How can artists responsibly use images that are not their own, especially when those images are tied to the history of another culture? And how can museums display such work while respectfully engaging with marginalised communities?
These aren’t the “jewel box” CD cases, mind you – they’re the long, mostly empty plastic containers that jewel boxes were stuffed inside for record store shelves, and they were supposed to be removed at the cash register. “From a distance, it seems like putting a CD or a cassette inside a massive [plastic] box, of which more than half of it was effectively useless, would be a really questionable choice. But the record industry had a couple of good reasons for doing so.”
Sonia Boyce: “The recent, temporary removal from Manchester Art Gallery of John William Waterhouse’s 1896 painting Hylas and the Nymphs, which depicts Hercules’s handsome male lover being lured to his death in a pond by seven long-haired, topless nymphs (pubescent girls), was an attempt to involve a much wider group of people than usual in the curatorial process.” And it did.
“Ben Enwonwu’s 1974 painting of the Ife princess Adetutu Ademiluyi, known as Tutu, is a national icon in Nigeria, with poster reproductions hanging on walls in homes all over the country. The artist, regarded as the founding father of Nigerian modernism, painted three versions of Tutu and the image became a symbol of national reconciliation. But all three were lost and became the subject of much speculation.” Until late last year, that is.
Steven Kurutz, a reporter for The New York Times who now has the entire New York Public Library to look through: “I loved being in a room filled with books. Two rooms, actually. There was a small-town stillness, an atmosphere of benign neglect inside our little library that suggested the great works of Western lit were mine alone to discover. … The persistent feeling that the public library belonged to me, that it was a clean, well-lighted place built and kept open for one reader, was reinforced.”
Roxane Gay: “We can no longer worship at the altar of creative genius while ignoring the price all too often paid for that genius. In truth, we should have learned this lesson long ago, but we have a cultural fascination with creative and powerful men who are also “mercurial” or “volatile,” with men who behave badly. There are all kinds of creative people who are brilliant and original and enigmatic and capable of treating others with respect. There is no scarcity of creative genius, and that is the artistic work we can and should turn to instead.”
“In an 18-page court filing, Robert Cenedella alleges that a ‘corporate museum cartel’ engaged in an ‘unlawful conspiracy’ to manipulate the market for contemporary art. The lawsuit … says the Metropolitan Museum of Art, the Whitney Museum, the Guggenheim Museum, the New Museum, and Museum of Modern Art all excluded Cenedella and ‘innumerable other deserving artists’ while driving up the prices of their collections.”
“In their paper, titled Democratizing Art Markets: Fractional Ownership and the Securitization of Art, the authors, using historical sales data from the Leo Castelli gallery, have modelled a sample portfolio to determine what would have happened had Jasper Johns and Robert Rauschenberg retained 10% equity in their own works sold by Castelli between 1958 and 1963.”
“As a director, Ms. Jones won a Peabody Award for the four-hour documentary 180 Days: A Year Inside an American High School. … In 2005 Ms. Jones was appointed executive director of the National Black Programming Consortium, now called Black Public Media. Her work there included moving beyond the organization’s role supporting black filmmakers. During her tenure, the consortium created an online digital media project documenting the 2005 hurricanes that devastated New Orleans and neighboring Gulf states.”
“The survey, which is targeted at art industry workers of all genders, asks for information on compensation, job title, what types of tasks and responsibilities workers engage in, and benefits and other job-related data. There is also a section for demographic information, such as age, gender, and race.”
The whole story is basically that Facebook gets so much traffic that they started convincing publishers to post things on Facebook. For a long time, that was fine. People posted things on Facebook, then you would click those links and go to their websites. But then, gradually, Facebook started exerting more and more control of what was being seen, to the point that they, not our website, essentially became the main publishers of everyone’s content. Today, there’s no reason to go to a comedy website that has a video if that video is just right on Facebook. And that would be fine if Facebook compensated those companies for the ad revenue that was generated from those videos, but because Facebook does not pay publishers, there quickly became no money in making high-quality content for the internet.
“Amazon stepped into e-book rentals in 2014 with its $10-per-month Kindle Unlimited service … But a small competitor named Scribd started even earlier and offers larger quantities of popular content – for a buck less. In the past year, it’s grown subscribers by over 40% to 700,000 (still well behind Kindle Unlimited’s estimated 2.5 million-plus) and has started making a steady monthly profit. After introducing unlimited reading and then moving away from it, the company is bringing it back, with some limitations designed to make it economically viable.”
“The [burial chamber] was uncovered in a cemetery to the west of the Great Pyramid in October of 2017. It appears to have been built for a Priestess of Hathor identified as Hetpet. The paintings inside the tomb imagine the high-ranking priestess in various scenarios – receiving offerings from her children, hunting and fishing. There are scenes of people smelting metal and building papyrus boats on display as well as images of domesticated monkeys picking fruit and dancing in front of an orchestra.”
Whatever its faults, Grammarly’s Chrome extension isn’t completely useless. It’s saved me from some basic typos in hastily composed tweets and emails, and when I ran a draft of this article through it, it noticed a missing word that I (probably) would have caught on review. Nevertheless, the company’s ostensibly advanced tools are more likely to degrade our writing than improve it, if only because they don’t reflect the ways we really write.
“I’ve made over 100 motion pictures, and some of them were even good. It’s nice to be reborn every few decades, because then you can have another career. The nice part about awards and being nominated is the fact that it wakes everybody up again, and makes them realize you’re alive and kicking and available.”
The 89-year-old French filmmaker, up for Best Documentary Feature for Faces Places, is the oldest Oscar nominee in history. She wasn’t able to get to Los Angeles for this event, but she charmed everyone there nevertheless: everyone wanted a selfie with her cutout. (By the way, the best headline for this story is from The Guardian: “Flat screen legend“.)
“Dance and devotion have a long, rich relationship in Judaism. And dance continues to be used by some groups, including the Hasidim, as a form of ecstatic spiritual expression. For the members of Ka’et, all of whom identify as dati leumi, or religious Zionists (akin to modern Orthodox in America), dance also offered a way into prayer. As Rabbi Schwartz said, ‘I can’t fully express myself spiritually without connecting to my body.’ But putting that body on a theatrical stage, in front of an audience, was a bold and unusual move.”
“Titled ‘Prelude to the Shed’, the free event” – a 12-day festival this May – “will include a mix of art, dance and live music performances, including a work by the artist Tino Sehgal. plus talks and an experimental school. The events will all be housed in a temporary structure at 10th Avenue and 30th Street, a block away from The Shed’s $500m home at the centre of the Hudson Yards development.”
“Los Angeles biotech billionaire Patrick Soon-Shiong is nearing a deal to buy the Los Angeles Times and the San Diego Union-Tribune from their owner, Tronc … The nearly $500-million cash deal, if consummated, would return the Times to local ownership after 18 years and end a tumultuous relationship with its corporate parent in Chicago.”
“The Spertus Institute of Jewish Studies in Chicago has turned a corner in recent months, re-emerging after years of financial problems and curatorial trepidation to organise more note-worthy shows … The slow and deliberate process of Spertus reinvigoration began in 2016,” with a new gallery space and new curator.
Creative Scotland “has raided £2.6 million from other budgets to pay for the climbdown, which has been announced in the wake of widespread criticism online and an intervention from the Scottish Government.” Two of the five groups whose funding was restored after the outcry are children’s theatre companies; two more work with disabled artists; the fifth, the Dunedin Consort, has racked up many international awards for its recordings of Bach and Handel vocal works. Still among the zeroed-out is the Edinburgh Festival Fringe.
The country’s economy is growing at around 7% annually, and the art market has reportedly grown 13% in just the past year. Art fairs, led by the Kochi-Muziris Biennale in Kerala state (along with the Dhaka Art Summit in neighboring Bangladesh), are booming as well. All this is despite uncertainty around a new tax and last year’s tumultuous currency reform, which saw all 500- and 1,000-rupee notes withdrawn.
It’s a theatrical phenomenon, attracting celebrities and pop culture cameos. Performers say it is one of the most exciting productions they could list on a resume. But eight former Sleep No More performers and staffers told BuzzFeed News they were groped by audience members during the show. In all, BuzzFeed News confirmed 17 incidents of groping or sexual misconduct by patrons during the show — including of two former performers who were groped multiple times.
In humans and other catarrhines, the red and green cones largely overlap. This means that we prioritise distinguishing a few types of colours really well – specifically, red and green – at the expense of being able to see as many colours as we possibly might. This is peculiar. Why do we prioritise differentiating red from green?
Well, we’ve seen stranger ideas. The Bush Theatre in London will present Fertility Fest 2018 this May. “The line-up will include talks, visual arts, literature, theatre and film with over 150 artists, scientists and experts exploring fertility in the 21st century.” Among the three plays on the programme will be Joanne Ryan’s Eggsistential.
“The petroglyphs at the Burrup Peninsula, also known as Murujuga by the traditional custodians, are Australia’s largest and oldest collection of rock art. … But a kilometre away are some of Australia’s largest and dirtiest chemical plants. The air that hangs over this remote peninsula is often fouled with a yellow haze.”