Richard Avedon Paid His Printer With Prints… And That Is A Problem

The prints were Mr. Hofmann’s reward for his labor, he said, explaining that he struck a deal with Avedon in the fall of 1984: instead of money, he would be paid with a signed print of everything he produced for the project. “Dick had no conception of what people lived on, and asking him for money was difficult,” he explained. “Being paid in prints seemed the path of least resistance.” But there is a snag. None of Mr. Hofmann’s prints from the series is signed.

Rome Celebrates An Extensively-Cleaned Colosseum

“Buoyed by the brighter look of the Colosseum’s restoration, which was officially unveiled on Friday, Italy’s culture minister, Dario Franceschini, announced that 18 million euros ($20 million) have been found to replace, by the end of 2018, the arena’s long vanished floor with one that could support modern-day entertainment, although monument-rocking rock concerts have been ruled out.”

The Era Of Mid-Budget Movie Dramas Is Over

“Either you offer audiences an unmissable blockbuster derived from well-known intellectual property, or you invest in meek, sub-$10-million indies and pray for a return on investment on the art-house and VOD circuits. That once-upon-a-time sweet spot of $30-million to $50-million productions, with marquee stars and trusted directors? That era is over.”

A History Of Miss Havisham

One early critic of Dickens’s Great Expectations called the character “a foolish, senseless, fantastical, impossible humbug”; later, another critic wrote that “living types have already been pointed out that claim resemblance [to her].” Carrie Frye suggests that this “seems like a fitting jumping-off point for exploring how Miss Havisham came to be in the world: as a fantastical, impossible creature … clearly based on real-life people.”

Garrison Keillor, Consummate Radio Storyteller, Signs Off This Weekend

Radio itself is old-fashioned, of course, and yet – between Web-based podcasting, satellite radio and mobile apps — it is very much of the moment. Storytelling, which is the job inside Keillor’s bigger job, and one at which he casually excels, is the engine that drives “This American Life,” “Snap Judgment,” “StoryCorps” and “The Moth.”