News from ArtsJournal.com
“The exhibition, called ‘Sculptures that We Don’t See,’ showed works by Soviet sculptors that did not see the light of day during the Soviet period because they were non-conformist. The show … included some works with religious themes including a crucifixion bas-relief” by Vadim Sidur which was a target of the vandals.
“British photographer David Yarrow booked a two-day photo shoot at [the famously ruined venue]. Only problem was, he apparently didn’t tell anyone at the plant that he was bringing a tiger, two wolves and a bobcat with him. … The animals, trainers and photographers were given the boot about an hour later. But not before the tiger got loose and holed itself up on a fourth-story staircase.” (includes video)
A team of Hungarian researchers scanned the brains of people who got high scores on a test for Machiavellianism (yes, this is a clinical term for a personality trait) while they played a game of trust. “They found that Machiavellians’ brains went into overdrive when they encountered a partner who exhibited signs of being fair and cooperative. Why? … Because the Machiavellians are immediately figuring out how to exploit the situation for their own gain.”
“The thrust of this argument is simple and bleak: that the digital economy creates a kind of structural impossibility that art will make money in the future. The world of professional creativity, the critics fear, will soon be swallowed by the profusion of amateurs, or the collapse of prices in an age of infinite and instant reproduction will cheapen art so that no one will be able to quit their day jobs to make it — or both.”
“For me, there’s no competition between pleasure and analysis. And there never was. That might be the self-selecting answer as to why I became a critic. At exactly the moment that I wanted really to write, and started writing poems and then trying to write bad fiction, I was reading with a view to learning stuff.”
Schmidt, a 47-year-old art historian who is currently a curator for decorative arts at the Minneapolis Institute of Arts, said he would first focus on the visitor experience at Uffizi and on developing programs for children and teenagers. “If someone from America and China comes to the Uffizi and starts the visit by standing in line for two to three hours, that is not the ideal way to begin,” Schmidt told The Associated Press over the telephone.
The Kickstarter campaign is as much about activism as it is about funding—an increasingly popular tactic in the architecture world. “You could say the whole idea of the project is an exercise in radical transparency. What the project does is make blatantly legible a carbon footprint that is invisible, and only exists in the form of numbers and specifics and news.” The point of the tower is to raise environmental awareness. By asking the public to contribute, the firm is putting it to the people to decide if they want a visual representation of pollution on the skyline. It also detaches the project from any corporate influence.
“Today, the ASO is showing signs of financial health not seen in more than a decade, a condition which musicians and management agree bodes well for restoring the musical standards that had previously elevated the orchestra to critical acclaim, international prominence and a seemingly endless string of Grammy Awards.”
“To present this benchmark of British heritage in a way that effectively locks minorities out of the cultural picture [literally] flies in the face of the huge conversation taking place in British media at present, of the very real progress made in recent years to increase diversity in our industry.”
“Many have challenged the logic of a Swiss building in Los Angeles, asking whether his revered precision will translate given the economics of American construction. Others ask whether his monastic aesthetic will make sense in the image-driven landscape of Los Angeles and, more specifically, whether his architectural language of sublime asceticism will respond to the city’s very diverse urban context. Even more inflammatory critics have suggested that he lacks adequate experience in buildings of this scale. In a sense, all of the criticisms can be boiled down to a single accusation: quality architecture does not belong in Los Angeles.”
“They have reinforced a message to young Canadian directors that the best way to get ahead at home is to move abroad, and that what audiences think of you in New York matters more to boards than what audiences think of you here. Even minor experience in your field outside this country will trump major experience at home.”