Tuesday, December 23, 2014
Whereas European countries were once able to tap into their
for subjects for opera, America’s never succeeded in doing the same.
That problem comes in part from the decline in opera as a popular,
public art form, but also perhaps from the lack of operatically epic
subjects to be found in American history. Now, composer David T. Little hopes to create a modern American opera with JFK, a 2-act, 2-hour opera focusing on the life of President John F. Kennedy, whose life and death
became defining moments not only for the Baby Boom generation, but
also, many would suggest, the hinge upon which all American history
turns for the last half century. Set to premier in 2016, JFK as a work-in-progress already raises important questions about how opera (and art in general) can approach history. Please come over to Picture This at Big Think to read more of "JFK: The Opera?"
Friday, December 19, 2014
Christmas may be Jesus’ “birthday,” but, as any mother will tell you, his mother Mary really deserves the applause. Providing the humanity half to join with Christ’s divine side, Mary volunteered to play a part from the Incarnation to the Crucifixion to the Resurrection as everything from an active participant to an interested bystander, depending on your interpretation of
Christian scripture. Picturing Mary: Woman, Mother, Idea, a new exhibition at the National Museum of Women in the Arts, Washington, DC, takes a closer look at how artists, especially women
artists, depicted Mary in the more faithful past as well as how modern
artists, especially women artists, still use Mary in the secular
present. By making Mary the star of the show, Picturing Mary shines a light on how we see Mary reflects on how we see ourselves. Please come over to Picture This at Big Think to read more of "Picturing Mary: Yesterday and Today."
Monday, December 15, 2014
Imagine standing in a bare room in which a small, 4-billion-year-old rock hangs from the ceiling by a thin wire as three vocalists whistle and breathe on it to make it swing. For some people, such a scenario might be the nightmare version of
contemporary art run amok, so far “out there” that it’s never coming back. However, standing there and watching the piece, titled Lifespan, part of the new exhibition Allora & Calzadilla: Intervals,
I couldn’t help but find myself mentally urging the rock to move, as
perhaps others in the crowd were, too. The art of collaborators Jennifer Allora and Guillermo Calzadilla
encourages this kind of chain-reaction collaboration by making you
first hear the work and then feel it in your mind and body. For those
who think contemporary art’s lost in space, Allora and Calzadilla bring
it back to Earth. Please come over to Picture This at Big Think to read more of "Hearing (and Feeling) the Contemporary Art of Allora & Calzadilla."
Monday, December 8, 2014
The best way to
learn any language
is total immersion. If you live in a place long enough and open
yourself up to the experience, then you’ll come away not just with a new
tongue, but also with the flavor of the culture in which that language
is expressed. For many people, art museums feel like a foreboding
foreign nation with a language all its own. Frederick Wiseman’s new documentary, National Gallery, finally offers an immersion class in how to speak fluent “museum.” Wiseman’s 39th documentary, National Gallery takes you inside London’s National Gallery
to eavesdrop on the docents leading tours, spy on the early morning
floor waxers, look over the shoulders of conservators, and even join
executive meetings behind closed doors all in the name of learning what
really happens in an art museum and how the very voice of the modern
museum is changing with the times. Please come over to Picture This at Big Think to read more of "How to Speak Fluent 'Museum.'"
Anyone who has seen James Cameron’s 1984 film The Terminator remembers “seeing” through the eyes of the killer android sent into the past as it scans its surroundings for clothes, weapons, and, eventually, its target. Beneath the fleshly form of the future “Governator” resided a robot skeleton sent from the future to eliminate the main human foe of the machines’ plan to rule the future. German filmmaker Harun Farocki would later call those pictures “operational images”—the machine-made and machine-used pictures of the world that threatened to supplant not just how people see, but people period. In the November 2014 issue of the journal e-flux, Trevor Paglen revisits Farocki’s now-decade-old work and updates it for today. Paglen raises interesting questions about the very nature of how machines see as well as whether we should be letting machines—from license plate readers at intersections to drones in combat zones—see for us. Please come over to Picture This at Big Think to read more of "Should We Be Letting Machines See for Us?"