Eight shows over the course of a year loosely explore the eight chapters of Arendt’s 1968 book, Between Past and Future.”
The order also decrees new monuments for figures such as Martin Luther King, Jr., Alex Trebek, and Aretha Franklin.
An exhibition at El Museo del Barrio brings us to the thorny side of profound themes like martyrdom and labor.
Hannah Arendt, an untimely, unassimilable figure, looms ever larger in the life of thought.
No one writes letters anymore, but I still like reading them — especially when both sides of a correspondence are collected between two covers. No narrative, no argument — just the mercurial yet implicit unity of a relationship. Still, I’m not sure why I picked up this book.
Oscar Wilde was suspicious of men in suits. He once famously remarked that “with an evening coat and a white tie, even a stock broker can gain a reputation for being civilized.”
The Hannah Arendt Prize in Critical Theory and Creative Research is a $5,000 essay prize awarded in an annual competition for those interested in the juncture of art and creative research and in the principles at the heart of the arts and humanities, including sense-based intelligence; the reality of singular, nonrepeatable phenomena; ethical vision; and consilience between inner and outer, nature and reason, thought and experience, subject and object, self and world.
Maria Bussmann is an artist whose work is rarely seen in this country, and so her compact new show of seven large drawings and twenty-four small ones at NYU’s Deutsches Haus represents a notable opportunity to catch a glimpse of her singular sensibility.