Romance isn’t pretending not to be about politics. “Romance is political because all art is political, but also specifically because of what it is and who makes it. As the genre grapples with its place in the resistance, it confronts the structures of privilege and exclusion that have shaped the genre for decades. It is a reflection of America, after all, in more ways than one.”
“A recent government report says that Britain should stop building new museums and focus on the ones it already has. But with limited public funding available, how far can existing museums diversify and grow?” An official with Britain’s Museums Association agrees with the report, while former Culture Minister Ed Vaizey has a different idea.
“The man behind these moves is Roberto Campanella. A former National Ballet of Canada soloist and current artistic director of the contemporary ballet troupe ProArteDanza, he’s no stranger to film sets. For the last 13 years, he’s contributed movement coordination and choreography to a variety of projects, such as the Silent Hill horror movie franchise, Hallmark’s A Nutcracker Christmas (with Sascha Radetsky) and [Shape of Water director Guillermo] del Toro’s vampire show on FX, The Strain. We spoke with Campanella about his latest collaboration.”
From the status of Pocahontas and Squanto as quasi-mythical figures in the nation’s founding, through the use of Sitting Bull as an attraction in Buffalo Bill’s show, to the use of generic Indian figures as branding symbols for everything from cigarettes to baking powder to sports teams, Carolina Miranda looks at a “wildly complicated” history.
“For the 34 years Medieval Times has been in business, [its] monarch has been a man. But the show, which draws an estimated 2.5 million customers each year, is replacing all of its kings with queens. And its peculiar brand of dinner theater – a sort of G-rated Game of Thrones – is taking on an unlikely resonance amid the national jousting over gender equality provoked by the #MeToo and #TimesUp movements.”
“City officials [in Berea, Kentucky] count 40 galleries in total, and three new restaurants and a gallery-cafe have opened in the past two years – not a bad showing of entrepreneurship in a city of fewer than 20,000 people. … But it wasn’t always like this.” Ivy Brashear reports on how it got to be like this.
Like other novelties of the post-hipster age, the source of the value is not just the finished work, but also the tedious and rarefied conditions of its production. The spectacle of painters hanging from a wall is as much Colossal’s product as the murals themselves. Colossal offers time-lapse footage and photos for clients to share on social channels.
“Many of the paintings I decline are accompanied by ‘certificates of expertise’, signed by certain academics who, unlike myself as a seller, are not financially liable. When I have crossed swords with such figures over the years, they have frequently been amazed that I would quibble with their learned opinions. Perhaps they would like to explain to buyers who have bought paintings with their certificates why these have been rejected for resale and not accepted for any major museum show?”
Anthropologists have long theorized that humans developed “moralistic high-gods” as a way of promoting shared norms and prosocial behaviors. What is religion, after all, but a patchwork quilt of stories reminding humans how to behave—and, more importantly, how not to behave? But religion is thought to have emerged only with the advent of agriculture and large-scale, politically complex human settlements.
An army of amateur art critics soon flooded social media, from Facebook to Yelp, with their grievances. One particularly pissed off Yelper gave the museum a one-star review, the same paltry rating he bestowed upon a Connecticut Cheesecake Factory and the Art Lounge at Newark airport, commenting, “This POS institution thinks its funny to offer our president a toilet. GFY Guggenheim.”
As cities lose their creative communities and the spaces they operate from, they become at risk of becoming what Mark Auge referred to as “non-places”—homogenized cities in which aesthetic diversity and local authenticity is diminished. This impacts cities’ vibrancy and distinctiveness, economic dynamism and capacity for innovation. These cities face a dilemma: How can they continue to attract new residents and investment while preserving the cultural and creative milieu that made them desirable in the first place?
The work is not imagined as a memorial but as a message of hope to deliver to the present and future generations: “Created as a symbol of remembrance, optimism and healing, Bouquet of Tulips symbolizes the act of offering, represented by the outstretched hand holding the brightly colored flowers.” The artist rather wished to express the painful context of the attacks into a symbolic work, both in its iconography and in its aesthetic experience.”
“I’m not saying News Corp. or Conde Nast, publisher of Vogue and GQ, would have been worth as much as Google if they hadn’t bought into the iPad hype. But they did lose precious time and money following Apple down the iPad rabbit hole when they could have focused on Facebook, internet video, smartphone apps, mobile websites, their own subscription products or other promising areas. Newspaper and magazine publishers no longer treat the iPad as a priority, if they devote resources to it at all.”
“Directed by Desiree Akhavan and starring Chloë Grace Moretz, the adaptation of Emily M Danforth’s 2012 novel [The Miseducation of Cameron Post] secured admiring reviews … for its compassionate study of Christian teenagers struggling with religious disapproval and the injunction to ‘pray away the gay’.”
See It Now–Michel Sittow, Extraordinary Painter
Hats off to Estonia, which in celebrating the 100th anniversary of its proclamation as an independent republic in 1918, following the dissolution of the Russian Empire, decided to honor its genius painter – Michel Sittow (c. 1469-1525) – with … read more
AJBlog: Real Clear Arts Published 2018-01-29
A Japanese Company Brings a Forest to New York
Kei Takei’s Moving Earth Orient Sphere performs at New York Live Arts, January 25-27. … read more
AJBlog: Dancebeat Published 2018-01-28
Monday Recommendation: Crispell, MacDonald, Tremblay
Marilyn Crispell, Raymond MacDonald, Pierre Alexandre Tremblay: Two Duos, Three Trios (Bruce’s Fingers) … read more
AJBlog: RiffTides Published 2018-01-29
Jazz Congress, Winter JazzFest, shape of jazz to come
The Congress’s sessions included JALC managing and artistic director Wynton Marsalis speaking on race and jazz, women in jazz announcing “yes, we’re here,” and Kareem Abdul-Jabbar keynoting about his love of the music. … read more
AJBlog: Jazz Beyond Jazz Published 2018-01-28
“I was just going to bed when I’d seen that it had been painted over, and someone had said it was still wet,” he said. “Banksy, love him or hate him, has international prestige and he’d gifted the city with his art.” The window cleaner already had his ladders and other equipment prepared for his Monday morning shift, so he headed straight to the bridge in an attempt to save the mural.
Under their model, “modern foreign languages teaching hours are increased at the expense of subjects other than biology, chemistry, classics, English, geography, history, mathematics, and physics teaching hours”. Consequently, 51,000 more curriculum hours are being planned for languages by 2022, which is to be achieved, in part, by cutting hours for art & design, design & technology, drama and music by a collective 19,000 hours.
The reputation economy is based on the simplistic, but effective star ratings system. Anyone who’s ever rated their Uber driver or Airbnb host has actively participated. But what happens when algorithms, rather than humans, determine an individual’s reputation score based on multiple data sources and mathematical formulas, promising more accuracy and more flexibility via machine learning?
Frankly, I’ve never understood why there has—until recently—been such a demarcation between genres in music. As far back as I can remember, I’ve been enormously responsive to music, independent of genre. I know I’m not alone in this, especially in today’s eclectic musical environment, but for many people, classical music’s vaunted tradition excluded an appreciation of popular or folkloric forms—and heaven forfend that any classical composer should write something as shallow as film music!
“A half century before the poet Claudia Rankine used her MacArthur ‘genius’ grant to establish an institute partly dedicated to the study of whiteness, [William Melvin] Kelley turned his considerable intellect and imagination to the question of what it is like to be white in this country, and what it is like, for all Americans, to live under the conditions of white supremacy – not just the dramatic cross-burning, neo-Nazi manifestations of it common to his time and our own but also the everyday forms endemic to our national culture.”