Graham Strahle writes about the results of a study of 40 young adults who attended concerts explicitly designed to cut down on concert-hall formality.
“[His] brooding figures graced exhibits from Paris to New York during a career as a painter, sculptor, writer, draftsman and engraver that spanned more than seven decades. Cultivating the image of a philandering ‘tomcat'” – he claimed to have had hundreds of partners, once included his semen in an exhibition, and offered to impregnate any woman who wanted to have his baby – “Cuevas drew on the work of Francisco de Goya and Pablo Picasso, and his depictions of dark, deformed, animal-like figures were a sharp break with the socialist-tinged muralism long popular in Mexico.”
From Gilles Deleuze and Stanley Cavell to Stephen Mulhall and Robert Sinnerbrink, an argument has been made that film can be philosophy. Indeed, that cinema can serve philosophy not in some ancillary role – for example, by providing ‘illustrations’ of philosophical problems in classroom settings – but in its own right, with its own means, and in a manner irreducible to the methods of traditional philosophy.
“Cinema can serve philosophy not in some ancillary role – for example, by providing ‘illustrations’ of philosophical problems in classroom settings – but in its own right, with its own means, and in a manner irreducible to the methods of traditional philosophy.” Exhibit A: Rashomon.
Says one specialist attorney, “There’s no conspiracy. There’s no one out there saying we’re going to stop artists. It’s basically much broader than that and artists they consider collateral damage.” Says another, “What is a broader effect, I think, is that there is a pervasive sense in the international community that the U.S. is becoming a hostile environment for performing artists.”
The old company, Opera Ireland, was shut down in 2010 to make way for a new Irish National Opera – which was never actually formed. Now two smaller companies who share an artistic director are being merged: they’ll form the main resident company in the capital, Dublin, with some productions traveling to Wexford and Cork.
“Though it was originally an occupation that kept one behind the scenes, the appointment of curatorial posts is now fodder for news headlines, particularly when it comes to events like documenta or the Venice Biennale. More and more frequently, critics evaluate exhibitions based on how they are developed or formulated—thereby placing the responsibility of a show’s success directly upon the curator’s shoulders, and proving that they are no longer considered merely an overseer of collections or exhibitions. As the position becomes more high-profile, the crop of those aspiring to be curators grows, with more universities offering specialized programs in the field.”
“According to new research conducted in the Netherlands by the Dutch school inspectorate, the amount of time children spend drawing by hand both in and out of school has been reduced over the last 20 years; the study also found that their artwork has declined significantly in quality and complexity since a similar study was conducted two decades ago.”
Laughter is no different than political systems, commercial relations or artistic practices: it evolves over time, the result and cause of material and social transformations. For medieval man, laughter was the great leveller. Preceding Martin Luther’s priesthood of all believers was Rabelais’s priesthood of all belly-laughers. Inclusive and communal, laughter left no one untouched; no less universal than faith, it was a bit more subversive. In fact, as Bakhtin notes, late-medieval laughter marked a victory, albeit temporary, not just over the sacred and even over death; it also signalled ‘the defeat of power, of earthly kings, of the earthly upper classes, of all that represses and restricts’.
“It used to be that people were born as part of a community, and had to find their place as individuals. Now people are born as individuals, and have to find their community.” That change is on display in many facets of American culture, political and otherwise.
“Veronika Part, the Russian-born ballerina who has been a principal dancer with American Ballet Theater since 2009, will retire from the company at the end of this season because her contract was not renewed for another year.”
“He has signed a five-year contract with the Royal Swedish Opera and will arrive in Stockholm mid-August. … Like his predecessor, Le Riche sees no difference between classical ballet and contemporary dance: ‘both are facets of the same Art,’ he says.”
Digital restrictions are the backdrop to the work of all Chinese artists, and for some, the so-called Great Firewall—the online surveillance structure that blocks data from foreign countries—provides both subject and medium. “The Chinese internet is such a unique and rich material, I am often inspired by it,” says the New York- and Shanghai-based artist Miao Ying. “For anyone who resides in China, you will be shaped by it, not just because of the firewall. China has its own internet environment and it is developing more rapidly than anywhere else.”
Even the American Academy of Pediatrics has started to relax a little about screen time. Also, the entire discussion is a status marker: “The ability of parents to limit screen time, like the ability to limit unwholesome food, has become more than a matter of health. It has become a statement of class, order, purity and parental authority.”
How did Perdita Hunt change the Watts Gallery’s “Sleeping Beauty look” wherein the gallery “was cold and dark, the roof leaked, the canvases sagged, and the tea room was poisoning its clients”? The first step was a vision that didn’t include raw sewage running down the side of the building.
Adam Gopnik looks at Papa’s biography, writing style, and (yes) kinks, and finds that, for all the “stoical stance” in his prose and his persona, he had quite a sensual (if not quite hedonistic) side – and, what’s more, “he was naturally garrulous and jocose: indeed, by the time he was a celebrity he was so garrulous and jocose that it shocked people, though he was just being himself.”