The Washington couple has decided to donate its Duchamp art to the Hirshhorn Museum and Sculpture Garden, where the works will raise the profile of the Smithsonian modern art museum. “This is the art world equivalent of the Wizards getting LeBron James,” said Hirshhorn board chairman Daniel Sallick. “Any museum in the world would want this collection.”
Eva’s mother, Esther (Ilsa) Hoffe, was the secretary of Kafka’s friend and executor, Max Brod, and she inherited Brod’s archive when he died. After Esther’s death, the National Library of Israel, citing the term’s of Brod’s will, sued Eva for the papers, leading to a long string of litigation.
Leonardo appears to have been unhappy with his handiwork, periodically refining the painting, started in 1503, until shortly before his death. Maybe that’s the biggest reason Leonardo lives so durably in the culture some five centuries after his death. He clearly saw himself—and, by extension, us—as an eternal work in progress.
Black English is not a degraded variety of the language—it’s an alternate form of English. If a sentence like People be lookin’ at him funny seems unsophisticated because the be isn’t conjugated, try wrapping your head around the fact that the be also expresses, overtly, a nuance that the standard sentence would not—that this looking in question happens on a habitual basis.
Steven Reed’s letter said he failed to blend with other players in the section and came in late to solos. He said he doesn’t need the hassle of the evaluation procedure. “My impression is that it is a form of discrimination,” Reed said. Once an orchestra member receives a warning letter, a meeting is held with the music director to discuss issues.
There’s always been fake news but what’s different this time is that you can tailor the story to particular individuals, because you know the prejudice of this particular individual. The more people believe in free will, that their feelings represent some mystical spiritual capacity, the easier it is to manipulate them, because they won’t think that their feelings are being produced and manipulated by some external system.
After launching and building up the television company Suburban Cable and then selling it to Comcast, Lenfest spent the second part of his life giving away more than $1.3 billion dollars to arts and education. “He was chairman of the board of old-line institutions like the Philadelphia Museum of Art and Curtis Institute of Music, … and he willed new ones into existence.” Among those are the Museum of the American Revolution and the Lenfest Institute for Journalism, to which he donated The Philadelphia Inquirer, Philadelphia Daily News, and Philly.com (all of which he had acquired outright in 2014).
When these brilliant people contemplated writing for the “public,” it seemed they merrily left difficulty at home, leapt into colloquial language with both feet, added unnatural (and frankly unfunny) jokes, talked about TV, took on a tone chummy and unctuous. They dumbed down, in short—even with the most innocent intentions. The public, even the “general reader,” seemed to mean someone less adept, ingenious, and critical than themselves. Writing for the public awakened the slang of mass media. The public signified fun, frothy, friendly.
Moving far beyond the prevention of genetic illness and advanced prosthetics for those who need them, these rapidly emerging technologies could – to borrow a phrase from Daft Punk – make it possible for anyone (with deep pockets) to be harder, better, faster, stronger.
The world is horrible, but horror books and horror movies give us examples of people who fight back against the horror, and sometimes win: “The banal evils of the world — children shot, neighbors exiled, selves reframed in an instant as inhuman threats — these are horrible, but they aren’t horror. Horror promises that the plot arc will fall after it rises. Horror spins everyday evil to show its fantastical face, literalizing its corroded heart into something more dramatic, something easier to imagine facing down. Horror helps us name the original sins out of which horrible things are born.”
Women are still massively underrepresented in movies, and no, that hasn’t statistically changed at all, sadly.”What is harder to define, but does seem like a genuinely positive trend, is a shift in the narratives of female-led biopics, a change in the kind of stories that get told. Previously, the main criterion for biopic treatment seemed to be a set of male genitalia, and failing that, royal blood or a singing career. The Hollywood approach suggested that women’s stories were more valuable if youth and beauty were key plot points. And for some reason, doomed and tragic tended to be an easier sell to financiers than difficult and complex. Now, bad behaviour is not just permitted, it’s positively encouraged.”
“We now live in a culture in which there are no clear distinctions between highbrow, middlebrow, and lowbrow culture. It stands to reason that in a society in which speaking in a recognizably ‘highbrow’ way confers no benefits, dictionaries will likely matter less.” There’s an exception, though: When the current U.S. president and his administration try to bend words to mean something they do not, dictionaries are striking back.
The images still look “fresh,” says a curator, and actually, salt prints are a lot more like photography today than the daguerrotypes that became more popular.
Rachel Maclean had “the residency from hell,” and in the year since her immersive art experience ended, she’s done her best to avoid all shopping centers. And the art didn’t work well either: “The only brand that would allow her to film in its shop was Smiggle, purveyor of unicorn-embossed children’s stationery.”
That all depends on the lawsuits – and the museums. “‘Truth is, we absolutely could not take them,’ says Christy Coleman, CEO of the American Civil War Museum in Richmond, Va. Coleman often receives calls from cities hoping to find homes for their Confederate monuments. ‘The biggest reason, I’d say, that museums aren’t able to accept them is that they simply can’t afford to take care of them,’ says Coleman.”
The authors call the social withdraw they captured in data a “natural human response” triggered by a change in environment, but they acknowledge their findings contradict an established theory about collective intelligence. When forced to share space, humans behave much like swarms of insects. This has appeared to be true in a range of contexts, the authors note, citing studies involving the US Congress, college dormitories, co-working spaces, and corporate buildings.