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Last night, 71-year-old polymath Laurie Anderson won her first-ever Grammy. She took home the award for Best Chamber Music/Small Ensemble Performance for Landfall, her collaboration with Kronos Quartet.
The 70-minute multimedia piece, from Nonesuch Records, is about Hurricane Sandy, which flooded Anderson’s New York City studio in 2012.
“We were planning to spend a cozy evening watching the storm,” the avant-garde composer, musician, filmmaker, and visual artist told the Canadian Broadcasting Corporation in 2018. “You had to be there, watching the river almost become alive. To see it rise, and sparkle in the moonlight, was truly awesome. It was powerful and beautiful.”
When Anderson returned to her studio on Canal Street, though, she found that decades’ worth of her personal archives, artworks, instruments, and papers had been destroyed.
“My archives … had turned into oatmeal. My first reaction was absolute devastation,” she said. But she found a silver lining: “It reminded me I still have way too many things. I need to be simpler. I was feeling weighted down by all this stuff.”
In addition to releasing Landfall, Anderson has recently published a book, All the Things I Lost in the Flood, a series of essays on language, politics, technology, poetry, and live performance.
Anderson, the widow of late Velvet Underground frontman Lou Reed, had previously been nominated for Grammys three times. Her first nomination was back in 1984, when “Gravity’s Angel” was up for Best Instrumental Arrangement Accompanying Vocals.
New works by one of Bangladesh’s most prominent photojournalists, writers, and activists are on view at the Chicago art space through November 27.
Council often uses humor as a political tool to expose systems of power and inequality in a society in which even death carries a high price tag.
An exhibition at the San Francisco Opera House pairs the work of incarcerated artists with Beethoven’s story of unjust imprisonment.
Many works take disruption and repetition as their themes, and many artists resurface in different sections, creating multiple affinities.
Hear from Holly Jean Buck, Carolina Caycedo and David de Rozas, Simon Denny, Elizabeth Hoover, Renee Kemp-Rotan, Joseph Kunkel, and more at this free public event.
In Cooking with Paris, Hilton capitalizes on her portrayal of being a competent woman, while highlighting its anachronism through her absurd performance. Rosler manipulates the camera in the same way.
EFA Open Studios offers a portal into the creative habitats of over 65 artists working in Manhattan’s longest-running studio program, including Dannielle Tegeder, Wafaa Bilal, Cui Fei, and Anina Major.
A man says Blue Bayou took details of his life without his permission. Several women who appear in the documentary Sabaya say they did not consent to be filmed. How can filmmakers avoid these ethical pitfalls?
Ursula Biemann, Nicolas Bourriaud, and others said they will no longer participate in the event.
There is an official ban against the public mourning of Tiananmen Square victims in Hong Kong and mainland China.