From exhibition - Elsa Schiaparelli and Miuccia Prada’s Impossible Conversations at Metropolitan Museum’s Costume Institute

(Left) GeorgeHoyningen-Huené(Russian,1900–1968) Portrait of Elsa Schiaparelli, 1932 Courtesy of The Metropolitan Museum of Art, Hoyningen-Huené/Vogue; © Condé Nast (Right) GuidoHarari(Italian,bornCairo,1952) Portrait of Miuccia Prada, 1999 Courtesy of The Metropolitan Museum of Art, Guido Harari/Contrasto/Redux

Still from Schiaparelli and Prada in Impossible Conversations at the Metropolitan museum, 2012

The Metropolitan Museum of Art’s Costume Institute has organized a new show Schiaparelli and Prada: Impossible Conversations. based on inspirations and similarities between these iconic Italian designers. The curators Harold Koda and Andrew Bolton have chosen to show a video that simulates a conversation between these two women of different eras in relation to their aesthetic influences and impact on style.

The eight short videos were created by the film director Baz Luhrmann, in which Schiaparelli is played by actress Judy Davis. In the films the two women are seated at a dining table and the dialogue is taken from paraphrased excerpts of Schiaparelli’s autobiography, Shocking Life, and Prada’s filmed remarks. The imaginary conversations are both illuminating and confrontational. Is fashion art? While Schiaparelli says yes, Prada disagrees.

Exotic Body Gallery View Courtesy of The Metropolitan Museum of Art

From exhibition - Elsa Schiaparelli and Miuccia Prada’s Impossible Conversations at Metropolitan Museum’s Costume Institute

From exhibition - Elsa Schiaparelli and Miuccia Prada’s Impossible Conversations at Metropolitan Museum’s Costume Institute

ElsaSchiaparelli,Vogue,September15,1938 Courtesy of The Metropolitan Museum of Art, Photograph by Horst Horst / Vogue; © Condé Nast

From exhibition - Elsa Schiaparelli and Miuccia Prada’s Impossible Conversations at Metropolitan Museum’s Costume Institute

Wallis Simpson in Elsa Schiaparelli, British Vogue, July 10, 1935 Courtesy of The Metropolitan Museum of Art, Cecil Beaton/Vogue © The Condé Nast Publications Ltd.; Courtesy of the Cecil Beaton Studio Archive at Sotheby's

Miuccia Prada, spring/summer 2004 Courtesy of The Metropolitan Museum of Art, Photograph © Toby McFarlan Pond

Surreal Body Gallery View Courtesy of The Metropolitan Museum of Art

The exhibition features almost 100 designs and 40 accessories by Elsa Schiaparelli (1890–1973) from the late 1920s to the early 1950s, and by Miuccia Prada from the late 1980s to the present

Elsa Schiaparelli and Miuccia Prada’s Impossible Conversations at Metropolitan Museum’s Costume Institute
Exhibition dates: Exhibition location: Press preview:
MMay 10–August 19, 2012 Special exhibition galleries, first floor Monday, May 7, 10 a.m.–1 p.m.

Frieze New York art fair on Randall's Island, Manhattan. Photo by Linda Nylind. 4/5/2012.

Frieze New York has camped at Randall’s island with 180 contemporary galleries under its enormous white skeletal snakelike tent designed by SO-IL architects. The fair which is like a pop-up village also includes Frieze Projects, curated by Cecilia Alemani, with artists John Ahearn, Latifa Echakhch, writer Rick Moody and Tim Rollins & K.O.S. among others specially commissioned to create outdoor installations around this unique location.

There is also Frieze Sounds, which features audio works by artists Martin Creed and Rick Moody, and also a Frieze Sculpture Park with works by Christoph Büchel, Ernesto Neto and Tomás Saraceno – who is also on the roof of the Metropolitan Museum of Art currently.

Nicholas Hlobo, 'Tail' Stevenson Gallery Frieze New York 2012

Detail from Damian Hirst's I Want You Too 1993 Melanine, Glass, Perspex, Fish and Formaldehyde 48x96x12 in. Showing at White Cube Gallery Booth at Frieze NY 2012

John Ahearn - Commissioned and produced by Frieze Projects New York 2012 Frieze New York 2012 Photograph by Linda Nylind Courtesy of Linda Nylind/ Frieze

Hans-Peter Feldmann, Ohne Titel, Triptikon - Galerie Francesca Pia Zurich at Frieze NY 2012

Mika Rottenberg and Jon Kessler - SEVEN - Nicole Klagsbrun at Frieze NY 2012

Frieze New York art fair on Randall's Island, Manhattan. Photo by Linda Nylind. 4/5/2012.

Rirkrit Tiravanija, Untitled 2012 (Karmer and Newman make sausage) Frieze New York 2012 Photograph by Linda Nylind Courtesy of Linda Nylind/ Frieze

Frieze New York 2012

Frieze New York 2012

Frieze New York 2012

Frieze New York 2012

Frieze New York 2012 has many pop-up cafes on the waterfront including a Soho House lounge for members and thirsty New Yorkers

Many galleries and exhibitions are coinciding with Frieze – notably:

PULSE New York, May 3 – 6, 2012 The Metropolitan Pavilion 125 West 18th Street (between 6th and 7th Avenues)
NADA New York Chelsea Center 548, 548 West 22nd Street (May 4-7)
The New Museum is showing works by Phyllida Barlow and Tacita Dean among others. (May 6th)
Helmet Lang at 24 Washington Sq North, co-curated by Neville Wakefield and Mark Fletcher (May 5 ― June 15, 2012)
Jeremy Kost, Of an Instance, Presented by Hugo Boss in partnership with The Andy Warhol Museum – 150 11th Avenue (May 4 – 31, 2012)
Kehinde Wiley at Sean Kelly Gallery ‘An Economy of Grace’, opening reception: May 5, 6-8pm (May 6 through June 16, 2012)
Storefront for Art and Architecture Capital C Performance/cabaret – 97 Kenmare Street – 6–9pm May 6
Shepard Fairey, Pace Prints – 521 West 26th Street, 3rd & 4th Floors Opening Saturday May 5, 12-8pm, (May 5-June 16 2012).
Chelsea Night block party – 26th Street will be closed to cars 6-9pm
The Clocktower Gallery 108 Leonard Street, 13th Floor with Mary Heilmann & Tony Oursler & Lawrence Weiner etc. Open studios and galleries Sunday May 6 6–9pm
Frieze Downtown Night Various Locations, 6:00 p.m. – 2:00 a.m. Sunday May 6

More information: Frieze New York Randall’s Island Park, New York, NY http://www.friezenewyork.com

© Luis Gispert - Wishbone (2012), a fake gold chain intersects a Hans Wegner chair, Courtesy of OHWOW Gallery

OHWOW is staging a new exibition of Luis Gispert’s sculptures and photographs in a show entitled ‘All Oyster, No Pearl,’ that promises to be a departure from his last series of tricked-out cockpits and opulent car interiors.

Gispert’s previous works have explored how tribalized cultures permeate society creating new hybrid aesthetics. In his MOCA exhibition a couple of years back and again at Mary Boone gallery in 2011 (“Decepción”) he explored fanciful visions of amped-up car interiors, lowriders, customized chasis and embellishments often associated with hip-hop car culture. He married these bespoke interiors within unexpected landscapes to create an alien immersive experience.

© Luis Gispert, “Burberry BMW,” 2011.

Luis Gispert's "Fendi Caprise," 2011, C Print © Luis Gispert

Luis Gispert Sprouse Gouse 48" by 86" C-print 2011 © Luis Gispert

In the current exhibition in Los Angeles, he is showing sculptural constructs using monochromatic silver gelatin prints mounted onto boxes. Gispert also combines modern furniture with cheap readymades. Other works will include composites of cast sections of custom Hydro-Stone with manufactured, factory produced items in which he invites the viewer to discern legitimate value.

Born in Jersey City, Luis Gispert lives and works in Brooklyn, NY, and this is his first solo exhibition with OHWOW.

DC-3 C Print 72-116 in 2008-1010 Copyright Luis Gispert

© Luis Gispert -Installation view. Courtesy of OH-WOW gallery

All Oyster, No Pearl
April 7 – May 12, 2012
OHWOW
937 North La Cienega Boulevard, Los Angeles, CA 90069
Opening reception: Saturday, April 7, 7 – 9 PM.

Hook and Eyes, LucyandBart - a collaboration between Lucy McRae and Bart Hess

Lucy McRae and Bart Hess have been bending and revising the body with simple low-tech alterations. Their works builds on fashion forms combining it with everyday technologies like safety-pins, Q-tips.

Bart Hess has been exploring the effect of new materials on the body using animation and photography. And Australian artist, Lucy McRae was trained as a ballerina, which has helped her to become a visual architect of the body, playing with its symmetry to create alien yet organic deviations. Together they play with the human silhouette, the body grows fur or gills, attenuates, hyper-extends, balloons or shrinks. Their work is also inspired by new developments in genetic manipulations & plastic surgery.

Evolution, a Lucy McRae and Bart Hess collaboration

Hunt For High-tech (above)

Chlorophyll Skin is a film experimenting with color, movement, absorption and the body – using Q-tips

A mini music video made by Lucy McRae for a forthcoming book and DVD entitled Black material with music by Spencer Product in collaboration with Champagne Valentine

Dripping Color, LucyandBart - a collaboration between Lucy McRae and Bart Hess

Bart Hess presents a performance inspired by the Photoshop filter that allows you to “liquify” images at Exit festival in Paris. 2012

Germination Day One, LucyandBart - a collaboration between Lucy McRae and Bart Hess

Germination Day Eight, LucyandBart - a collaboration between Lucy McRae and Bart Hess

Lucy Mcrae at 2012′s TED conference

Lucy McRae was invited to participate in 2012’s TED conference in California, where she spoke about using stockings, safety-pins and simple everyday objects to transform or grow a second skin to create animal textures and change colors, chameleon-like. Wanting to blur the edges of her skin, she sprayed her arms with a garden hose to watch how the water dripped and was inspired to create a textile made out of water tubes with different colored waters. She has worked on commercial projects for companies, one of which involved developing ideas on swallowing a perfume pill that would alter the body’s scent.

A collaboration between stylist Alister Mackie, artist duo LucyandBart, and Nick Knight

For more information:

http://lucyandbart.blogspot.com/
www.barthess.nl
www.lucymcrae.blogspot.com

Arturo Vega © Bobby Fisher

Arturo Vega wants to be canonized. First Order as Saint Arturo…“Save The Bowery, Bring Back Crack!” Half a block away from where Punk rock’s womb lies is now the mid-life crisis that is John Varvatos. While paparazzi picnic across the street from the Bowery Hotel, waiting to pounce on anything reeking of Hollywood, Arturo is thriving in  ‘The Ramones loft,’ which is 1500 sq feet of pure Punk history. Since 1974 Vega has been making art there relating to his 22 years as creative director to The Ramones.

Some 38 years ago a skinny kid from Queens popped his head in the door and said, “Hi I’m Dee Dee, I like your music,” and the rest is history.

Arturo Vega © Bobby Fisher

Arturo Vega © Bobby Fisher

Arturo Vega © Bobby Fisher

Arturo Vega © Bobby Fisher

Arturo Vega © Bobby Fisher

Arturo is currently in Chihuahua Mexico for a few shows with his new band Animo Cabrones. He contributes all things artistic while coaching Elias Mertz, the lead singer, on how to travel to hell…and make it back. Last September, a retrospective of his work was shown at OMR (Ortiz Monasterio Riestra) gallery in Mexico City. It included silk-screen prints and paintings from the early 70s, The Supermarket paintings 1973-75, The Silver Dollar/Flag silk-screen prints 1973/1992, The Insult Paintings, 1992-96, The Words Paintings 1992-1996, The Mondrian paintings 1996-2002, The Minimal Nihilism paintings 1996-2002

When asked why he made art, his reply was simple:  “What makes me free, makes me happy!”

Long Live Arturo…Punk is not dead!

Arturo Vega © Bobby Fisher

More information:

Arturo Vega
www.glassinebox.com
Bobby Fisher

A landscape charted from the rise and fall of the stock market. Michael Najjar 'High Altitudes,' Hangseng-80-09, © Michael Najaar

Michael Najjar 'High Altitudes', Dow Jones 80-09, © Michael Najaar

Artists with access to data from the medical, financial worlds, astronomy labs, global weather stations and geo-tagging services are now mapping data to create visual representations that make us think of invisible dimensions in tangible ways.  Michael Najjar is the first artist scheduled to go to outer space on the Virgin Galactic flights in 2013, and intends to work with NASA to collate data to create art projects based on space travel. Artist Katie Paterson has worked in conjunction with an astrophysics lab to create art based on the qualities of darkness in the universe.

Michael Najjar’s art focuses on the ‘telematic society,’ mapping information technologies that invisibly drive societies. Using financial data from the fluctuations of stock markets, he’s created mountainscapes that reference the Dow Jones and Nikkei indices. The series simulates the development of global stock indices over the last 20-30 years integrated within the visual backdrop of the Argentinian landscape. He creates fictive realities and renders alternative utopias that may aid our imagination in envisioning new futures.

Immaterials - data between visibility and invisibility : Courtesy of Onformative.com

Michael Najjar 'High Altitudes,' Nasdaq 80-09, © Michael Najaar

Immaterials - data between visibility and invisibility : Courtesy of Onformative.com

Anthony Dunne and Fiona Raby create visual diagrams from abstract information ‘wafting through space,’ which they refer to as the immaterial universe. The designers think of electromagnetic fields as full of data, and they have constructed designs and charted data readily available from geospatial and location-based services.

© Katie Paterson, 100 Billion Suns, Venice, Italy A confetti cannon, each piece of paper matched to the colours of the brightest explosions in the universe.

Katie Paterson has visually mapped fields of dead stars (27,000 of them). Her art uses everyday objects to simulate events of great magnitude that are hard for us to imagine. Her project ‘100 Billion Suns’ captures a Gamma Ray burst, the brightest explosion in the universe, which is 100 billion times brighter than the sun, using explosions of paper confetti. In another project she writes a memoriam letter to commemorate the death of a star, (Dying Star letters) each time she receives notification from the astronomy lab when a star has exploded. She has also collaborated with Keck Observatory, Mauna Kea on a one-minute loop of a telescopic image of ancient darkness which was broadcast from a New York TV station. The image is of the darkness that existed at the time of the Big Bang, 13.2 billion years ago, at the furthest point of the observed universe.

Produced to accompany Katie Paterson’s project ‘100 Billion Suns’, which took place during the vernissage of the 54th Venice Biennale.

More information:

Fictional Radiospaces

Onformative Design group

Anthony Dunne and Fiona Raby

Kate Paterson at Haunch of Venison

Katie Paterson Website

Michael Najjar website

SUPERFLEX - Bankrupt Banks - Merrill Lynch acquired by Bank of America, September 14, 2008, 2012 cotton fabric, acrylic paint 79 x 79 inches (200 x 200 cm)

SUPERFLEX, the art collective from Copenhagen has a new series of hand painted banners, ‘Bankrupt Banks,’ that explore the corporate identities of financial institutions that brought on the economic collapse of 2008.

The bold logos of yesteryear’s mightiest banks evoked strength, resilience and power in their choice of iconic representation, depicting stalwart bulls, sharp-sighted eagles and the idealized safe havens of homes. Now that same iconography appears to have masked the corruption and avarice behind these vanguard institutions, and are revealed to be the tools of systemic deception. In retrospect, these brands appear almost comical in their lofty artistic aspirations, suffering aesthetic delusions of arrogance and grandeur. Drained of their former prestige, these obsolete, defunct symbols of glory now appear to mock our cultural conditioning to believe, and question the trust we place in our vetted experts. But these iconic representations of power are not unlike those used in coinage and currency in circulation today that seek to imply value through the depiction of royalty, gods, the canonized, and usually, dead government figureheads.

SUPERFLEX, Bankrupt Banks - Fannie Mae acquired by United States Federal Housing Finance Agency, September 7, 2008, 2012 cotton fabric, acrylic paint 79 x 79 inches (200 x 200 cm)

SUPERFLEX - Bankrupt Banks - Colonial Bank acquired by BB&T, August 14, 2009, 2012 cotton fabric, acrylic paint 79 x 79 inches (200 x 200 cm)

SUPERFLEX - Bankrupt Banks - Sovereign Bank acquired by Banco Santander SA, October 13, 2008, 2012 cotton fabric, acrylic paint 79 x 79 inches (200 x 200 cm)

The art collective SUPERFLEX is itself a corporation that is playing with the concept of these logos, now repackaged as art objects. Revalued as art, with proportional price tags ($18K each painted banner) SUPERFLEX invites the consumer to accept their reconditioned value in the economic marketplace again.

The SUPERFLEX art group, founded in 1993 by Jakob Fenger, Rasmus Nielsen and Bjørnstjerne Christiansen, see their projects as tools. Their artworks, whether film, paintings or sculpture, also remain functional entities outside the art gallery, becoming a vehicle for an idea, a device or simply an everyday object that could be used to smash open a window or break into a bank.

In the past, they have developed multi-disciplinary projects with scientists and engineers – manufactured a biogas they named ‘Supergas,’ for use in rural Africa, and also a series called ‘Power Toilets’ recreating power-loos associated with some of the most secure and prestigious institutions in the world, like the United Nations Security Council at the UN in New York, and placing these replicas in alternate public spaces.

Their last project in New York in 2011, done in conjunction with Creative Time, was the JPMorgan Chase Toilet, an exact replica of a Chase executive’s toilet: By placing the posh potty in a low-cost Lower East Side Greek diner, they recontextualized this symbol of privileged access. This shiny new toilet with its background of wall paintings was offered as a permanent enhancement, and seen as a possible solution for restitution to the community.

SUPERFLEX - Bankrupt Banks - CajaSur acquired by Banco de España, May 24, 2010, 2012 cotton fabric, acrylic paint 79 x 79 inches (200 x 200 cm)

SUPERFLEX -Bankrupt Banks - Anglo Irish Bank acquired by Government of the Republic of Ireland, January 15, 2009, 2012 cotton fabric, acrylic paint 79 x 79 inches (200 x 200 cm)

Olympic Restaurant on 115 Delancey Street, New York for public use. © SUPERFLEX

For more information on SUPERFLEX: http://superflex.net/

Mike Kelley (1954-2012). The Mobile Homestead in front of the abandoned Detroit Central Train Station, 2010. © Mike Kelley. Photograph by Corine Vermuelen

For this year’s biennial the Whitney Museum is presenting a round-up of the usual suspects, with works by Elaine Reichek, Richard Hawkins, Charles Atlas, peppered with some lesser known emerging artists, and homages to recently dead ones like George Kuchar and Mike Kelley.

The Whitney is also presenting a great array of film and videos, music, ongoing live performances, with films by George Kuchar, Thom Anderson, Wu Tsang, Kelly Reichardt, (Wendy and Lucy), and a specially commissioned film by Werner Herzog. The more interesting departure is a floor dedicated to performance artists, which promises to be at least more moving than the majority of static works on display.

A Georgia Sagri performance at the Whitney Biennial 2012

Of the performances scheduled to take place, is a four-week residency by Modern Dance Club – a dance troupe commissioned by British choreographer Michael Clark. Clark, who radically expanded the role of male dancers from being mere props for pirouetting ballerinas – to exploring gender-defying personas, has famously collaborated on costumes with Leigh Bowery, Vivienne Westwood, BodyMap, and Sarah Lucas. Clark’s W-H-O’S Z-O-O will be performed by both professionals and non-dancers.

Wu Tsang (b. 1982), Production still from WILDNESS, 2012 (in progress). High-definition video, color, sound. © Wu Tsang; courtesy the artist

Sam Lewitt (b. 1981), Untitled (material for Fluid Employment), 2012. Digital photograph, dimensions variable. © Sam Lewitt; courtesy the artist and Miguel Abreu Gallery

The Whitney Museum readying its floor space for performances.

Rendering of the Whitney Museum of American Art’s new building in downtown Manhattan, from the corner of Gansevoort and Washington Streets facing West towards 10th Avenue

In the near future, the Whitney is threatening to unleash its new downtown quarters at the corner of Gansevoort and Washington Streets, a space designed by Renzo Piano, which hopefully will inject fresh impulses into its curatorial choices.

Michael Clark: In Residence March 14 – April 8 – Performances March 29-April 8
2012 Whitney Biennial will be on view from March 1 to May 27, 2012

Carroña Javier Pérez, 2011, Murano glass chandelier, stuffed crows Photo: Francesco Allegretto, Courtesy of Venice Projects, Venice

For those who missed the exhibition of Glasstress at the Venice Biennale, the show has been migrated to Museum of Art and Design in New York, which is showcasing many of the glass sculptures created in Murano at the studio of Adriano Berengo.

Barengo founded the project originally as a way to engage international artists, inviting them to work with glass artisans in his factory in Venice. Many of the artists had never experimented before in this fragile medium, resulting in unusual and non-traditional artworks. The show includes works by Tony Oursler, Mike + Doug Starn, Kiki Smith and Patricia Urquiola as well as artists well-known for their glassworks like Luke Jerram and Dale Chihuly.

E. Coli Luke Jerram, 2010 Photo: Luke Jerram, Courtesy of De Nul Collection, Belgium

Shitting Doves of Peace and Flying Rats Jan Fabre Photo: Attilio Maranzano, Courtesy of Berengo Private Collection, Venice

The Seed of Narcissus Tomáš Libertiny, 2011, Mirrored glass, beeswax Photo: Francesco Allegretto, Courtesy of the artist and Venice Projects, Venice

Clifford Rainey, "War Boy - Job No. 1," 2006. Glass, inert ammunition, iron wire, oxides, pins, maple plinth. From Playing With Fire 50 Years of Contemporary Glass Exhibition Photo: Lee Fartheree. Photo: Jennifer Scanlan

Hang - by Charlotte Gyllenhammar at the Glasstress Exhibition in the 54th venice biennale.

Some of the more bolder, extravagant works made of glass seem to defy the medium’s inherent vulnerability, but glassworks are also coveted for this very same property of impermanence. A testament to their preciousness is that many exquisitely detailed ancient glassworks, several thousand years old, still remain intact to this day. To showcase this trend for innovations in glass, many museums around the world have been dedicated to glassworks alone like the recently opened single-focus Shanghai Glass Museum.

Dale Chihuly’s works will be exhbited in the specially designed Chihuly Garden and Glass building in Seattle, Washington scheduled to open Spring 2012, and another exhibition on the last 50 year history of glass, “Playing with Fire,” will open later in 2012 at MAD in NY.

© Copyright diephotodesigner.de Shanghai Museum of Glass

Chihuly Garden and Glass Groundbreaking Ceremony August 23, 2011. Seattle, Washington Opens Spring 2012

More information: Glasstress.org
Shanghai Glass Museum
Glasstress at MAD, Museum of Art and Design, New York – February 14 – June 10, 2012 www.madmuseum.org and “Playing with Fire” upcoming exhibition opens November 6th, 2012, and will run until April 7th, 2013.

Alain de Botton – A Temple for Atheists Image: Thomas Greenall & Jordan Hodgson

The writer, Alain De Botton, famous for his musings on Proust and the nature of happiness, has always had an interest in the way humans are impacted by architectural spaces. De Botton has explored transitional places and the way they affect human emotions – and he has lived in an airport continuously for a week for research on his book A Week At the Airport. But, for his latest project, De Botton has been inspired to create an edifice for atheists to counter the millions of monuments that exist for gods.

For the scores of glorious cathedrals and mosques built by architects there appears to be none that had been built for atheists. Places of worship have been built for Jesus, Mary and for the Buddha, but temples can also be built for love, friendship and calmness…

Alain de Botton – A Temple for Atheists Image: Thomas Greenall & Jordan Hodgson

De Botton intends to build his tower in London at a symbolic height that reflects a scale of 300 million years of life on earth. He explained in the Guardian, “Each centimeter of the tapering tower’s interior has been designed to represent a million years and a narrow band of gold will illustrate the relatively tiny amount of time humans have walked the planet.” De Botton’s idea is to encourage contemplation. He also added, “the exterior would be inscribed with a binary code denoting the human genome sequence.”

Alain de Botton – A Temple for Atheists - Image courtesy of Thomas Greenall & Jordan Hodgson

The Secular Retreat designed by Peter Zumthor, in South Devon for Living Architecture concept for 2012

De Botton has said that he finds Richard Dawkins‘ and Christopher Hitchens’ approach to atheism too aggressive and destructive, and not positively persuasive to people who are just not that interested in religion but not aggressively opposed to it.

He believes that a temple for atheists fits into a tradition of secular places such as Rothko’s chapel. De Botton also manages Living Architecture, which is an organization that invites people to rent and holiday at some of the most innovative spaces designed by contemporary architects, and recently Peter Zumthor has designed a new building for Living Architecture, “Secular Retreat” which will be available to renters later in 2012

Alain de Botton - researching airports

The Balancing Barn, Alain De Botton, Living Architecture

Alain De Botton has a new book out, Religion for Atheists, which poses the idea of whether religions are neither all true or all nonsense – http://www.alaindebotton.com/religion.asp