Author: Douglas McLennan

Books Need Readers To Be Books. But What About The Quality Of The Reader?

To exist as a book, the pages with their letters and spaces need a reader. We may think of books as unchanging material objects, but they only, as it were, happen when read; they have no absolute identity. And the nature of that reading—an experience extended over many hours, then mulled over for many more, for the book does not cease to happen the moment we turn the last page—will depend, to a large degree, on who the reader is. – New York Review of Books

An Attempt At An NPR For Conservatives?

The nightly two-hour show, which is carried on nearly 200 radio stations nationwide and boasts an estimated audience of 1.3 million, might not identify as ideological or political, at least not overtly. But Lee Habeeb has clearly positioned it as a right-of-center alternative to NPR, whose programs such as Morning Edition and All Things Considered also emphasize skillful story-telling, but which many conservatives perceive, rightly or not, as inhospitable to anything that isn’t progressive or politically correct. – The Daily Beast

A Sociologist Explores Explanations For Why Art By Men Gets Higher Prices Than Art By Women

“Who and what defines art and quality, which institutions matter and how they are accessed, who knows whom, whether advantage is accumulated from a prejudiced past, and where conscious and subconscious biases of culture interrupt economic valuation—these are the questions that sociologists ask to explain greatness. It is not a denial of quality, talent, innovation, or genius, but a way to contextualize them.” – Artsy

A Stolen (And Damaged) deKooning Will Be Shown Before Heading To The Getty For Repair

The challenge is bringing the 1955 canvas — an example from de Kooning’s celebrated but also contested “Woman” series, known for their grotesque, even savage renderings of the female nude — back to near-original condition. Ulrich Birkmaier, the Getty Museum’s senior paintings conservator, and Tom Learner, the Getty Conservation Institute’s head of science, have teamed up for the project. They expect the process to take at least a year. – The New York Times

Is Disappearing Or De-Platforming People Or Work Defensible In Free Speech Terms?

No-platforming is when a person is prevented from contributing to a public debate, either through policy or protest, on the grounds that their beliefs are dangerous or unacceptable. Open-speech advocates highlight what we might call first-order evidence: evidence for and against the arguments that the speakers make. But they overlook higher-order evidence. – Aeon

Has Literary Criticism Become Too “Nice.” Too Apolitical?

“Criticism” in The New York Times Book Review tends to look “positive,” by academic standards, not because it always says the book is good but because it offers market advice as to whether you should buy it, whether you will like it, without asking much about the market itself or about what it would mean about you or about the world if you did like it. – Chronicle of Higher Education

How Did Street Art Get Corporatized?

As more corporations and real estate developers across the country turn to murals to hawk their products, controversy follows. In New York City, for instance, Target had to apologize for a mural it installed inside a new store in the East Village. While the mural was designed as an homage to the neighborhood’s history as a home to punk rockers and struggling immigrants alike, it drew criticism for making light of the gentrification that had transformed the neighborhood. – In These Times

Why Would Someone Pay Millions For A Copy Of The Mona Lisa?

In Sotheby’s recent New York Old Master sale, a copy of the Mona Lisa soared past its estimate of $80,000-$100,000 to sell for $1.69m. It seems extraordinary that someone would pay so much for a copy (in fact, that’s probably an auction record for any copy). Then there is the fact that the painting had been offered privately before the auction for considerably less, but with no takers. Some have seen the transaction as suspicious. – The Art Newspaper

CEO Of Cartier: The Arts Define Who We Are

“Whether it is photography, painting, sculpture, or design, the arts define who we are at Cartier. Some of our creations were directly linked to the aesthetics of the Mughal period in India with Cartier looking less to local jewelry and more to miniature paintings. Also, geometric shapes found in Islamic Art inspired the designs of some of our accessories and the ornamental “guilloché” patterns in our watches. Art motifs enter Cartier’s vocabulary and then we use them in intuitive ways, on products without a logo or in the architecture of our booths or boutiques, so that our clients feel they are walking into Cartier’s universe.” – Artnet