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- The Chicago Tribune asks if Kerry James Marshall’s library mural was, in fact, “too valuable to stay in a library”:
Reached via email, Marshall didn’t want to talk further for this article at the moment, he said. But earlier this month, in a comment reported after the opening of a show of his work at David Zwirner, his London gallery, the artist sounded more acrid than in Kelly’s depiction.
“I am certain they could get more money if they sold the Picasso sculpture in Daley Plaza,” he said, in a quote that first appeared in ARTnews.
He also referenced the enormous mural he completed last year on the west exterior wall of the Cultural Center: “Considering that only last year Mayor Emanuel and Commissioner Kelly dedicated another mural I designed downtown for which I was asked to accept one dollar, you could say the City of Big Shoulders has wrung every bit of value they could from the fruits of my labor,” he said.
- Magnum Photo honored the death of Ara Güler, who is considered the “most influential Turkish photographer of a generation”:
Ara Güler, a native of Istanbul, began his photographic career at the city’s Yeni Istanbulnewspaper in 1950. He went on to work for the Turkish daily, Hürriyet, and from there toward work for international titles and worldwide acclaim. On meeting Henri Cartier-Bresson in the early 60s Güler joined Magnum Photos, and remained close to many at the agency until his death, aged 90, on Wednesday 17 October.
As Orhan Pamuk says, it was in Ara’s photographs that Istanbul’s streets, in the 1950s and 1960s, were best captured, documented and preserved. Ara likes to emphasize the documentary and journalistic aspects of his work, incredibly vast and rich, rather than the artistic side of what he calls his “archives”.
Ballet, like balance, is an illusion. Standing still on point is not a static act, but a flurry of micro-muscles working in tandem to make a body float. Days and years disappear as dancers train to hide the effort behind their superhuman strength. They have enough pressure; what’s exciting is that the dancers at City Ballet don’t have to live in a horror movie any longer. They can focus on grace.
- Kai Minosh Pyle writes about the notion of “healing” in indigenous communities and what is lacking for those who don’t think a return to traditional practices is enough:
If healing is the word of the day, decolonization may be the word echoing uneasily through the night. Though it is mostly academics and activists who invoke decolonization directly, the ideas behind it are alive among Indigenous people young and old. “Decolonize your mind” has become a popular phrase among Indigenous people and other people of color, almost to the point of cliché. In my language, some scholars have even coined a word for it: biskaabiiyang, meaning “to return to ourselves.”
To heal, these Indigenous thinkers argue, we must return to our traditional practices. Drums that were outlawed beat again. Sweat lodges are built once more. Across the continent, Indigenous people are bringing back ways that have been persecuted for a century or more. Even the medical industry, the psychiatrists and psychologists, have started to warm to the idea that Indigenous spirituality is essential for Indigenous healing.
I wanted to believe her then, to trust that long-hidden tradition could be the solution to the problems that ailed me, my family, and my people. In that time I was emerging from a period of severe clinical depression that had lasted over five years, leaving my late teens and early adulthood spotted with holes of foggy memory and failure. Five years of the medical model had been unable to bring me back to life, and the tide only turned when I moved home and transferred to a First Nations studies program at the local university. The following two years living in an environment where I was surrounded by other Indigenous people who affirmed our Indigenous ways of knowing and being seemed to have accomplished what therapy could not. The road forward looked bright and decidedly red in those days.
- Kate Wagner of McMansion Hell writes about “Architectural history in an era of capitalist ruin”:
Meanwhile, the houses of the elite, designed by architects and included in architectural history, become either storied private properties or house museums. Common housing that has been faithfully maintained sometimes joins the ranks of these desirables; otherwise it becomes a subject of archaeology. Even if buildings old enough to have “character” are restored—such as nineteenth-century factories whose walls enclosed the horrors of labor—they are, in the end, transformed into lofts whose luxuriousness is subsidized by taxpayers. Just as a fraction of the U.S. population hoards most of its wealth, a tiny number of buildings are chosen to house its history. And these buildings, more often than not, offer a history owned and controlled by the social, political, economic, or cultural elite.
- This week’s major revelation is that Gary Hart, the Democratic Presidential candidate who dropped out of the race because of an alleged affair, was set up by Republicans:
“I thought there was something fishy about the whole thing from the very beginning,” Strother recalled. “Lee told me that he had set up the whole Monkey Business deal. ‘I did it!’ he told me. ‘I fixed Hart.’ After he called me that time, I thought, My God! It’s true!”
Strother’s conversation with Atwater happened in 1991. He mainly kept the news to himself. As the years went by, he discreetly mentioned the conversation to some journalists and other colleagues, but not to Gary Hart. “I probably should have told him at the time,” he said recently. “It was a judgment call, and I didn’t see the point in involving him in another controversy.”
- The short history of the evolution of the New York City pizza slice shop:
So we decided to write up a brief history of the NYC slice before we put out our list of the slice shops that define the current slice era. Some of what you find written below may contradict things we’ve said in the past, collectively and individually, but we’ve done our best to give a general picture of how the New York City pizza slice evolved over the years, using the best of our current knowledge on the subject—all without introducing more confusion. Let’s go!
- A little girl finds a sword in a lake, and some people think she should become the Queen of Sweden. She wrote a piece about the find for the Guardian:
People on the internet are saying I am the queen of Sweden, because in the legend of King Arthur, he was given a sword by a lady in a lake, and that meant he would become king. I am not a lady – I’m only eight – but it’s true I found a sword in the lake. I wouldn’t mind being queen for a day, but when I grow up I want to be a vet. Or an actor in Paris.
- There’s a conspiracy for everything:
All I’m saying dawg is i ain’t never seen a baby pigeon pic.twitter.com/h6bDJJvMPl
— b 80oz (@beerizmA1) October 16, 2018
“The impossibility of reforming Tony [Soprano] bears some resemblance to the crisis plaguing museums and toxic philanthropy today, where a culture of bullying and exploitation belies programming of socially- and politically-engaged art.”
As a critic, I’m dying to make a meta-critique of the ways my communities are represented on screen.
Over 50 years of the artist’s video and media work on how images, sound, and cultural iconography inform representation is on view through December 30.
Frey ponders why she felt comfort in television and film content that intellectuals often take pride in dismissing.
What does Rutherford Falls, a new TV series that prominently features two small town museums, tell us about the way people see the contentious stories on display in history and art institutions?
Over the course of three months, the resident artists in Going to the Meadow will collaborate and create with a curated set of continually changing materials.