Monday, August 11, 2014
“riverrun, past Eve and Adam’s, from swerve of shore to bend of bay,” begins James Joyce’s Finnegans Wake, opening a torrent of words that has drowned many readers in confusion over Joyce’s modernist approach. A fresh new edition of Joyce’s 1939 novel edited by Danis Rose and John O’Hanlon and illustrated by John Vernon Lord throws a life preserver to readers by offering a more readable, more musical text accompanied by illustrations that capture the playful, multilayered, flowing spirit of the story. For anyone who has tried and failed to finish Finnegans Wake or for anyone too intimated to try, this new edition will have you hearing and seeing Joyce’s language more clearly than ever before. Please come over to Picture This at Big Think to read more of "Hearing and Seeing James Joyce’s Finnegans Wake Anew."
In his recent New Republic article titled “Liberals Are Killing Art: How the Left became obsessed with ideology over beauty,” art critic Jed Perl makes a convoluted argument that liberalism now “find[s] the emotions unleashed by the arts—I mean all of the arts, from poetry to painting to dance—something of an embarrassment.” Embarrassed by emotions, liberals “who support a rational public policy—a social safety net, consistency and efficiency in foreign affairs, steps to
reverse global warming—[are]
reluctant to embrace art’s celebration of unfettered metaphor and
mystery and magic.” Beginning with that quick hop, skip, and rhetorical
leap from global warming to art appreciation, Perl stands up a series of
liberal straw men
to knock down in his overall accusation that liberals see art just as
political (or politicizable) content at the expense of aesthetic
pleasure. In resurrecting an old school argument from more than half a
century ago, Perl asks if liberals are killing art, but ends up making
readers ask if conservative critics are killing art instead. Please come over to Picture This at Big Think to read more of "Are Liberals Killing Art?"
Friday, August 1, 2014
Must mindfulness always mean meditation—eyes closed, mind clear, simply breathing, simply being? Dan Harris’ recent best seller 10% Happier: How I Tamed the Voice in My Head, Reduced Stress Without Losing My Edge, and Found Self-Help That Really Work—a True Story modestly proposed that just 5 minutes of meditation a day could go a long way towards making you more mindful and more happy, even if it’s just 10% happier. But even 5 minutes of meditation seems impossible for many people conditioned to be continually on the go or continually stimulated visually by one screen or another. After reading Harris’ book and David S. Shields’ Still: American Silent Motion Picture Photography (which I reviewed here)
close to one another, my new interest in mindfulness overlapped with my rekindled interest in silent film.
If we can’t break our visual addiction but acknowledge the need for
greater mindfulness, I thought, then maybe the different kind of visual
storytelling of the silent film era might be the solution—a tale of Zen and the art of silent movie watching. Please come over to Picture This at Big Think to read more of "Zen and the Art of Silent Movie Watching."
Tuesday, July 22, 2014
When Pablo Picasso and other early modernists appropriated elements of so-called “primitive” African art for Cubist and proto-Cubist works such as 1907’s Les Demoiselles d'Avignon they perpetrated a kind of artistic colonialism similar to the economic colonialism that brought back African treasures to French museums and galleries in the first place. It was an exclusively European, almost exclusively male club that marginalized not just the African culture it emulated, but also the women that were often the subjects of their art. In Mickalene Thomas: Tête de Femme, African-American artist Mickalene Thomas breaks up the modernist boys club a century after its formation and takes aim at the lingering effects of its subtle misogyny and racism that continue in the visuals of our present-day culture. Please come over to Picture This at Big Think to read more of "How Mickalene Thomas Breaks Up the Modernist Boys Club."
Thursday, July 17, 2014
During the 1960s, four of the most famous people on Earth were collectively known as The Beatles. Most people struggle to deal with the post-fame life, but how do you live as an ex-Beatle? In Man on the Run: Paul McCartney in the 1970s, Tom Doyle asks that very question of the life of the “cute Beatle,” Paul McCartney. For McCartney, the 1970s “was an edgy, liberating, sometimes frightening period of his life that has largely been forgotten,” Doyle writes in no small part because beneath the myth of the “Bambi-eyed soft-rock balladeer, [Paul] was actually a far more counterculturally leaning individual (albeit one overshadowed by the light-sucking John Lennon) than he was ever given credit for.” Thanks to years of exclusive interviews with McCartney and people close to him during this era, Doyle paints a far more interesting portrait of the writer of “Silly Love Songs” as an eccentric, experimental, and even inspirational artist whose partnership with wife Linda McCartney (shown above together with Paul) showed him how to escape the shadow of the Beatles and find a new life and
career. Please come over to Picture This at Big Think to read more of "Paul McCartney’s Seventies Struggle to Escape the Beatles."
Thursday, July 10, 2014
“Today, full frontal nudity is more common on cable TV than cigarette smoking is in office buildings,” writes Robert Hofler in Sexplosion: From Andy Warhol to A Clockwork Orange—How a Generation of Pop Rebels Broke All the Taboos, his fascinating study of how we got to this point. Hofler contends that the American “sexual revolution” of the 1960s ignited a “sexplosion” in the arts in the half decade ranging from 1968 through 1973. In those tumultuous five years, breaking sexual taboos evolved from the counterculture to the mainstream, inspiring a sexual counter-revolution as well that still holds sway over American culture. Artists have always pushed the envelope when it came to sex, but Hofler makes a strong case that the half decade between “The Summer of Love” and Roe v. Wade represents a “big bang” we’re still feeling the vibrations of. Please come over to Picture This at Big Think to read more of "Was There a Seventies "Sexplosion" in the Arts?"
Tuesday, July 8, 2014
Every new cultural institution hopes for “The Bilbao Effect”—the economic boom the faltering, former industrial city of Bilbao, Spain, enjoyed after the 1997 rise of architect Frank Gehry’s game-changing design for the Guggenheim Bilbao Museum. But even old cultural
institutions want some of that same magic. So, when Gehry came to see Barnett Newman’s The Stations of the Cross with artist friend Ellsworth Kelly at the Philadelphia Museum of Art back in 2006, the museum’s then director and CEO, Anne d’Harnoncourt,
approached Gehry about “doing something special” there, too. However,
instead of a new signature “Gehry” look, d’Harnoncourt requested “a
quiet intervention”—an underground “Philadelphia Effect.” In Making a Classic Modern: Frank Gehry’s Master Plan for the Philadelphia Museum of Art, the PMA finally unveils their “master plan” for revitalizing their classic main building first opened in 1928 for the 21st
century. The big question hanging over this whole decade-long,
estimated half billion dollar project remains: can a classic museum
really be made modern? Please come over to Picture This at Big Think to read more of "Can a Classic Museum Really Be Made Modern?"