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This week, bell hooks on Beyoncé, photographs from behind, makeshift memorials to gun violence in New York, Philip-Lorca diCorcia on the art market.
Viewers who like to suggest Lemonade was created solely or primarily for black female audiences are missing the point. Commodities, irrespective of their subject matter, are made, produced, and marketed to entice any and all consumers. Beyoncé’s audience is the world and that world of business and money-making has no color.
“This photograph relates to a sort of ‘double gaze’ in which I’m watching someone watch something else. In this instance my father gazing at a full moon in the front yard of my parents’ house. The form of the photograph leans more towards the recording of a quiet and possibly ambiguous moment, rather than a more voyeuristic or predatory gaze of an unsuspecting subject.” —Rory Mulligan
In fact, when my sister first decided to speak out, she had gone to multiple newspapers — most wouldn’t touch her story. An editor at the Los Angeles Times sought to publish her letter with an accompanying, deeply fact-checked timeline of events, but his bosses killed it before it ran. The editor called me, distraught, since I’d written for them in the past. There were too many relationships at stake. It was too hot for them. He fought hard for it. (Reached by The Hollywood Reporter, a spokesperson for the Los Angeles Times said the decision not to publish was made by the Opinion editors.)
When The New York Times ultimately ran my sister’s story in 2014, it gave her 936 words online, embedded in an article with careful caveats. Nicholas Kristof, the Pulitzer Prize-winning reporter and advocate for victims of sexual abuse, put it on his blog.
Soon afterward, the Times gave her alleged attacker twice the space — and prime position in the print edition, with no caveats or surrounding context. It was a stark reminder of how differently our press treats vulnerable accusers and powerful men who stand accused.
Under the heading of “Don’t Smear an Independent Man”
Don’t make every form of loneliness a sin, and every form of the herd spirit a virtue.
Remember that America is the country of the pioneer, the non-conformist, the inventor, the originator, the innovator. Remember that all the great thinkers, artists, scientists were single, individual, independent men who stood alone, and discovered new directions of achievement—alone.
Don’t let yourself be fooled when the Reds tell you that what they want to destroy are men like Hitler or Mussolini. What they want to destroy are men like Shakespeare, Chopin and Edison.
But the very qualities that drew so many readers to the poem—its vivid accounts of the horrors of Hell and the splendors of Heaven, its sprawling narrative, its penetrating descriptions of emotion, its philosophical gravity, and its unequaled mix of realism and what Dante called alta fantasia—were all far beyond the skills of earlier painters to convey. Even the most elaborate illuminated manuscripts of the book, including those made for humanist rulers such as Alfonso V of Aragon, king of Naples, were illustrated with comparatively naif and rudimentary images. Botticelli was determined to be the first painter to do justice to the great poem.
An exhibition at the Courtauld Gallery in London allows us to see what he hoped to achieve. It features thirty of the surviving ninety-two parchment sheets he made for the book. The sheets are relatively large—about 12 1/2 by 18 1/2 inches—and they are arranged in what is commonly called landscape format. Each sheet bears on its back Botticelli’s illustration for a canto, and on its front the text of the following canto, written in the neat lettering of a Florentine scribe. Most scholars agree the plan was to bind the sheets together in a codex, with its spine on the top, like a modern-day calendar.
There’s now evidence of an inequality that runs like a seam through the entire profession and which goes far beyond the anecdotal. This year, academics from the London School of Economics and Goldsmiths College, in a peer-reviewed study, found that only 27% of actors come from a working-class background and that the profession is “heavily skewed towards the privileged”. In February this year, the Sutton Trust, a thinktank dedicated to social mobility, included acting for the first time in its survey of leading professions, and found, among other things, that 67% of British Oscar winners and 42% of Bafta winners went to a private school.
For example, of the 118 doctoral programs in philosophy in the United States and Canada, only 10 percent have a specialist in Chinese philosophy as part of their regular faculty. Most philosophy departments also offer no courses on Africana, Indian, Islamic, Jewish, Latin American, Native American or other non-European traditions. Indeed, of the top 50 philosophy doctoral programs in the English-speaking world, only 15 percent have any regular faculty members who teach any non-Western philosophy.
Chang Yong-seok, a North Korea expert at Seoul National University, said the North might be trying to sell a more natural and positive image of Kim and his senior officials after the ruling party congress that ended on Monday.
… the censorship showed “a woman who disobeys and who openly claims sexual liberation and pleasure is dangerous and must be silenced” and cited a similar backlash faced by the Pakistani director Sharmeen Obaid-Chinoy after her documentary about honour killings won an Academy Award.
— Mona Eltahawy (@monaeltahawy) May 6, 2016
Poussin and the Dance is a valiant attempt to break into Poussin’s staunchly academic oeuvre and provide a relatable point of entry, highlighting the exciting elements of revelry and movement despite impenetrable and unemotional rendering.
Anarchist illustrator N.O. Bonzo produces decentralized media in a highly bureaucratic cultural landscape. Their illustrations, murals, and literature emerge in unexpected places, from the streets of Portland, Oregon, to the far ends of Reddit and Twitter, addressing relations of labor and identity in the workplace and on the streets. Growth and care are central themes…
This exhibition explores how images of the human body were used to provoke profound physical and emotional responses in viewers from the 15th through 18th centuries.
With scavenged materials, Amanda Maciel Antunes constructs a motherland.
Where are the directors taking the stage to acknowledge workers’ demands today?
The collaborative handmade paper- and printmaking center at the Pennsylvania Academy of the Fine Arts publishes new works by Liz Collins and Sarah McEneaney.
There is a debate whether the memory of Little Syria should be seized upon to tell truthful and positive stories about Arabs in the US, or whether any conflation between its history and contemporary politics is inappropriate.
The profile includes works by Egon Schiele, Amedeo Modigliani, Peter Paul Rubens, and a prehistoric Venus of Willendorf figurine.
These horrifying dolls definitely won’t murder you in your sleep.