“Taken as a whole, the findings indicate that bullshitting is more than just a psychological phenomenon rooted in our own delusions – it’s socially constructed.”
We should let go of the idea that our technologies are us, that we are somehow the sum total of the platforms we use… Just maybe, if more people can be convinced that this wealth of culture offers them a mirror to themselves, they might be willing to put down the phone for a few minutes and gaze inside.
Sometimes, escaping an industry (especially one bent on feeding frenzies around young women) is better than fading away. Margo Guryan: “You got owned by these people. … I guess I had about enough ‘daddy’ when I was 5, and I just didn’t like being told what to do.”
Not only do these worldwide sites offer unique art experiences, but they are also being credited with pushing the international contemporary art scene in new directions.
Universal FanCon — the pop culture convention that crashed and burned late last month — was supposed to build on this momentum, bringing together legions of geeks who had always been relegated to the lonely margins of geekdom. Which helps explain why people were so outraged and heartbroken by its abrupt collapse.
The uncertainty has already chilled interest in Westminster, where annual tuition is $37,650: the incoming class of freshmen and graduate students is expected to be half the normal size of roughly 110, faculty members estimate.
In May 1932, with vaudeville in a death spiral due to the Great Depression, Benny turned to the growing entertainment medium of broadcast radio. It was Benny’s understanding of radio’s unique challenges—and his ingenious solutions to them—that helped him become the number one comedian in radio history, forging a template that many imitators and competitors would follow.
Says Allison Krzanowski, co-owner of Quill Books & Beverage in Westbrook, Maine, “There are plenty of authors who aren’t sexually assaulting and sexually harassing people, so we make more space for them by removing the ones who are. … There have been some people who think we are banning books, and to that, I say it is our choice not to carry products. … We have a ‘safe space’ commitment, and that extends to our shelves.”
“A new body dedicated exclusively to resolving art disputes, the Court of Arbitration for Art (CAA), will be formally launched 7 June in the Hague by the Netherlands Arbitration Institute (NAI) and the nonprofit Authentication in Art. Instead of being decided by judges and juries, cases will be heard by arbitrators who are seasoned lawyers familiar with industry practice and issues specific to art disputes. Scientific and provenance experts, who are often essential to proving authenticity and title to an artwork, will be appointed by the court rather than hired by the disputing parties.”
Burrows and co-author Mike Wallace, both professors at the City University of New York, won a Pulitzer for the 1,148-page Gotham: A History of New York City to 1898.
Things start to feel edgier. Those hotels have made it more difficult to access their lobbies; La Croisette, the main boulevard, has huge new planters in place to prevent the kind of truck attack that devastated nearby Nice two years ago; and according to the Hollywood Reporter the city “recently doubled its annual anti-terrorism budget by adding a hefty $2.4 million,” including a new K-9 force. And the ongoing Netflix fight got even testier this year with the streaming service pulling its slate to protest the festival’s rules requiring that all films in competition have theatrical release in France. The festival itself is undergoing changes.
Local challenges remain, there’s no doubt. Consolidation, polarization and fragmentation are the watch words in many territories. The UK continues to be “depressing” with acquisitions few and far between. France’s tough VOD laws bring another set of challenges and Spain remains dented by piracy. Plenty for naysayers to complain. But overall, for the first time in recent memory sellers and buyers alike are enthused.
We’ve become so accustomed to interacting through our phones that we’ve forgotten about everyone else in the room. That obliviousness has found its way into more and more exhibitions across the country, as museums rebrand themselves as community spaces that foster “interaction” with hashtags and tweets. Encouraging that interaction has come at a cost.
Sometimes, the word ‘beauty’ aspires to the solidity of a proper noun, grand and true. Other times, it seems a more nebulous term for an elusive kind of experience. We can be careless about the beautiful, shrugging it off as a matter of mere appearance. It is not grave like the stuff of our political lives, or profound like our moral considerations. Certainly, we know to admire the beautiful in its different forms – a painting, a song, a building, sometimes even an act or a gesture – and we might go so far as to believe that our engagement with beautiful things constitutes a deep and meaningful experience, as though it were a momentary pause in the hectic thoroughfare of our lives. But we rarely permit matters of beauty the same seriousness that we customarily grant big ideas such as ‘democracy’ and ‘justice’.
The works include Vincent van Gogh’s “Six Sunflowers,” destroyed in a collector’s home during a 1945 U.S. air raid near Osaka, Japan; Johannes Vermeer’s “The Concert,” stolen from the Isabella Stewart Gardner Museum in 1990; and one of Monet’s water lilies, destroyed by a fire at New York’s Museum of Modern Art in 1958.
“Are museums, in fact, the appropriate place for storing these gigantic homages – not even to the Civil War itself – but to the Jim Crow movements that fueled their commissioning and erection on state capitol grounds, university commons, city parks and other places of power in the early decades of the 20th century? We would argue that the ‘put them in a museum’ response to Confederate memorials reflects a misunderstanding of what museums are for – and an effort to sidestep conversations that we really need to have.”
“Traditionally artists would go a long time between album projects, disappear and then come back as a big event,” explains Robby Snow, SVP of Global Marketing for Hollywood Records (Demi Lovato, Bea Miller). “In this day and age, we try to keep things flowing so artists almost never go away. Fans want to be engaged constantly with artists that they like.”
“‘I have no idea what’s happening right now,’ co-producer Jenny Stulberg said during a break from shooting. ‘I just know that my shopping list for today was for a watermelon, cucumber, two half-gallons of almond milk, a gallon of regular milk, two bottles of Prosecco and a bag of flour. And fish.’ Dead fish? ‘Yes.’ Nearby, three dearly departed striped bass cooled their heels on ice. ‘I brought sparklers, just in case,’ said costumer Jamielyn Duggan. ‘And rubber gloves.'”
“As an ensemble dancer in The Lion King, India Bolds, age 32, plays nine characters in every show, eight times a week. That’s a lot of entrances and exits, costume changes and choreography to remember. But after five years of dancing in the production, she has the show down pat. Dance Magazine followed her through a performance day to see what it takes to be in Broadway’s third-longest-running production.”
“My first mistake was waking up early to get groceries.
Then it was a long Friday at work, followed by a piano recital and finally a sprint downtown – where, exhausted, I was in the worst possible shape to take in one more concert. Except that the performance was Sleep, Max Richters eight-hour soundtrack engineered, with the help of scientific consultants, to provoke a relaxing night. By dozing off, I’d be doing my job.” The hardworking and tireless Joshua Barone reports.
“Bill Cosby’s fall from grace continues. In a first for the Kennedy Center, the board of trustees voted to rescind the high-profile awards” – the Kennedy Center Honors and the Mark Twain Prize – “it has given the comedian, who was convicted on three counts of sexual assault last month.”
“As he typically explored spiritual conflicts within families, the director Ermanno Olmi … was something of an outsider in his native Italy, where orthodox Catholics thought him too progressive and militant communists considered him too much of a reactionary Catholic. Only after his most acclaimed film, L’Albero degli Zoccoli (The Tree of Wooden Clogs, 1978) won him the Palme d’Or at Cannes did Olmi get recognition at home as well as abroad.”
Rocky Rockefeller Predictions: Estimated “in Excess of $500,000,” But Hyped as “a Billion-Dollar Sale”
With a lot riding on this week’s results of the David Rockefeller estate’s purported “Sale(s) of the Century,” several news publications have upped the ante, impetuously recasting the series of auctions, estimated by Christie’s … read more
AJBlog: CultureGrrl Published 2018-05-07
New York City Ballet Celebrates Jerome Robbins
I lived with Jerome Robbins for six years. (Forgive the startling opener; he was dead at the time, but liked a joke). … read more
AJBlog: Dancebeat Published 2018-05-07
Monday Recommendation: Todd Strait
Todd Strait, There’ll Be Some Changes Made (Todd Strait)
Drummer Todd Strait has spent significant stretches of his career in New York and Portland and freelanced with a cross-section of world-class musicians. … read more
AJBlog: RiffTides Published 2018-05-07
Or rather, it’s a new vertical in his Yeezy company – called “Yeezy home,” he tweeted. “He has expressed an interest in architecture before, saying in a 2013 interview: ‘I want to do product, I am a product person. … I make music but I shouldn’t be limited to once place of creativity.”
With the movie Black Panther and musician/actor Janelle Monáe’s new album and “emotion picture” Dirty Computer, not to mention classes and many other books, music, and movies, the concept of Afrofuturism has become much more mainstream.
Attendance has increased to a half million visits per year at once sculpture park, and many others have seen their attendance doubled in the last few years. One artist thinks it’s down to emotion: “When you put your work in a park people will immediately voice their opinion and it seems more real and alive. With sculpture we have an emotional response that’s more connected when we’re outside with it.”