Playwright Adam Hughes: “It seems that a lot of venues and organisations only want diversity when it’s visible and they can clearly highlight the ‘changes’ they are making. … So long as people are seen to be doing something, that is deemed enough. This is why class is constantly ignored – you cannot see it, you can’t easily be called out on it, so it’s not at the forefront of people’s agendas.”
“Through the March girls I came to know extreme poverty and the cost of war. I learned from Jo’s example that art is not produced solely by dreaming but through discipline, steadfast and confident application, and the willingness to accept and grow from astute criticism. Jo, as her creator, was always scribing, littering the floor with her failures, until such skins were shed and she connected with the core of self-expression.”
Advertising creative director Franck Davidovici sued Mr Koons, among the world’s most bankable living artists, for €300,000 (£270,000) for copyright infringement, saying he had produced what his lawyer called a “servile copy” of a famous advertising campaign he ran in 1985 for French clothing brand Naf-Naf.
In 1940, just after the Generalissimo and his fascist forces won the Spanish Civil War, he wrote the screenplay for a film titled Raza, a self-justifying combination of allegorical propaganda and autofiction. Ten years later, in the wake of World War II, Franco censored his own film and remade it.
“Jean-Claude Arnault, a major cultural figure in Sweden and the husband of Swedish Academy member Katarina Frostenson, was on trial for two counts of rape of a woman that allegedly took place in 2011. The accusations against him triggered a crisis within the prestigious academy, with seven members quitting and the body announcing that no prize will be awarded this year.” At prosecutors’ request lest Arnault flee the country, the trial judge ordered him held in custody until the verdict, expected early next week.
“In sectors as diverse as finance, fashion, culture, and languages, innovators are stepping in to preserve decades or centuries-old systems for the future. These digitization projects have spawned new collaborative networks, bringing together people from different backgrounds who share similar cultural traits or interests.” Reporters Abdi Latif Dahir and Lynsey Chutel spotlight some examples.
University of Chicago religion and ethics scholar Myriam Renaud offers a refresher course.
“Much of the anger discussed in all these books comes from being thwarted — from the inability to command respect, equality, control over one’s body and destiny, or from witnessing the oppression of other women. One of the pitfalls in trying to establish equality is to confuse gaining power with unleashing rage. For all of us this is the conundrum: How, without idealizing and entrenching anger, can we grant nonwhite people and nonmale people an equal right to feeling and expressing it?”
Ilya Vett, who has worked fabricating and maintaining the masks and puppets for the hit show for at least a decade, was found by New York police in the Minskoff Theatre prop room, producing a gun using the company’s 3D printer and plans he had downloaded from the internet.
“Mr. Honeck’s contract [as music director] was to expire in 2020. He has been with the orchestra since 2008 and has led the PSO to its first Grammy win since 1992. The contract extension” — through the 2021-22 season — covers the orchestra’s 125th anniversary season (the PSO was founded in 1896) and the 50th anniversary of its tenure in Heinz Hall.”
The board’s announcement that Michelle Guthrie was out said only “The decision follows discussions over several months that concluded when directors resolved that it was not in the best interests of the ABC for Ms Guthrie to continue to lead the organisation.” Media journalist David Tiley “make[s] an op-ed stab at the issues behind this.”
In order to get their algorithm to produce a legitimately classical-looking portrait, Obvious’s members say they fed it a training data set of more than 15,000 portraits created between the 14th and 20th centuries. Using these images, the algorithm was able to “generate” new images similar to the ones it had been fed. These new portraits were then presented to another algorithm (the “adversarial” part of the GAN acronym) that was trained to distinguish between images produced by humans versus those by machines—a Turing-like test for artworks—until the generated portraits could fool this discriminator into thinking they were “real,” too. Since the announcement, many in the traditional art world have been losing their minds over this new movement, which Obvious has christened “GAN-ism.” But other artists making work via AI think the hype about what the technology can do on its own is premature.
“Laurretta Summerscales, a leading dancer with the English National Ballet, left last season for the Bavarian State Ballet in Munich, telling Dancing Times magazine that she yearned for a broader repertoire than the smaller British company could provide.” David Jays considers the merits of her complaint.
“On Monday, in the magazine’s first statement discussing [now-former editor Ian Buruma’s] departure, it described the “considerable concern” over the essay among readers, adding, ‘We acknowledge the validity of this criticism.’ … While citing Mr. Ghomeshi’s free-speech rights, the magazine described ‘our failures in the presentation and editing’ of the essay” — in particular, departures from usual editing practices and the bypassing of most editorial staff.
“In addition to helping bring the Skywalker stories to the big screen, Kurtz produced American Graffiti and The Dark Crystal. His career was closely aligned with that of George Lucas, but the two parted ways after the troubled production of The Empire Strikes Back.”
Telltale Games, which produces the popular interactive series The Walking Dead and Minecraft: Story Mode, more or less collapsed over the span of 48 hours. Brian Crecente reports on how it happened.
Abramović was just leaving a book-signing at the Palazzo Strozzi in Florence when Vaclav Pisvejc approached her with a framed portrait he painted of her. She thought he was bringing her a present; instead, he lifted it high, smashed it over her head, and said, “Boom!” When Abramović, unhurt (there was no glass over the frame) asked Pisvejc why he would do this, he replied, “I had to do it for my art.” (includes video)
When the show opened at the Serralves Foundation Museum of Contemporary Art in Porto last week, 20 of the 179 works intended for display were mot on view. “One day after the opening, on Friday, João Ribas, the museum’s artistic director, announced his resignation, and an open letter has circulated accusing the institution of censorship. The Mapplethorpe Foundation, in response, has pushed back against that claim.”
The program, which lets users swipe left or right, Tinder-style, on listed events and comes with a €500 credit for a user’s 18th birthday, is being beta-tested in a few locales this fall and will be rolled out nationwide next year. Can it work as planned, or are the potential pitfalls too great? Two contributors, a cultural historian and an art journalist, weigh in.
Jason deCaires Taylor’s suite of sculptures, called the Coralarium and touted as “the world’s first intertidal srt gallery” by the resort off whose beach it’s installed, was demolished last week amidst an election campaign which the incumbent president, who had been railing against Western influences, lost.
So “none of this old tired stuff done in the same way” could really be the festival’s motto. But this year’s installment, O18, which began on Thursday and runs through Sunday, is most successful when it’s most traditional. Two of the four shows I saw over the weekend were proscenium productions with orchestras in the pit: opera as you imagine it. These were far more satisfying than the pair of out-of-the-box entries.
For Habermas, the function of public debate is not to find a reasonable common ground. Rather, the public sphere ‘is a warning system’, a set of ‘sensors’ that detect the new needs floating underneath the surface of a supposed political consensus. And if we worry too much about civility and the reasonable middle, we risk limiting the ability of the public sphere to detect new political claims. To get those claims on the agenda in the first place often requires uncivil and confrontational political tactics.
One of the things that copyright law allows some courts to do in the nineteenth century is to essentially exert control over what gets put onstage, because in theory, if you say this has no copyright, you’re saying an author can’t realize any value from it, economic value from it, because you can’t monopolize it. In fact, if you say, you don’t have any right to prevent other people from doing it, things that one might want to censor, for example, the display of partially nude women onstage, which is one case I discuss, tends to proliferate rather than to disappear.
Coming to the Met at a time when nearly every aspect of the universal museum is coming into ethical question, Hollein has to confront daunting challenges including the re-evaluation of the colonial era, the advent of transformative technology, the changing nature of modern information consumption, the fusion of contemporary art with global capital, and the foregrounding of issues of identity in the cultural agora. It’s a sign of the times that the most frequently heard knock against the well-liked Hollein is that he is a white European male.
Rembrandt: Painter as Printmaker, which opened Sept. 16 at the Denver Art Museum, showcases the known glories of his work—but with an eye-opening twist.
Allison Miller and Carmen Staaf, Science Fair (Sunnyside)
Michael Iwanowski walked 1200 miles in as straight a line as he could from Cardiff, where he lives, to his home village, Mokrzeszów, in Poland. He documented the journey on Instagram, of course. What did he find? “My experience was so overwhelmingly positive that it has made me question everything I read in the media about the hardening of attitudes that Brexit has supposedly provoked.”