His move from performance artist (his most famous piece, “Seedbed,” included him lying beneath a false floor in a gallery, masturbating and speaking to gallery visitors over a hidden mic) to architect “confused his peers and caused his profile in the art world to recede, to the point where many younger artists who were indirectly influenced by his work had little idea who had created it. In his later years, Mr. Acconci sometimes agonized over this situation, but he said he had no choice but to follow his interests where they took him.”
The madness began after I received a phone call from my brother, Christien, who worked for a luxury travel agency. “Great news,” he said. “I may have a client for the villa for New Year’s week. How’s the project coming?” My heart sank. More than two years in, and we were nearly out of money. We really could have benefited from a holiday rental. But there was no way we could be ready in time, I told him. “But it’s apparently a famous person,” my brother added. “Some architect,” he told me. “His name is I. M. Pei. Ever heard of him?” My brother was not a student of architecture, so the significance of this was lost on him.
Hemingway’s bizarre behavior in his latter years (he rehearsed his death by gunshot in front of dinner guests, for example) has been blamed on iron deficiency, bipolar disorder, attention-seeking and any number of other problems. After researching the writer’s letters, books and hospital visits, Farah is convinced that Hemingway had dementia — made worse by alcoholism and other maladies, but dominated by CTE, the improper treatment of which likely hastened his death.
“Opponents of the Maduro regime, which is trying to starve the country into submission, have accused Dudamel of targeting the opposition by failing to name the government as the cause of present miseries. Supporters of the Government are calling him a turncoat. Debate is raging across social media.”
“What’s more shameful is that Hearts With A Mission is so fearful of being perceived as endorsing — what?” the Medford Mail Tribune wrote in an editorial. “The existence of gay men? The performance of choral music by gay men in a church sanctuary to benefit a charitable organization?”
Irina Dvorovenko retired from ABT in 2013, and since then she’s had roles in two major dramatic television series. She tells Gia Kourlas how it happened.
Mob wives, CB radio buffs and AIDS victims; Hannibal Lecter, Howard Hughes and Jimmy Carter: Mr. Demme (pronounced DEM-ee) plucked his subjects and stories largely from the stew of contemporary American subcultures and iconography. He created a body of work — including fiction films and documentaries, dramas and comedies, original scripts, adaptations and remakes — that resists easy characterization.
Sure, there will be campfires and s’mores, but there will also be burlesque lessons, Hairspray karaoke, scotch and cigars, and Bloody Mary Bingo – not to mention a movie marathon, a costume contest, and the national treasure‘s own one-man show. Also arts-and-crafts and archery, which seem pretty kinky in this context.
“Where [Carlos Castaneda’s The Teachings of Don Juan] pursued enlightenment in hallucinogenic experience, Zen argued for its equal availability in the brain-racking rigors of Reason with a capital R. Years after its publication, it continues to be invoked by famous people when asked to name a book that affected them most deeply.”
“I saw O’Keeffe rise unsteadily to one knee, and then to her feet. She looked shaken. ‘Well,’ she said, with a thin smile, ‘It seems we’re not having chicken.'” Calvin Tomkins remembers a visit to the artist at her summer home in New Mexico, the Ghost Ranch, in 1973.
“The feeling that every advertiser wants to evoke in millennials is nostalgia; that warm, comforting sensation that one experiences when recollecting the past. People usually feel nostalgic for their own past, commonly referred to as autobiographical nostalgia. But oddly enough, they can also feel nostalgia for time periods when they weren’t alive; perhaps their parents played old music to them when they were young, and now, they associate those sensory details with positive memories.”
Among the many roles that won her acclaim at the Met, Covent Garden, and two dozen other international opera houses were the Composer in Ariadne auf Naxos, Octavian in Der Rosenkavalier, Idamante in Mozart’s Idomeneo, and, in contemporary opera, Kitty Oppenheimer in Doctor Atomic and Sister Helen Préjean in Dead Man Walking.
“Over the course of his career, the aristocrat of American architects, who turns 100 on April 26, has drawn on a dazzling range of influences, from Chinese gardens to ancient Colorado cliff dwellings to the fountain in a Cairo mosque. He blended the austere modernism of the Bauhaus with opulent Beaux-Arts classicism, technological daredevilry with reverence for precedent and a minute study of the past.”
Ngũgĩ wa Thiong’o didn’t think he’d ever become a writer, much less a novelist, short story writer, playwright, and essayist with his work translated into more than 60 languages. Now, he’s fighting for recognition for his native language, Gĩkũyũ. He says, “No language is ever marginal to the community that created it. Languages are like musical instruments. You don’t say, let there be a few global instruments, or let there be only one type of voice all singers can sing.”
The Polish sculptor “came up with a visual language that was unlike that of her European colleagues, many of whom were inclined toward the Pop-inflected use of commercial imagery and, later, conceptually rigorous objects. Her formalist sculptures relied on rumpled, crumpled, and distressed surfaces that became metaphors for the effects of violence on human skin and land turned up by bombings and battles.”
She started playing Joanie when she was 12. “Over the 10-year run of ‘Happy Days,’ Joanie transformed from the young teenager who complained about being sent to her room to a major character on the show. In later seasons, Joanie’s love interest with the aspiring musician Chachi Arcola became a major story line.”
The space above the hall was a haven for artists of all stripes for many decades. “For Ms. Sargent, Carnegie Hall was as much sanctuary as studio. She moved there to distance herself from an abusive husband who drank, she said. Her starting rent for Studio 901, a well-lighted apartment with a lofted bedroom, was $188 a month.”
The Bard turns 453, and Stratford-upon-Avon is not missing out on a parade for the man.
Today, our most famous purveyors of ideas sell themselves to the wealthy much like the courtiers of the Middle Ages. Daniel Drezner notes that these ideas are therefore shaped by the “aversion” that plutocrats share toward addressing the problems we face. Inequality? Global warming? Populist nihilism? An explosion of global refugees? From a Silicon Valley perspective, Drezner notes, such things are not a failure of our system but rather “a piece of faulty code that need[s] to be hacked.” Examining data from a survey of Silicon Valley corporate founders, Drezner notes their shared belief that “there’s no inherent conflict between major groups in society (workers vs. corporations, citizens vs. government, or America vs. other nations).”
“[He] is perhaps best known for taking on the role of Siegfried in Götterdämmerung for Bayreuth’s centennial Ring cycle … He also garnered fame for being one of the few tenors to sing every single tenor role in Wagner’s Ring.”
“At a time when opera houses are more and more trying their hand at presenting musicals (the bone of contention among opera-lovers is whether this is a great thing or a betrayal of the art form), “Carousel” is one of the musicals most often cited as quasi-operatic. Indeed, the role of Nettie Fowler, which Fleming will play, was originally written for an opera singer, Christine Johnson, in 1945, and has often been sung by opera singers since — Denyce Graves, Shirley Verrett and Stephanie Blythe are among previous interpreters of the role.”
“The students laughed. Then, as if fearful that they’d overstepped some boundary, they peered down the length of the seminar table at me, as if to see how I’d react. Since I wanted to show them I was a good sport, I smiled broadly. But what I was thinking was, This is going to be a nightmare.”
She was the first Ethiopian girl to be sent abroad to study, the first woman in the country’s civil service, and the first female to sing in an Ethiopian Orthodox church service; she raced a horse and carriage around Addis Ababa and sang for Haile Selassie; she was thoroughly trained in Western classical music, but spent a decade as a barefoot nun at a hilltop convent; she fled from the Communist junta and settled in Jerusalem, where she’s spent decades creating music like no one else’s. Meet Emahoy Tsegué-Maryam Guèbrou.
Known for an extensive discography on the Erato and EMI labels and for his posts with the City of Birmingham Symphony and Sydney Symphony, Frémaux “was the only major orchestral conductor to serve two spells as an officer in the Foreign Legion.”
“Even more astounding than Hendricks’s astute color sense, and his intricate handling of his subjects’ sartorial choices, was the almost-preternatural skill he had for crafting portraits that exude psychic states.”
“The billionaire Campbell Soup Co. heiress … has given support, much of it quite substantial, to the University of the Arts, the Zoological Society of Philadelphia, the Kimmel Center for the Performing Arts, Main Line Health, the Morris Arboretum, WHYY, the Philadelphia Museum of Art,” and numerous educational endeavors.
“I miss art terribly. I’ve never really talked about my work to anyone. In my writing, I’ve occasionally mentioned bygone times of once being an artist, usually laughingly. Whenever I think of that time, I feel stabs of regret. But once I quit, I quit; I never made art again and never even looked at the work I had made. Until last month, when my editors suggested that I write about my life as a young artist.”
“Philanthropy has changed greatly from the days when wealthy people donated to a museum or hospital and got their name on the wall (though that still happens). The big money now is going to a battle over ideas shaping political discourse, education policy, health care research and more.”
The Catcher in the Rye, which spent thirty weeks on the New York Times’ best-seller list, had generated immeasurable publicity and adulation for Salinger, who wanted none of it. Among his new suitors were such Hollywood bigwigs as Samuel Goldwyn and David O. Selznick, both vying for the screen rights to Catcher. They failed to secure Salinger’s approval, as did many others, in turn—but that didn’t stop Bill Mahan, an unemployed former child star and devoted fan from Los Angeles, from giving it a shot. In the early sixties, he resolved to claim the film rights himself, even if it meant disturbing Salinger at home.
“I am the peer of whoever I’m talking to. If I am talking to a 15-year-old, that’s who I am. If I’m talking to a 50-year-old, that’s who I am. I see too many 75-year-olds who seem much older than I feel. I’m aware I’m an older person, and I wish my back didn’t hurt and my legs didn’t weigh 1,000 pounds. But I go to bed at night and can’t wait for the first taste of coffee in the morning.”