When Modernism First Moved

Modernism first moved on May 29, 1913. That’s century-old hyperbole, of course, but if any date achieves day of infamy status for modern art in the 20^th century, it’s the day that Russian composer Igor Stravinsky teamed up with Russian ballet impresario Sergei Diaghilev and his Ballets Russes company to stage Le Sacre du printemps, or, in English, The Rite of Spring. Diaghilev and the Ballets Russes, 1909–1929: When Art Danced with Music, now at the National Gallery of Art, Washington, DC, returns to that cataclysmic moment when modernism became an unavoidable reality for the mainstream public, which had done its level best to ignore it previously. Multimedia in its combination of music, dance, and artistic design, The Rite of Spring and other productions by the Ballet Russes helped modernism move beyond the fringe to the center of Western culture ever since. Please come over to Picture This at Big Think to read more of "When Modernism First Moved." 

[Many thanks to the National Gallery of Art, Washington, DC, for the image above and other press materials related to Diaghilev and the Ballets Russes, 1909–1929: When Art Danced with Music, which runs through September 2, 2013.]

Should Museums Stop Teaching?

When the Tate Britain recently revealed the latest rehanging of their astounding collection of British art, many long unseen works found a new place in the galleries, but one long-standing feature was not to be found—explanatory wall text. The Guardian’s Jonathan Jones hails this rehanging as “a radical rethink at Tate Britain that also sees more paintings on its walls, sculptures on its floors and history in its bloodstream than ever before.” Is this rethinking of the role of the explanatory wall text the first step in a rethinking of the role of a museum itself? Would it be a good or a bad thing if museums no longer supplement our direct, naked experience of the art? Should museums stop teaching?  Please come over to Picture This at Big Think to read more of "Should Museums Stop Teaching?"

Why Cartoonists Make the Best Case for Gun Control

The gun debate in America may have “jumped the shark” with yesterday’s Mother’s Day Parade shooting in New Orleans that left 19 wounded, including two children. When something as universally accepted as the idea of motherhood becomes a shooting gallery, any idea of a debate seems as absurd as Fonzie in leather jacket and bathing trunks riding those water skis over 35 years ago. Reuters ran with the story as their international headline the next morning, as the latest “look at the crazy Americans and their guns” story. But I’ll leave the real jokes to the real comics, who have already made their voice on the issue heard clearly in the short film "Cartoonists Demand Action to End Gun Violence," in which a bevy of big cartooning names try to make a serious point through the funny pages. While interests groups, the media, and even the government have failed to change anything, perhaps cartoonists can make the best case for gun control. Please come over to Picture This at Big Think to read more of "Why Cartoonists Make the Best Case for GunControl."

[Image: Dan Perkins, aka Tom Tomorrow. This Modern World.]