Sure, most of us who know about the painting know why it’s revolutionary: it’s arguably the birth of Cubism. On the other hand, says Picasso scholar Miles J. Unger, “You can’t look at Les Demoiselles d’Avignon without suspecting that this is a man who had some issues with women.”
Here, white administrators can experience what it feels like to be one of a few, to stick out, to not know if you are authentically welcome or just being tolerated. I had conversations with some who were uncertain if their voices would be welcomed. Welcome to the African American experience.
“Thanks to the newfound abundance of text-based communications tools, and the social networks that allow us to discover or rediscover potential correspondents, friendships conducted entirely through text exchange are once again the norm. Would these friendships look familiar to the letter-writing friends of earlier centuries, when epistolary friendships were also common? Or is there something essential that we have lost – or at least changed – in moving the text-based friendship from page to screen?”
“A design over two years in the making, [Hiroshi Sugimoto’s makeover] transforms the museum’s entrance and lobby area, turning the information desk into a coffee bar, and providing a more inviting seating area next to it. Sugimoto’s armchairs reference both the iconically circular shape of the building and coils of DNA, and the tables are made from the roots of a 700-year-old Japanese nutmeg tree he found 15 years ago. … Benches stand on legs of the same kid of optical glass used in camera lenses.”
“This is not merely an idle philosophical debate. Every year, our society invests thousands of hours and millions of dollars in generating knowledge about arts and culture.1 But just when choices about how to distribute resources seem to matter more than at any time in living memory, the arts field’s system for knowledge production, dissemination, and consumption is under tremendous strain, if not entirely broken — a predicament only exacerbated by a rapidly changing media environment.”
When we sort through our feeds, “latest” has an obvious chronological sorting mechanism; even “popular” has a fairly clear and agreed-upon definition. “Trending,” however, does not. It’s similar, but not the same as “popular”; generally speaking, it means “popular, in some relative, technically defined way.” That is, the “trending” sections of major platforms are, as of now, algorithmically determined, their contents selected by formulas developed internally at those companies and kept private.
Concerns about hearing loss largely focus on excessive noise exposure. But environmental noise is just as unsafe. People living in cities are regularly exposed (against their will) to noise above 85 decibels from sources like traffic, subways, industrial activity, and airports. That’s enough to cause significant hearing loss over time. If you have an hour-long commute at such sound levels, your hearing has probably already been affected. Urban life also sustains average background noise levels of 60 decibels, which is loud enough to raise one’s blood pressure and heart rate, and cause stress, loss of concentration, and loss of sleep.
If you don’t know him from his old pieces for NPR’s All Things Considered or as a panelist on Wait Wait… Don’t Tell Me!, you’ve surely heard his voice on ads for Motel 6, a gig he’s had for more than 30 years. And that’s hardly all he does. “There were a number of years where people thought I owned the motel chain – there’s still some of that – and that left some people confused as to what I thought I was doing publishing books and voicing cartoons.” Let alone carpentry.
“From the beginning, I’ve swum against the current – I wasn’t seen, the society didn’t make any effort to nurture my skills and the ruling establishment turned its back on me,” says 57-year-old maestra Nezhat Amiri. “But I’m still doing it, I’m showing that there are ways, and there will always be.”
Black Panther is a blockbuster that feels like it belongs to the artists who created it as much as the company that produced it. In a market dominated by sequels, the projects that actually break through with viewers tend to be movies that were made with more of a purpose than just being another link in a never-ending money-making chain. Black Panther is poised to make more money around the world than any Marvel movie aside from 2012’s The Avengers.
Erasmus was an internationalist who sought to establish a borderless Christian union; Luther was a nationalist who appealed to the patriotism of the German people. Where Erasmus wrote exclusively in Latin, Luther often used the vernacular, the better to reach the common man. Erasmus wanted to educate a learned caste; Luther, to evangelize the masses. For years, they waged a battle of ideas, with each seeking to win over Europe to his side, but Erasmus’s reformist and universalist creed could not match Luther’s more emotional and nationalistic one.
Like many émigrés, Theodor Adorno was initially disoriented by US mass culture, which had not yet overrun Europe as it would after the war. This disorientation became a principled distrust. He claimed that capitalist popular culture – jazz, cinema, pop songs, and so on – manipulates us into living lives empty of true freedom, and serves only to distort our desires. Popular culture is not the spontaneous expression of the people, but a profit-driven industry – it robs us of our freedom and bends us to conform to its needs for profit.
Principal flute of the Royal Philharmonic and London Philharmonic orchestras and of the Chamber Orchestra of Europe, Jaime Martín turned to conducting full-time five years ago. He is principal conductor of Sweden’s Gävle Symphony and chief conductor of the Cadaqués Orchestra, a chamber ensemble in Spain.
“I decided to take a page out of William Gibson’s playbook and go and find some artists and criminals and see what they were doing with new technologies. As I see it, artists and criminals have something in common: Neither is constrained by social conventions. In a later interview Gibson said, “Criminals are in effect entrepreneurs with the brakes off. They look at whatever the latest technology is and think, ‘What can I do with this?’ Artists are unconstrained by the limits of business and societal conventions.”
There is a kind of optimism that it takes to be an inventor. But the father of the Internet thinks inventors need the artists. “It’s the mind-stretching practice of trying to think what the implications of technology will be that makes me enjoy science fiction,” Cerf says. “It teaches me that when you’re inventing something you should try to think about what the consequences might be.” The artists are the ones who recognize a fundamental truth: Human nature hasn’t changed much since Shakespeare’s time, no matter what fancy new tools you give us.
“‘Do you know the girl who was shot then brutally stabbed over and over until her face was barely recognisable?’ If you’re familiar with the gory juggernaut of a genre that is the true-crime podcast, you will know this scenario is only a slight exaggeration – and that the genre is ripe for a spoof. Which is where intrepid investigator David Pascall comes in, alongside the residents of Bluff Springs, Nebraska, in A Very Fatal Murder.”
The 33-year-old alt-right
troll provocateur “sued for breach of contract in July 2017 after the cancellation of his book Dangerous, claiming that Simon & Schuster violated the terms of their deal to publish following public outrage. Simon & Schuster claimed that the book had ‘substantial problems.'”
“Anderson may be a familiar face to Boise dance devotees, having performed in the past with the Trey McIntyre Project and local dance nonprofit LED. In addition … [he has] chaired the Dance Department at New Mexico School for the Arts and has danced with the Pacific Northwest Ballet, Ballet Chicago and the Belgium-based Royal Ballet of Flanders, among others. He will take up the post of artistic director in July.”
“James M. Johnson, who will begin his term April 30, comes from the Omaha Symphony Association, where he is the president and CEO. … Before Omaha, Johnson spent a decade as CEO of the New York Pops, director of operations for the Orchestra of St. Luke’s and general manager of the Martha Graham Dance Company.”
“Hackles were raised in Rome’s art establishment in December at the announcement of a new artistic director for the Museo d’Arte Contemporanea Roma (Macro).” The choice was artist and anthropologist Giorgio de Finis, whom one newspaper dubbed “the squatter director.” His upcoming show “will transform the museum into an ‘open laboratory’ where ‘there will be no exhibitions’, he says, as ‘the daily activity of the museum itself will be on show’. Artists will be invited to transfer their studio practice to Macro, while major international figures and scholars from varied disciplines will deliver lectures and talks. Meanwhile, the permanent collection will be densely installed ‘like the Hermitage.'”
“A raft of state-owned museums is rising along the East Bund riverside in the Pudong New Area of eastern Shanghai. Details have yet to be formally announced, but projects due for completion in 2020 include the Pudong Art Museum, the Shanghai Museum East, the Shanghai Library East and the Pudong Urban Planning and Art Centre. The towering 80,000 Ton Silo on the Huangpu River opened as an exhibition venue after refurbishment last October.”
“If there is a population shift away from cities towards less developed suburban and rural areas, there may need to be a shift in audience development strategies. Fewer people who can easily commute to a performance or exhibition, will necessitate the need for finding new ways to attract and entice both those possibly smaller subsets remaining in a defined area, and those growing cohorts no longer in the area. We have already witnessed the negative effects of intolerable commute situation on the willingness of some consumers to brave the traffic to attend events even relatively near their homes or workplaces.”
“Appearing before a live audience again, she says she felt no more nervous than she had before any performance from decades earlier – which is to say, she was terrified. ‘You can go onto that stage every night, and it’s always the equivalent of going onto the topmost diving board, and you don’t know if there’s any water in the pool. Every time I say, ‘Yes, I’ll do it,’ I think, ‘My God I don’t know how to do it. I can’t do it.’ We are sadomasochists as well as being brave, actors, and we torment ourselves.'”
If French revolutionaries questioned the sovereign authority of their king within their borders, they also implicitly undermined the claim of any monarch to the territory within theirs. No longer should a country be passed down as property, within a family, much less won or lost in war. Just as the people were becoming the final arbiter of political decisions within France, so too, this new logic implied, the people ought to determine the title and status of the territory where they lived.