Good Morning,
A piece in the Yale Review asks whether the 21st century has been a creative blank space — two decades of remixing without inventing (Yale Review). The piece is a review of a book that asserts the notion. But perhaps the invention is happening; it’s just not where we used to look.
A luthier put a carbon-fiber violin onstage next to a Stradivarius and dared listeners to hear the difference (The Strad). Scientists now think metrology — measuring the physical fingerprint of pigment — can flag a forged Van Gogh (Artnet). Same thing, if you think about it: when an object can be copied, value shifts from how it was made and how you prove it.
Back in the more anodyne world, Pace, one of the generation of mega-dealers that defined the market’s top tier, suddenly cut have its staff and half its artists. (ARTnews) — Artnet shows us inside what happened, and it raises concerns about the mega-model itself. And a new study reveals that U.S. authors’ incomes keep sliding, with an Authors Guild study asking why (Publishers Weekly).
Finally, after eight nominations across four decades, Glenn Close is finally getting an Oscar (AP). Persistence eventually rewarded.
All of the rest of our stories below.
Doug
