The root of “plagiarism” lies in the Latin plagium, defined in Roman law as the crime of kidnapping, specifically enslaving free citizens or seizing and extorting labor from someone else’s slaves. Plagium in turn is believed to derive from the Latin plaga, which can signify either a snare or the stripe on skin called up by a whip, the presumed punishment of plagiarii. Only in the first century A.D. was the term deployed, by the poet Martial, to highlight a false claim of authorship.
Says British Film Institute curator of silent film Bryony Dixon, “With nearly all of the people I’ve shown these films to there is an audible gasp when they see something from 120 years ago and they look new. That’s a very strange feeling. All of those things that tell you something is old have been stripped away.”
He prides himself in understanding all the technical processes which go into creating a great violin and he makes around 8 a year. He even knows the whereabouts of most of his instruments and gets to see them from time to time as the musicians who commissioned them often become friends.
Yoni Appelbaum: “Columbus Day, a solemn occasion marked by parades, pageantry, and buckets of fake blood splashed on statues of its namesake. Activists have turned the commemoration of Columbus’ landfall in the New World into an annual protest against ‘the celebration of genocide.’ What the protesters may not know, however, is that the holiday they are protesting once played a crucial role in forging a society capable of listening to their concerns. This is the curious tale of how Columbus Day fell victim to its own remarkable success.”
If they were shelling out for love of the image alone, I would suggest picking up a replacement at Target, where a print version is currently on sale for $36.79, down from forty-six dollars. But, if they’re buying for investment, they might as well follow through. The picture’s destruction, like that of Tinguely’s machine, was halted before the job was complete, and there is already speculation that the work in damaged form will become even more valuable than it was before.
Essentially, Banksy likes to produce works that critique their own commodification. But he also seems to be increasingly critiquing the public’s attitudes toward art, and its complicity within the system of that commodification. The Dismaland project implicated the “tourists” for their enjoyment of the experience as much as it implicated Disney itself. With the Central Park experiment, the entire experience — the pop-up art stand and the art sold within it, as well as the night-and-day opposing responses from the public both before and after the reveal that Banksy was the perpetrator — became a piece of art. With these exhibitions, Banksy is also increasingly using his work to explore and critique the idea of virality, and how it influences the perceived value of a work in the minds of both the public and the artistic establishment.
The studio has acquired ABQ Studios in Albuquerque, New Mexico, as part of a plan to bring as much as $1 billion in production to the state over the next 10 years.
Most of these new dystopian stories take place in the future, but channel the anger and anxieties of the present, when women and men alike are grappling with shifting gender roles and the messy, continuing aftermath of the MeToo movement. They are landing at a charged and polarizing moment, when a record number of women are getting involved in politics and running for office, and more women are speaking out against sexual assault and harassment.
“How often is it the case that a show made and performed in a theatre genuinely has an impact on the building and the way it operates?” Lyn Gardner remembers one very notable case, when the Battersea Arts Centre hosted Punchdrunk’s The Masque of the Red Death a decade ago. “If this happened more often, would the culture of the building change? … It’s a question that is particularly pertinent when considering work made by, and with, the community.”
Growing up with few books in the house was associated with below-average literacy rates, while he presence of around 80 books raised those rates to the mean. Literacy continued to increase with the number of reported books up to around 350, at which point it flattened out.
“Pantsula took its early influences predominantly from tap dance, with traces of jive, gumboot, tribal African dance and everyday gestures like dice-rolling. … Sixty years on, [it] still thrives in townships across South Africa, but its character and style have morphed in line with the lives of the people who cultivated it.”
Kirill Serebrennikov has been confined to his home for well over a year on embezzlement charges many say are trumped-up. Zurich Opera House had engaged Serebrennikov to direct Così fan tutte two years ago and decided to go ahead, figuring that he’d be released by now. No such luck — worse, he’s not allowed to use the internet or even a telephone. Shaun Walker reports on how Serebrennikov is managing to stage the production anyway.
“The fabled horror magazine that has thrilled and terrified readers since 1979 looked dead and buried last year. But now, just in time for Halloween, Fangoria has crawled out of its own grave in the form of a new quarterly journal with photos so high-gloss that the blood looks wet.”
This is the third such accusation against William Preucil, who has been suspended by the orchestra while management investigates the initial claim. As with that first allegation, both of the women who have just come forward say that the incidents happened during private lessons with Preucil.
“The Richard Alston Dance Company, which has played an important role in British dance, will close in spring 2020, the company announced on Monday. Since the company’s inception in 1994, it has been resident at The Place, a contemporary dance center and performance space in north London where Mr. Alston, 70, has been the artistic director, also since 1994.”
Tristram Hunt: “They have risen. Have they risen more than cinema prices? I doubt it. Have they risen more than train prices? I very much doubt it. … If people are willing to pay hundreds and hundreds of pounds on football season tickets then seeking to have a fair price for a work of great curatorial excellence does not seem to me wrong.”
There was controversy around the movie, titled Clergy, even before it hit cinemas: at a film festival last month, once it was clear that the film would likely win the audience award, organizers canceled that category. Even so, Clergy attracted 1.7 million viewers in its first week; that’s about 4½ percent of Poland’s entire population and the equivalent of 14.5 million in the U.S.
“I get why the city sees a solution in selling the work. How else can a bureaucracy generate so much cash so quickly from such a modestly sized asset? But it also perpetuates a disturbing mentality that I’ve found myself writing about again and again this year: namely, that culture—particularly in underserved neighborhoods—is only a priority if and when the costs can be covered by private-sector patrons.”
“Given my experiences in Mexico, my lingering question has been, “Who decided, or why do we feel, that we must upend our programming in order for people of targeted ethnicities to comprehend and enjoy classical music played by a live orchestra?” It strikes me as suspiciously odd that, for all our talk about the universality of classical music, administrators, and, certainly some musicians, when they think of specific ethnic groups, must suddenly condescend to them, patronizingly and awkwardly changing what we do to suit all the clichés.”
I thought I knew what opera is. Well, the definition didn’t change. But The Mile-Long Opera, performed last week on New York’s High Line, changed the boundaries of opera, theater and artistic expression, and in ways that I couldn’t have imagined before taking the elevator up three floors and then trudging from 14th to 34th Street.
The private museum owned and operated by Mitchell and Emily Wei Rales opened to the public on Oct. 4, and in many ways it is an excellent example of a private museum. So what’s wrong? There is one problem that can be fixed – and maybe a fix is already in the works.
John Scofield, Combo 66 (Verve)
“I Can’t Dance,” guitarist Scofield proclaims by way of his new album’s opening track. It may be the rare listener, however, who won’t be moved by his quartet’s rhythmic blandishments.
None of us can control how we’re remembered, though we may try to live in ways that minimize the dancing on our graves. Yet a special place should be made for those who are memorialized not for how they lived, but how they died. Their daily voices, their quirks and smiles, their plain ambitions and ordinary loves risk being overwhelmed by the drama of their end.
The Policy Institute at King’s College London will study the effect of the creative education programme on students’ development, examining how arts education can help young people overcome challenging circumstances. By measuring the effect of the programme on the students’ personal and academic development, the institute aims to generate valuable evidence that provides a “greater understanding of effective ways to engage with young people”.
The report on cultural leadership, authored by independent consultant Sue Hoyle and researchers at Kings College London (KCL), says that burnout is a serious health concern which affects cognitive functions such as creativity, problem solving and memory.
Columbus Day, named for the Italian explorer who sailed to the Americas on behalf of Spain more than 500 years ago, has become a painful reminder of the oppression endured by native peoples. At the same time, the holiday remains an important part of Italian-American heritage, and for many, it is one worth keeping.
The ever-elusive, ever-inventive Banksy has once again made a fool of the art world, and captivated millions. But has the joke itself slightly self-destructed? Banksy’s remotely shredded “Girl With Balloon” was meant to poke fun at the excesses of the auction market. Yet thanks to the huge amount of publicity generated by this ingenious prank, his prices look set to soar even higher.
A new front in Australia’s culture wars has opened following NSW Premier Gladys Berejiklian’s decision to order the management of Sydney Opera House to light up the sails with a promotion for next weekend’s $13 million Everest horse race.
“I find it extraordinary that the state politicians on both sides have somehow decided that this is in the interests of Sydney, New South Wales or Australia to corrupt the way the Opera House works, to corrupt art integrity of the building and to be able to use it in any way a politician wants,” Michael Lynch told ABC radio on Monday. Lynch ran the Opera House from 1998 to 2002.
The first printed Old and New Testaments, reproduced in this new Taschen facsimile edition in two folio volumes, marked a cultural turning point, which was to shape religious controversies and political crises and conflicts throughout the following centuries. The production was technically complex and required an extraordinary amount of careful labour, which included setting 42 lines of text per page, consuming 2,500 bits of type, drawn from a font of 300 distinctive pieces.