“These companies aren’t out to nail trends, as the fast fashion manufacturers of past decades did, but rather to sell an all-encompassing clothing system through which consumers are meant to live. In tech terms, the brands are platforms and the products must be scalable, aimed at as wide and profitable an audience as possible, whether those products are fabric sneakers or ethically manufactured underwear. It’s clothing as software, embracing an ethos of one-for-all uniformity.”
Yes, new Pulitzer winner Jerry Saltz is on the list and Roberta Smith is not. But the list is gender-balanced and includes two nonwhite women, so it isn’t necessarily propping up the patriarchy. (The list’s compiler is female, for what it’s worth.) And each choice has a well-argued justification.
A recent study found “zero women of color as executive directors in LORT, the largest professional theatre association in the United States, and only one woman of color as an artistic director. This is a dismal reality for women like me who are founders of their own theatre company, hoping to transition to jobs at LORT theatres in the future. The ugly truth, which was revealed in the study, is that “hidden behind a gender- and race-neutral job description is an expectation, grounded in a stereotype, of what a theatre leader needs to look like: white and male.”
“[Sophie Tucker] realized that because she was not traditionally beautiful, she could get away with a candor that other women could not. While her routines contained bawdy tales of sex and romance, she also incorporated material about her weight. …[And] in 1923, she wrote in the Los Angeles Times that she was hoping to organize a fat women’s club, explaining that she wanted to help women ‘laugh and eat without feeling conscience stricken.’ For Tucker, members of her club simply had to swear to see the ‘beauty of a double chin.'”
Sherrie Silver: “There are a lot of dark themes in it, so they wanted us to be the light of the video. You know how kids are innocent and kind of unaware of what’s going on? We were there to smile and bring joy to everyone watching it, because the background is bringing so much darkness and reality. … [We] wanted to bring joy to it, in the middle of madness. That’s what kids do and that’s what dance does – especially African dance.”
Dorfman reflects on the curious reality of living everywhere and feeling at home nowhere – always being a stranger, an observer. “Not to belong anywhere, to be displaced, is not a bad thing for a writer.” He pauses. “If you can deal with it. If it doesn’t destroy you.” To survive the rootlessness, he says, it helps to have a moral compass and a strong family. “More than a traveler, I’m a displacer. In other words, I’m a person who is constantly meditating on what it means not to arrive at a place, but to be on my way somewhere else.”
Here is the etymology the Oxford English Dictionary provides for the word genius, imported to English straight from the Latin: “male spirit of a family, existing in the head of the family and subsequently in the divine or spiritual part of each individual, personification of a person’s natural appetites, spirit or personality of an emperor regarded as an object of worship, spirit of a place, spirit of a corporation, (in literature) talent, inspiration, person endowed with talent, also demon or spiritual being in general.” There’s more, but there’s already so much: genius, by definition a male condition. Genius, a male condition that inflects its maleness on the individual soul. Genius, an object of worship. Genius, perhaps slightly demonic.
“[Françoise Hardy] learned she had lymphatic cancer in 2004; her health declined; and, in 2016, she was placed in a coma from which doctors thought she would never wake up. Against all odds, Ms. Hardy has returned and recovered her sensually adolescent voice, and her taste for writing.”
“With the service’s subscriber base exploding from 20,000 ([last] August) to nearly two million users in under one year, MoviePass faces fresh doubts about its ability to remain in the game. Specifically, the embattled company is facing existential reckoning about its gigantic negative cash flow, financial sustainability, and protection of user data.” Chris Lee explains the situation.
“American Ballet Theater announced a multiyear initiative on Wednesday that will support the creation and the staging of new works by female choreographers. The A.B.T. Women’s Movement, which will support at least three female choreographers each season, grew out of Ballet Theater’s Women’s Choreographers Initiative, which has already funded dances by Jessica Lang, Lauren Lovette and Dana Genshaft.”
“At the Curtis Institute of Music, where faculty members tend to stay for decades, a seismic shift is coming to the school’s storied opera and vocal studies department. Eric Owens and Danielle Orlando will assume co-equal roles as head of opera starting in the 2019-20 season, the school announced last week.”
Because there’s just no way that this endlessly jinxed movie should get some uncompromised good news: Amazon Studios, which helped revive the prospects of The Man Who Killed Don Quixote in 2015 when it became a co-producer of the film, quietly decided several weeks ago not to distribute the title, apparently because of a last-hour rights dispute.
“In the long-running quest of The Man Who Killed Don Quixote, the movie has scored a victory. Directed by Terry Gilliam and starring Adam Driver and Jonathan Pryce, the film has gotten the go-ahead to close the Cannes Film Festival next week after a judge in France rejected a lawsuit by producer Paulo Branco that would have blocked it.”
“Kirkeby rose to notoriety during the early 1980s alongside fellow European Neo-Expressionist artists Markus Lüpertz, A. R. Penck, Jörg Immendorff, and Georg Baselitz, all of whom brought a renewed emphasis on formalism and painterly technique to an art world that had, by then, nearly given up on their medium.
American Success Story: Rockefeller’s & George Washington’s Conquest of Christie’s
For the second night in a row, bidding on the Rockefeller Collection at Christie’s handily outstripped the low presale estimate. In a livelier session … read more
AJBlog: CultureGrrl Published 2018-05-09
Building Community, Skin Against Skin
Meg Stuart/Damaged Goods, working in both Brussels and Berlin, visits NYU Skirball … read more
AJBlog: Dancebeat Published 2018-05-09
“Shortly after beginning her first season as assistant conductor of the Dallas Symphony Orchestra four years ago, Karina Canellakis got one of those big breaks. The orchestra’s music director, Jaap van Zweden, was injured, and she was asked to lead Shostakovich’s formidable Eighth Symphony without even one rehearsal. … Since then her conducting career has exploded, and now she is again following in Mr. van Zweden’s footsteps: Ms. Canellakis, a 36-year-old native New Yorker, has been named the next chief conductor of the Netherlands Radio Philharmonic Orchestra – a post that Mr. van Zweden held from 2006 to 2012.”