And imagining her is what we do: we have next to no reliable evidence about Anne Hathaway. Over the last couple of centuries, she’s been cast as either the devoted wife-and-mother who kept the proverbial home fires burning in Stratford or the woman who got Will to knock her up and then drove him away to London. With the new century, though, new ways of picturing Hathaway have been popping up.
With $40.5 million, Scarlett Johansson is the highest-ranking female on Forbes‘s annual list of best-paid acting professionals. Her earnings come mostly from her role as Black Widow in the Avengers franchise. (The figures for the highest-paid male actors are far higher.)
In January, Peter Beck sent his Humanity Star (described by irked scientists as a three-foot-wide disco ball) into orbit, and in October, Trevor Paglen’s Orbital Reflector will follow. In an article headlined “Hey Artists, Stop Putting Shiny Crap Into Space,” George Dvorsky looks at the origin of these two pieces and gets some choice words from each side of the divide.
The Internet was the perfect way for those who loved the original series to bat their theories back and forth, and from the medium’s days, that’s what they did. Joanna Robinson offers a brief history of that fandom and how it affected the Twin Peaks franchise and eventual reboot – and she gets a few mysteries clarified by co-creator Mark Frost.
“In June things were looking bleak for Perseverance Theatre, a 40-year-old institution and the largest theatre in Alaska. The company had been forced to cancel its spring show, a new musical called Snow Child, had furloughed several employees, and was more than $200,000 in debt. Local press wondered if the theatre was on its deathbed. Then something miraculous happened.”
The reason no one’s reading War and Peace is, Clay Shirky asserted, because it’s “too long, and not so interesting.” Instead of mourning the loss of the “cathedral” reading experience offered by a great 19th-century novel, we should be adapting to the “bazaar” culture of the internet. If the medium trains our supremely adaptable brains to work differently, well, maybe that’s because they need to work that way to take advantage of “the net’s native forms.”
The book was just published by Knopf, and is already a top seller on Amazon, and got the kind of author profile in last Sunday’s The New York Times that is usually jet fuel for a book to film deal. Trouble is, the author is in prison until 2020 for committing the bank robberies that are described in harrowing detail in the novel. And late this week, he ran out of phone minutes and will not be able to entertain any offers until he can again use the jailhouse phone on Sunday.
“If a neighbourhood is valuable because of the culture that’s produced there over time by a lot of people, when gentrification occurs, that money is still leaving that neighbourhood, and displacing the original producers of that place,” said Jane Hutton, a Waterloo architecture professor in the group.
Close reading is hard, which is how this class ended up telling its professor that “The Love Song of J. Alfred Prufrock” was about a prostitute. “The predominant interpretation holds sway because students have been trained that their emotional response to a text is just as valid as, say, what it means to read a text within its historical or cultural context.”
In tune with her socialist politics, she created art for, and with, the people – but she also “revolutionised the field, shocking many studio potter colleagues, by evolving glazes of great richness and depth of colour to adorn reduction-fired stoneware; painting, sponging and slip-trailing complex semi-abstract decorative schema on bold simplified shapes; using piscatorial and amphibian casts as handles and knops; and taking inspiration from the ceramics of the Middle East, from the capricious mannerist Bernard Palissy, and from European rococo earthenware and porcelain and 19th century art pottery.” Whew.
If Amazon does buy Landmark, will it just show its own content? Probably not – Amazon Studios are moving away from arthouse, award-winning content for more popular fare. One (terrifying to movie fans) option: “Esports and other forms of live-gaming, Ark and VR location-based experiences — communal entertainment in the 21st century is evolving past just sitting in a darkened theater quietly watching the same two-hour film as the strangers next to you. A company such as Amazon could take these spaces and outfit them for that purpose.”
Two friends in very different circumstances try to reread together, but it’s not the same – especially when it comes to the magic mirror that shows someone’s deepest desires. “This shift in her life’s longing was so obviously different from mine that we could no longer avoid the fact of our 12-year separation.”
“It is vital that we pay respect to the actors we meet by always acknowledging their work and contribution to the casting process, which is why the NT wholly supports the #YesOrNo initiative.” He added that while the NT is not always able to make decisions right away, it will let actors know if they have been successful as soon as possible. The #YesOrNo campaign was started after actors criticised the practice of not telling auditionees if that had been unsuccessful.
249516 Aretha measures two to three kilometers, or less than two miles, across. It orbits between Mars and Jupiter, one of hundreds of thousands of known asteroids that reside between the two planets. It takes about five and a half years to make one trip around the sun.
The transformation of American colleges and universities into corporate concerns is particularly evident in the maze of offices, departments and agencies that manage the moral lives of students. When they appeal to administrators with demands that speakers not be invited, that particular policies be implemented, or that certain individuals be institutionally sanctioned, students are doing what our institutions have formed them to do. They are following procedure, appealing to the institution to manage moral problems, and relying on the administrators who oversee the system.
Hollein, who as of this August is the Met’s tenth director, strikes many people as being preposterously well qualified for the position. Forty-nine years old and armed with degrees in art history and business administration, he has already directed five museums and overseen the fund-raising and building of a new wing for one of them. He’s curated shows that range from old-master art to Pablo Picasso and Jeff Koons, and delivered excellent admissions. He gets along equally well with artists, curators, board members, donors, and scholars. The only downside to his appointment is that he’s not a woman.
In the face of China’s repatriation campaign—and the recent robberies—museums are now scrambling. Some have stood their ground, arguing the legitimacy of their acquisitions or touting the value to the Chinese of sharing their culture abroad. Others have quietly shipped crates of art back to China, in hopes of avoiding trouble with either the thieves or the government.
While such “Concrete Utopias” are now getting attention in museums, it was actually the concrete Utopian city of Gibellina Nuova that became an open-air laboratory for assessing the healing capabilities of public art. Today, 50 years since the earthquake struck, many look back on Carrao’s radical experiment in civic engagement, rehabilitation, and unification as a cautionary tale. But new efforts are now underway to realize a more pragmatic version of that utopian dream.
The 11th-century verse epic Shahnameh (Book of Kings), the longest poem ever written by a single author (Abolqasem Ferdowsi) is perhaps the single most important source of the history and lore of pre-Islamic Persian civilization. It’s also considered the founding work of the modern Persian language, and some give it credit for the language’s survival.
When Banksy’s correspondent implores the artist to put out a press release expressing his displeasure, he replies with appropriate irony: “Hmm—not sure I’m the best person to complain about people putting up pictures without getting permission.” Instead, it seems, he just chooses to post the text exchange as a dig at the Russian “Banksy” show.
Emilia Bassano, five years younger than the playwright, the daughter of one of Queen Elizabeth’s court musicians and the wife of another, ultimately became a published poet in her own right. Here’s a look at what we actually know about her – and at the (circumstantial) evidence for her Dark Ladyhood.
“One, FringeNYC will present over 80 staged productions in the West Village from Oct. 12-28, while FringeBYOV (bring your own venue) will involve venues in the boroughs outside Manhattan like the Irondale Center in Brooklyn and the Secret Theater in Queens selecting their own performers and shows (Oct. 1-31).”
“The [Sept. 6] reading session in Verizon Hall isn’t open to the public. But by inviting select decision-makers such as conductors and artistic administrators from other orchestras, the organizers aim to encourage further exposure and opportunities for these composers.” What’s more they’ll each get to keep a recording of the reading, and a sample recording played by the Philadelphia Orchestra will make quite a calling card.
“Artists in Berlin, the most important contemporary art production centre worldwide after New York, are facing poverty, tiny pensions and a gender pay gap of 28%, a survey of 1,745 artists has shown.”
Told of the show via his Instagram page, Banksy replied, “You know it’s got nothing to do with me, right? I don’t charge people to see my art unless there’s a fairground wheel.” On the other hand, he allowed, “[I’m] not sure I’m the best person to complain about people putting up pictures without getting permission.”
In response to a barrage of 180 rockets, one of which landed near the city of Beersheba, from inside the Gaza Strip, Israel bombed 150 targets in Gaza. One of them was the Said al-Mishal Cultural Center in Gaza City, which contained a theater, a library, and offices for arts groups. The Israeli Defense Force said that the building was used by Hamas for military purposes, which users of the building deny.
AMC said the service, an extension of the company’s loyalty program, has accounted for about 1 million admissions, or roughly 4% of attendance at the company’s U.S. theaters. The company announced the new offering in June to fend off New York-based MoviePass, which shook up the industry by offering a movie a day for less than $10 a month.
Since 2012, NCAR has made headlines with studies on such issues as the gender gap among art museum directors.Or whether grants by the National Endowment for the Arts benefit only the wealthy. It’s also delved into what significance arts leadership has with the success or failure of cultural institutions. It’s provided online diagnostic tools like the Arts Vibrancy Index – which measures communities across the U.S. based on a dozen factors such as the number of arts groups per capita and a city’s public support for its cultural offerings. In doing all this, the SMU center has had a full-time staff of only four people. Now, in merging with DataArts, NCAR will gain 22 employees.
This summer’s Glyndebourne production of Samuel Barber’s reveals that this 1958 opera piece wasn’t a Romantic throwback – it was ahead of its time. A recent recording of Marc Blitzstein’s 1937 agitprop shows how clearly it speaks to The Age of The 1%.
Vibraphonist, pianist and bandleader Charlie Shoemake wrote the other day to relate an experience involving pianist Jimmy Rowles (1918-1996).