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There isn\u2019t a single subject that Adam Gopnik\u2019s prose can\u2019t bring to life. As staff writer at the New Yorker since 1986, he has written about almost everything, including, just in the last year, Proust, gun control, the Beatles, and the Marquis de Lafayette. But it\u2019s when he starts writing about art that things get particularly delectable: \u201cthe runny, the spilled\u2026the lipstick-traces-left-on-the-kleenex\u201d life and style of Helen Frankenthaler; \u201cthe paint, laid on with a palette knife, that deliciously resembles cake frosting\u201d technique of Florine Stettheimer; \u201cthe monumental and mock-monumental that tango in the imagination\u201d of Claes Oldenburg. \n\nAnd perhaps the reason why Gopnik, who has a graduate degree in art history from NYU\u2019s Institute of Fine Art, is able to write about art with such lucidness and latitude is that he isn\u2019t just knowledgeable about art; he adores it. The charge, the perfume, the misty spray of the orange peel that is evoked when you stand in the Arena Chapel - everything that, if you\u2019re not careful, becoming a professional in your creative field will neutralize.\n\nWe talked about being docents in large museums, how to hook your audience, how to write a poem about art, Vladimir Tatlin, Steve Martin, Stephen Sondheim, the incompatible forces that create beauty, and the noble truths of art creating and art writing: eye to hand, and I to you.\n\nEpisode webpage:\nhttps://bit.ly/3COhnOp\n\nMusic used:\nThe Blue Dot Sessions, \u201cBalti\u201d\nMandy Patinkin, \u201cFinishing the Hat\u201d from Sunday in the Park with George\n\nSupport the show:\nwww.patreon.com/lonelypalette