Schnabel, who has a new “course correction” movie (not a biopic, or something) about Van Gogh: “I didn’t think he was failed artist. He was doing exactly what he wanted to do, and success is not measured by sales or money. The reward is making the work, not other people agreeing with you.”
Library activists started a petition to get library funding “ringfenced” or safeguarded – but the government responded that local control is everything.
But aspiring stuntwoman Shaina West wants to change that – and she has created a superhero alter ego to help out.
Nope. It’s books in translation. Why? Maybe the internet, or cell phones, or something entirely different – but the National Book Foundation is about to add a National Book Award for Translated Literature, the first new prize for the National Book Awards in more than 20 years.
One of the artists says, “A lot of young Aboriginal men fought for this country, travelled overseas and never came home. Even those who did weren’t treated with dignity and respect in Australia at the time. Their stories remain hidden, camouflaged in history.” He and other Aboriginal artists are trying to change that.
In 1974, Rabin organized a show of dissident artists that was broken up by dump trucks and bulldozers – and that caused an international backlash. “In 1978 officials encouraged him to make a trip to Paris; while he was there they stripped him of his citizenship. He lived in Paris the rest of his life, even though he became celebrated in Russia after the fall of the Soviet Union.”
As the painter approaches the end of her working life, her family keeps her enterprise afloat – and now seems the right time for it. “The horror of her work, unfashionable for so long due to its painterly naturalism, seems appropriate now, as truths about the female experience are being peeled back, and a return to figurative painting has seen artists use the body to discuss, among other things, the sexist politics of art.”
Under Lynne Meadow, who has been artistic director since 1972, MTC has won 23 Tonys and seven Pulitzer Prizes; produced off and on Broadway; and supported writers from Lanford Wilson to Stephen Adley Guirgis.
Dirk Hannema, who was the top museum official in the Nazi shadow government, helped the Nazis by buying art from a “clearinghouse” the Nazis set up. The info isn’t new, but “the details of his collaboration are being revisited these days as part of a sweeping review by Dutch museums of their war-era record.”
It’s seriously immersive: “Older professional actors will play care staff and activity organisers, and will mix with audience members who will also take on a variety of roles. Each resident will have a room to retire to at night, kitted out like care home quarters. But not every member of the audience will have to opt in for the whole 48 hours; a succession of larger groups will be welcomed in to observe semi-scripted events staged inside the home, including a bingo night.”
On the one side, German Playboy and its interview with Morricone. On the other, Morricone, who says he didn’t even give German Playboy an interview. What the heck is going on?
Whew, not easy. After all, Fluxus is humorous but serious, and how does an anti-opera opera play out on Stage 23 at Sony Pictures Studio, anyway? (A lot of people walk out, of course.)
Kennedy, who’s a comedian as well as a novelist, says that “imagination is at the bottom of democracy, at the bottom of civilised behaviour and at the bottom of not behaving like a sociopath.”
The founders of Glimmer Train, two Portland sisters who created the literary journal with some software money, have been running it since 1994 – and now they’ve announced that the it will have its final issue in 2019. “They decided they wanted a journal with content as high in quality as any other, but also — and this is one of the areas that set them apart — they wanted it to be fun.”
And it’s only going to lead to a lot more BitTorrenting, which isn’t legal, but is available. “The site is loaded with stuff that is, quite simply, not available on disc, and not streaming anywhere else. It’s the only way you can see Ernst Lubitsch’s Cluny Brown, Michael Powell’s The Spy in Black, Yasujirô Ozu’s An Inn in Tokyo, and dozens more.”
Where is The Portrait of Mlle. Gabrielle Diot? A German dealer may know, but he’s not talking – and the family says that the German government isn’t doing nearly enough to help.
Gérald Bloncourt was born in Haiti, but he spent most of his life in France after being expelled from Haiti for anti-governmental protests. The photographer was “an immigrant following other immigrants, [who] showed people in the Pyrenees on their journeys to France and people in the ankle-deep mud of shantytowns in suburbs of Paris like Champigny-sur-Marne.”
The owners of Aardman don’t want anyone (ahem, perhaps a large company that starts with a D) to take over the UK’s largest animation company, so they’re handing over 75 percent of the company to its 140 employees and 180 freelancers. Why? “We always believed that independence was our strong suit. We didn’t have to dance to anybody else’s tune and could make our own decisions.”
The actor was one of the first to talk about Harvey Weinstein’s sexual harassment, but the past year hasn’t exactly been easy. “I think that a lot of people in this #MeToo generation will tell you it is re-traumatizing to speak out. Because you start examining it again, and reliving it, and history starts repeating itself in your mind. I find myself much more angry about it, because in the past I tried to make it no big deal to myself. And now I look back at the teenage self, and I’m like, that is so terrible.”
Liv Lorent, who created BalletLorent 25 years ago: “Being in the north suited me very well. There was a small clutch of very sincere artists working across disciplines, whereas in London the dance bubble was big enough that I didn’t explore outside it. I liked the light and the weather in Newcastle. … People in the north are less precious generally. There’s much more self-censorship and affectation in London, worrying about what’s the most current thing.”
Filmmaker Wanuri Kahiu wanted to make work that showed Africans falling in love. “Americans were falling in love and Europeans were falling in love, … but Africans, we were never falling in love. The first time I saw an African couple even hold hands on screen, I was 16.”
Tower, who turned 80 this year and whose 2004 Made in America has been performed by major orchestras in all 50 states, says there’s still a lot to learn: “The bass, the piccolo, I’m still working on, and the horn. Those are weak areas for me. I’m going to get there with those instruments at some point.”
Will Disney invest in a lot of international content for Hulu to meet, for instance, European regulations? And will this mean a hit to Netflix’s domination of the international market?
How important was Washington’s addiction to land speculation to the course of American history? Kind of important – and undiscussed in most biographies. “As America’s god of the passage from colony to nation, Washington looked east to the past and west to the future. And when he faced west, he faced Indian country.”
“It’s inspiring because you get to see people who look like you doing the same thing as you,” says one participant.
The drawing had been in a private French collection, and before the sale of Salvator Mundi was expected to go for 11 million euros. Now? Buyers have already offered more than 15 million euros – but it could go for more at auction.
There will be plenty of popular movies in the Oscars this year. Probably.
Jurjevics, a Latvian-born refugee, published James Baldwin’s final novel for Dial Press, and in 1986 founded Soho Press with two others in order to published books that were overlooked by the larger publishing industry.
There are, for instance, “numerous nods to [Martha Graham’s] work in Suspiria — even the floor-length dress Tilda Swinton’s character, Madame Blanc, favors in the movie.”
You only need to look at Pittsburgh’s art, and the murders of Jewish worshippers at a synagogue there, to see the contradictions. “It is the best of times and it is the worst of times. A time in which the ‘whitelash’ to multiculturalism is becoming increasingly violent. But also a period in which art and culture present a more inclusive alternative to the executive orders emerging from the White House.”