Gilbert Vahé began work at Giverny when the restoration of the gardens first began in 1977, and (except for a five-year temporary retirement that ended this January) he’s been there ever since, “work[ing] to maintain the original aesthetic – a certain profile of color and light – that corresponds to Monet’s vision.”
“I’ve been asked in interviews, in classrooms and by audiences, if I think fairy tales are feminist. I think they are, but not by our modern definition of feminism. Traditional fairy tales were created long before any such notion existed, and I’d say they help women, rather than lift up women. They warn, rather than extol. They’re useful, which is a much older kind of feminism.”
The truth is, everybody is an outsider. Everybody. So, we mustn’t fear presenting that in a work of art so that people have different ways of seeing their outsiderness reflected. This is what I say to young people: “It is not a waste of your life to be a writer, or to work in the arts.” I think the more we see ourselves represented, the more that opens up possibilities for younger people.
The five-story building in Tokyo’s Shinjuku district was actually completed in 2014, with installation going on since. The museum, which opens October 1, will have rotating exhibits changing twice a year, a separate floor for the Infinity Rooms, and a library/archive; timed tickets will cost ¥1,000 (just over $9.00).
“There are a lot of sweeping statements about the idea that having robots available could mitigate human trafficking, or exploitation of children by pedophiles. … But how do you prove it? How are you going to run tests, which heads of child trafficking operations are we going to have fill in a questionnaire for us on whether or not use of a robot would help them?” Aimee van Wynsberghe, co-founder of the Foundation for Responsible Robotics, talks with Quartz.
“To us French people, American English has this beautiful casualness about it that translates into the way we picture Americans themselves—a cliché of self-possession and comfortable-in-their-own-shoesness. A jealous French person would say “cockiness.” I for one like this ability Americans have to say big things very casually. I don’t know if it’s just me, but I find that some things in French just have too much weight, and that the American way is enviable. Example: “love” and “amour” are two very different words, even though any English-to-French dictionary will try to convince you they mean exactly the same thing.”
Stage director Vincent Lancisi and his wife were vacationing in France a couple months before he was to begin work on a revival of David Henry Hwang’s Pulitzer-Prize winning play. One day, their guide/driver casually said, “I was a driver for a famous man. There is a movie about him with Jeremy Irons, called M. Butterfly.” Within an hour, Lancisi was on the phone with Bernard Boursicot; within a month, he and his lead actor were visiting Boursicot at his nursing home in Brittany.”
Singularity Black absorbs just a bit less light than Vantablack, whose creation was announced last year. But the makers of Vantablack (notoriously) sold exclusive rights to its use to sculptor Anish Kapoor, and it’s not even in a fully usable form yet, while Singularity Black is already available for purchase by any interested customer.
Kirill Serebrennikov, artistic director of the cutting-edge theatre The Gogol Centre, saw his travel documents seized when he was detained and his apartment was raided in May in what authorities said was an investigation into embezzlement of state funds. Last month, his staging for the Bolshoi ballet of a full-length work about the life of Rudolf Nureyev was abruptly cancelled a few days before opening night.
Rumors of the site’s imminent collapse had been floating for weeks, and 40% of its staffers were laid off in early July. “The [new] funding comes from two firms, The Raine Group – which also holds stakes in Vice Media and C3 Presents, the owner of Lollapalooza – and Temesek Holdings, a state-run Singaporean holding company with interests in several state-run Chinese companies. In addition, co-founder Alex Ljung will be stepping down as CEO, but remaining chairman.”
“We must stop handcuffing our writers and producers by forcing them to comply with some national mandate to tell Canadian stories. We are Canadian, and our stories will inherently reflect our sense of humour, our drama and our individuality. I can’t tell you how many pitches I have been to where some development executive measures the Canadian quotient word by word like a recipe for poutine.”
‘Acting Up’, commissioned by Shadow Culture Minister Tom Watson, notes that although 33% of the population is working class, just 16% of actors are working class, and only 7% of the performing arts workforce is from a Black, Asian or minority ethnic background. The report presents the findings of an inquiry that focused on the barriers to working in the performing arts at every career stage, in order to find “political solutions to knock them down”.
Uh, y’all, the system is capitalism, and that means that “the moral ballyhooing or furious condemnation of mainstream art and pop culture often seems undercut by the very fact that, presumably, the process by which most of these works were made will inevitably play into inequality-perpetuating systems in ways that have just as critical — and in some ways, a more direct and immediate — impact on the world as what we’re seeing onscreen.”
This is practical info. First of all, silence around accessibility is not going to help. Second, plan ahead. “If you want to produce a play that has three Deaf characters, start allocating money for professional ASL interpreters several months in advance. If you want to stage an inclusive musical in a ‘historical’ venue that is inaccessible to performers who use wheelchairs, start researching retro-fits and accessible ramps, and make friends with an architect or designer who can help.”
The whole thing started with a film club in 2002. But then, “Cinespia has sold out each of its screenings, with thousands of attendees per its 25 screenings a season over the last several years. ‘The experience of watching a classic film with 4,000 people heightens the experience, it’s something you cannot get in front of your computer at home alone.'”
A recent Annenberg study was pretty depressing in terms of representation for people of color, and even white women, in Hollywood. But “how do you persuade the dream factory to dream a lot bigger than the lives of white men in the United States and Britain? The Annenberg study favours industry targets and movie contracts in which top talent would demand on-set equity from the studio bosses. Maybe this shaming will have some effect. … Giving female screenwriters and non-white screenwriters more chances seems more likely to produce a wider range of stories and different approaches to storytelling.”
In Sweden in 1998, “among the ten bestselling books of the month was not even a single Swedish crime novel. There were historical novels, chick lit, contemporary novels, satire. And just two crime novels of any description: one British, one American. That’s how the literary scene looked just 20 years ago! … The Swedish crime novel — the Scandinavian crime novel — was stuck in a rut of whodunnits, essentially the same thing written over and over again.” Then things changed.
“He treats Mr. Glass’s music like a sculpture, worth studying from all angles in search of new interpretations and surprises. ‘I came to the conclusion that it’s not a repetition,’ Mr. Olafsson said of Mr. Glass’s music. ‘It’s a rebirth. It’s not treading the same path, but traveling in a spiral. That’s the image I have.'”
This is how film criticism changed forever: Kael “was on her way out the door at TNR when she penned a lengthy (roughly seven thousand words) essay on Bonnie and Clyde, which the magazine politely declined. Too long, they told her. Her agent, Robert Mills, reached out to William Shawn, editor of The New Yorker; they had published a more free-form Kael essay, “Movies on Television,” earlier that summer. Maybe he’d like to take a look?”
The list of performers who came to sing Sondheim and so much more is long, and those who couldn’t be there in person sent audio and video songs as well. “In at least one moment, Ms. Cook seemed to signal that she was hearing them, according to [singer Jessica] Molaskey. ‘We started singing and she lifted her finger up to her mouth. … She tapped her lips twice and I thought she was singing with us.'”
A man who buys art in estate sales snagged the entire contents of a house – and that happened to include the “Woman-Ochre,” stolen from the University of Arizona Museum of Art in the 1980s. He was going to hang it in his own house until people in his shop noticed it was a de Kooning – and a Google search led him to the truth.
“The boat belongs in Washington, a city both blessed and socially determined by its rivers. The nation’s capital was founded at the confluence of the Potomac and the Anacostia, near the ports of Georgetown and Alexandria, and is home to the country’s oldest naval base. At times, the city has embraced its river setting, most significantly in 1901 when the McMillan Plan created the Mall, new parks along the waterfront and Memorial Bridge, which created a symbolic (though often illusory) post-Civil War rapprochement between the North and the South by joining the Lincoln Memorial to Arlington Cemetery.”
When he first arrived in the City of Brotherly Love, to attend Curtis, Lenny described it as “a city of dust and grit and horror.” And while one of those near-death experiences was metaphorical, a professional disaster, the other was real: he nearly got shot. David Patrick Stearns has the stories (and others, too).
“‘BookTubers’ as they are (slightly irritatingly) known, post videoed book reviews on YouTube and many rack up hundreds of thousands – even millions – of views. … Who could have predicted that, in the age of smartphones, video games and constant distraction, a vast audience of young people would be clamouring for broadcast literary coverage?”