“There is beauty here in exactly the way that Kant meant the word, a beauty that comes from the pleasure of looking at designs that ‘mean nothing on their own.’ … The problem is that … Aboriginal artists aren’t working with anything like a Kantian conception of a free play of the faculties and they have, in the vast majority of cases, no interest in the idea of abstraction as that idea emerged in … painting in the 20th century.”
“Saint Oscar; Wilde the Irishman; Wilde the wit. The classicist; the socialist; the martyr for gay rights. … So if Oscar’s ultimate genius was to allow us to see ourselves in him, what do we see in 2018? And what is there left still to see in a life that ended prematurely and has been so closely scrutinized?”
“In a landscape where ‘post-truth’ and ‘alternative facts’ are part of our everyday vocabulary, this term might put some on the back foot – but the crucial difference between an imaginary fact and an alternative one is that the audience is fully aware [that the former] is a pretence.” Most of us are familiar with the concept in the form of “mockumentary” films and TV shows such as This Is Spinal Tap and The Office, but it’s now stretching into museums as well.
“On December 3, 1998, 44 world governments and 13 international NGOs came together in Washington D.C. to develop a guide for dealing with Nazi-looted art. … On November 26-18, a conference in Berlin marking the 20th anniversary of these goals” — known as “the Washington Principles” — “will assess the success of these objectives. But it seems like there are some tough conversations to be had.”
“[Nedim] Yasar, who was born in Turkey and arrived in Denmark at the age of four, had led the Copenhagen-based criminal gang Los Guerreros – a notorious gang with links to the drugs trade, according to police. He quit the gang in 2012” and had just published a book titled Roots: A Gangster’s Way Out. He was shot as he was leaving a launch party at a Copenhagen bookstore.
Unlike most every other part of the music world, taping has not only thrived in the 21st century but come into its own, from advanced cell phone gadgetry (like DPA’s iPhone-ready d:vice MMA-A digital audio interface) to compact handheld recorders (like Zoom’s varied line of products), from high-speed distribution to metadata organization. Despite constant radical change, taping has never been disrupted. Rather, it has positively flowered.
“It’s one thing for me, an adult, to encounter these words, archaic and problematic as they are, understand their origins, and keep reading. But I’m not sure if my kids, aged six and three, are even old enough to grasp the concept of historical context, especially as explained to them by an unprepared, exhausted parent.”
“In fairness, it is genuinely quite surprising that it’s managing to survive in 2018, a time where making a joke about something horrible is now deemed nearly as bad as the horrible thing itself. South Park season 22 has therefore had to change in order to ensure its survival in the outrage era. As the world – well, the world of Twitter at least – gets angrier and more reactionary, [Trey] Parker and [Matt] Stone have had to fine-tune their satire, making the takeaways of each episode more balanced than ever before.”
“‘Is everyone okay?’ was my most used sentence during my time [there]. I knew that it was unlike anything they’d ever experienced, but I think half of the time I was asking that question, it was really directed to myself.” elsey Grills writes about her experience in the new ABT Incubator programfounded by David Hallberg.
The goal of the Barr-Klarman Massachusetts Arts Initiative is to increase arts organizations’ “adaptive capacity” (because the arts landscape is changing and the next recession could hit anytime) by building capital (in terms of both cash and staff) and “cultural competence.”
This past weekend in Taipei, at the Golden Horse Awards (which cover Chinese-language cinema worldwide), the winner of the Best Documentary prize called for Taiwan to be recognized as independent — whereupon censors in the PRC cut the broadcast off. Writer Lauren Teixeira recounts the other Taiwan/PRC drama at the ceremony and explains why the Taiwanese movie industry has to take it seriously.
As of June, Glamour had a print circulation of about 2 million, according to Alliance for Audited Media. There were about 7 million visitors to the website last month, according to comScore figures. Its total reach online, editor Samantha Barry contended to staffers, was about 20 million.
To begin with, why not a single book from an academic imprint?
Atlantis Quartet, Hello Human (Shifting Paradigm Records)
Far from being bound by its time, Nuttall’s 1968 investigation of Britain’s underground political and literary protest culture was a prophetic critique, and applicable as well to the American scene.
Writes the chair of Arts Council England, who was for three decades director of the Tate Galleries, “In 2012 we became the first cultural body in the world to include environmental reporting and action in our long-term funding agreements with arts organisations. … Together we substantially increased understanding about the role of the sector in addressing environmental issues and associated social challenges. The findings of our Annual Report on Environmental Sustainability, published on Tuesday, prove the value of that intervention.”
“Documentary filmmaker Fu Yue called for Taiwan to be recognised as an ‘independent entity’ during her acceptance speech [at the Golden Horse awards], fighting back tears as she said, ‘this is my biggest wish as a Taiwanese’. Her speech was quickly censored on Chinese television and streams, with the coverage going black.”