The list was compiled by a team of critics and editors at The New York Times and, with the input of 503 writers and academics, assessed the books based on their impact, originality, and lasting influence. The selection includes novels, memoirs, history books, and other nonfiction works from various genres, representing well-known and emerging ...
The biggest misstep, though, is Imogen’s past — because of course, she has to have a Traumatic Backstory — with hazy flashbacks to a creepy mentor figure played by James Purefoy.
Smith began writing for The New York Times in 1986, and became the newspaper's co-chief art critic in 2011. [ 12 ] [ 3 ] She has written many essays for catalogues and monographs on contemporary artists, and wrote the featured essay in the 1975 Judd catalogue raisonné published by the National Gallery of Canada .