“Renouncing Woody Allen is painful for many of us, not just because we enjoy his work, but because it feels like renouncing a part of ourselves. It also feels cheap, because there’s no point in renouncing him if we can’t also renounce the part of us that finds his characters relatable. We need to take a closer look at the films that taught us to be this way, and to consider what else they taught us.”
He made his first collages out of the incredible masses of stuff piled up by the hoarder next door.
The potential of music to empower and soothe people living with dementia has been outlined in a new report, which calls for increased collaboration between politicians, technology companies, arts organisations and the healthcare sector to make access to the artform easier.
The study of around 430,000 people aged between 38 and 73 and living in 22 UK cities found significant associations between the increased walkability of a neighbourhood, lower blood pressure and reduced hypertension risk among its residents.
“Wizards like Gandalf and Romans like Russell Crowe’s gladiator share a common trait: Hollywood’s insistence that all of its fantasy and epic heroes speak like a Brit. And it’s not just because the British accent sounds grandiose and glorious. Well, a little bit. The real answer is rooted in the obsession with Empire – and how accents were actively cultivated by society elites as signifiers of global power and stature.” (video)
“When reporter Nicholas von Hoffman joined The Washington Post in 1966, he brought with him a flair for controversy that eventually triggered a resignation threat from a top editor, a boycott from advertisers and, according to Post historian Chalmers M. Roberts, ‘produced more angry letters to the editor than the work of any other single reporter in the paper’s history.'”
“Dr. Adams, a tweedy anthropologist and former provost of the University of Chicago, was secretary of the Smithsonian from 1984 to 1994 … [and he] sought to make ‘confrontation, experimentation and debate’ part of the Smithsonian’s mandate.”
Siobhan Burke: “I’ve often wanted to make a map tracing who mentored and influenced and studied with whom, to make some sense of the present — not to impose order on dance history, but to do justice to its sprawl. Where do generations begin and end? What little-known links connect them? How does one movement become another? Maybe the map would illuminate stories we hadn’t seen.
On Sunday morning, the artists jumped the wall at El Eco and proceeded to break windows, set off smoke bombs (an article on the Excelsior newspaper website suggested instead that they “activated the extinguishers to provoke clouds of smoke”), and damage a bronze work by artist Yolanda Paulsen. According to our source, the cops showed up about 15 minutes later but left shortly after, apparently because the officers felt there was no emergency after the protesters allegedly explained that they were undertaking an artistic action.
Alberto Manguel: “The unpacking of books, perhaps because it is essentially chaotic, is a creative act, and as in every creative act, the materials employed lose in the process their individual nature: they become part of something different, something that encompasses and at the same time transforms them.”
Canadian arts consultants are worried. “Especially in Ontario, where the largest of these organizations are located, the top job often goes to an international candidate. [British-born Julian] Cox was hired by AGO director Stephan Jost, a Swiss-American who joined the museum in 2016. Meanwhile, the Royal Ontario Museum, Luminato, the McMichael Canadian Art Collection and the Shaw Festival have all hired British or American leaders in the past 2 1/2 years. It’s a pattern that has arts consultants worried.”
Poet Margaret Rhee writes of how she came to love the show, in which every episode is a mini-musical: “Perhaps it’s more productive then to think about Rebecca’s craziness as a source of sanity in a crazy world in which women are routinely disregarded. She is smart, successful, and yes, crazy.”
Facebook fought for five years to avoid being taken to court in France over the case. But lawyers for the Facebook account-holder say “the deactivation of the account two and half years after it was opened, and just after L’Origine du Monde was posted, cannot be a coincidence.”
“I’m not against digital media, and I think it’s certainly a fine way to have access to your films without taking them with you. But when you become solely reliant on digital sources, you have fewer options than you think, and you’re certainly not getting the best version of the movie available. All of this is troubling because streaming is dominating the landscape.”
The letter, signed by over a dozen female execs, calls Neil Portnow’s comments “spectacularly wrong” and says he is “oblivious to the vast body of work created by and with women.” The letter goes on to list statistics of gender discrepancy in the recording industry, as well as at the Grammys themselves.
Matthew van Besien: “When we step back and remember that one person’s provocation may be another person’s reality, we are also reminded that it behooves all of us to move out of the echo chamber and expose ourselves to environments where people may disagree with us.”
“If you’re only playing 10 or 12 or 15 markets, and touring is the income-generator, there’s a real temptation to play markets too often. It’s a real tough balancing act between playing often enough in the same market, or market area, and playing too much.”
A Love Supreme is widely lauded as a high water mark of the genre. The test pressing is in VG condition, exists in a generic sleeve, and has a Van Gelder Stamp on both sides of the vinyl.
Whose point of view are art museums in the business of representing? As one interviewee at the Los Angeles County Museum of Art (LACMA) succinctly put it, if you have a diverse curatorial staff, you curate differently.
Washington Post theater critic Peter Marks offers a foolproof guide.
“Recently in the news again for a reported state abduction from a Chinese train, publisher and bookseller Gui Minhai has been named the recipient of the 2018 Prix Voltaire from the International Publishers Association. … The Prix Voltaire honors the struggles faced by those in international book publishing who have, in many cases, endured serious adversity for the sake of the freedom to publish.”
In a piece titled Icon, created by choreographer Sidi Larbi Cherkaoui and sculptor Antony Gormley, “the dancers manipulate clay through the performance in very imaginative ways. … They’re creating different little sculptures during the performance and some of them they wear.”
In her Golden Globes acceptance speech, Laura Dern said, “I urge all of us to not only support survivors and bystanders who are brave enough to tell their truth, but to promote restorative justice.” While many listeners might have found Dern’s call to be a mere bromide, Ann Hornaday explains that the term “has a very specific meaning, that happens to hold particular promise for an industry in the midst of intense self-examination, and equally intense avoidance thereof.”
“A Manhattan district court has ruled in favour of the Equinox Gallery of Vancouver, Canada in its civil suit against the New York art dealer Fred Dorfman, who was implicated in a scheme to sell stolen work by the US artist Jasper Johns, but who has never faced criminal charges.”
The 42-year-old conductor succeeded Paavo Järvi at the French capital’s leading symphony orchestra in 2016. He decided, for “artistic reasons,” not to renew his initial three-year contract.
“Mathieu Gallet, 41, was this week fired as chairman of Radio France by the Higher Audiovisual Council (CSA), the French broadcasting authority. Officially, he was dismissed after being convicted of corruption and fined €20,000 for giving a €400,000 contract to a consultancy owned by one of his friends.” But rumors – pushed by former president Sarkozy’s culture minister – claim that President Macron had Gallet fired to quash rumors that the two had had an affair.
“A truck driver in Peru damaged the 2,000-year-old Nazca Lines, after officials said he ignored warning signs and drove over a portion of the UNESCO World Heritage Site. The Nazca Lines are large designs that were scratched into the ground’s surface between 500 B.C. and A.D. 500 on a coastal plain south of Lima. UNESCO calls the site one of the ‘greatest enigmas’ of the archaeological world.”
Cole’s Roles at Metropolitan Museum: Hudson River School Progenitor, Environmentalist Precursor
The Metropolitan Museum’s just opened Thomas Cole’s Journey: Atlantic Crossings (to May 13) is easy on the eyes and a balm to the spirit. But it also sounds a warning that gained new resonance with … read more
AJBlog: CultureGrrl Published 2018-02-01
Artist Dora De Larios, RIP
Undersung but widely respected, the sculptor Dora De Larios has been working in around Los Angeles for six decades now. … read more
AJBlog: CultureCrash Published 2018-02-01
Hostile design–whereby public spaces are modified to deter certain activities such as rough sleeping and skateboarding–is a “stealthy way of policing public space. These designs legitimise the point of view that homeless people are the enemy. Instead they need support, often with addiction or mental health.”
The center, designed by Robert A.M. Stern Architects and due to open in 2020, will present performances for people at Yale and the general public — from poetry readings to rock concerts. Located in the current freshman dining hall Commons (which will remain) and Memorial Hall, the center will also serve as a communal campus hub, with multiple gathering spaces, including a bistro and pub on the renovated basement level.