“It doesn’t mean that it is part of Standard English or any other recognised dialect. Still, if George W Bush can misunderestimate some things and Sarah Palin can refudiate others, then, like, whatever.”
“What seemed to make this the height of folly was that Tim Jenison, born in 1955, had no training or experience as a painter. Moreover, in Johannes Vermeer, he was embracing an artist whose canvases, for all their immense charm and quotidian content, are among the most complex, difficult and well … mysterious in the annals of great Western art.”
“There is, then, an undercurrent of injustice to the astronomical price of Glenn Brown’s imitation: he has reaped a larger financial reward. Chris Foss must settle for something else: the plain knowledge that he defined and popularized a niche—a noble success, but one that seizes fewer headlines than seven-figure auction prices.”
Dismemberment of the Corcoran: Whither the Collection?
Source: CultureGrrl | Published on 2014-02-20
The Corcoran Gallery, and Help for Indie Bookstores
Source: CultureCrash | Published on 2014-02-20
Venezuelan conductor attacks ‘injustice, systematic torture, atrocities’
Source: Slipped Disc | Published on 2014-02-20
“When it comes to leadership, the Corcoran boards of the last decade are the rough non-profit equivalents of the boards that ran MCI and Enron in the for-profit sector. Like trustees at MCI and Enron, Corcoran trustees committed no crimes, but they numbly bumbled, doing much damage on the way down.”
“I must admit I’m confused. I want to see it as a devastating satire on the modern world’s alienation from the past. Ever since the Chinese Revolution began in the early 20th century, political and economic ruptures have cut off China in particular from its ancient culture. Is Ai Weiwei parodying that? Or is he mocking western art-lovers who think all Chinese art is ancient (as they may have, back in 1995)?”
That – in so many words (“a reformed teenage thug”) – is what conductor John Eliot Gardiner argues in his new biography, asserting that Bach, for all his musical skill and piety, grew up to be rebellious, resentful, and mistrustful of authorities for his entire adult life. Scholar and former American Bach Society George B. Stauffer takes a look at the evidence.