This is a cautionary tale of lying – to oneself and to editors – and where that road leads. Also, this is a severe skewering not only of the movie The English Patient but also of the book. “Sometimes, when I met people, they’d say, ‘Wait! Aren’t you the movie girl?’ Sometimes they would say, ‘Do you like anything?’ A guy in a bar told me once that he and his friends called me ‘the movie assassin.'”
Author: ArtsJournal2
Otis Rush, Blues Singer And Lead Guitarist, Has Died At 83
Rush was “a richly emotive singer and a guitarist of great skill and imagination, … in the vanguard of a small circle of late-1950s innovators, including Buddy Guy and Magic Sam, whose music, steeped in R&B, heralded a new era for Chicago blues.”
Artist Rachel Whiteread On Playing With Space And Air, The Contemporary Art Audience, And How Artists Are Being Pushed Out Of East London
Whiteread, the first woman to win the Turner Prize, on the Shoreditch area of London: “We couldn’t stand Shoreditch any longer. It’s just a hellhole. I know we artists contributed to making it that way [gentrified, expensive, noisy], but it had become monstrous. Everybody I know has left.”
City Ballet Has A Gala, And Addresses Its Recent Scandals
The fall fashion gala began with all of the dancers facing the audience, and principal dancer Teresa Reichlen reading a statement that included the words, “We will not put art before common decency or allow talent to sway our moral compass.” That is, of course, because three of City Ballet’s male dancers have recently left or been fired for sexual harassment and worse. Will this statement work?
The Deep Anxiety Of Being Claire Foy
The Emmy-winning actor, who plays Queen Elizabeth on the Netflix series The Crown, says her anxiety “started as a form of self-protection. ‘It was a tool to survive, definitely. To try to hold on to everything. To try to feel safe.'”
Perhaps The Brazilian National Museum Can Be Rebuilt – But Should It Be?
It’s not like the museum was backed up to the cloud. “When ‘I hear people talking with extreme optimism about this issue, I cannot help but think that they don’t quite understand what was lost,’ said Marcus Guidoti, a Brazilian doctoral candidate who used the museum’s collection in his research.”
The Tate Wants To Know Where Angelica Kauffman’s Biggest Painting Went In 1941
Tate Britain has launched a “last-ditch” attempt to find the painting Religion Attended by the Virtues by Kauffman, one of two women among the founders of the Royal Academy of Art. When was it last seen? Just before a massive bombing raid in Plymouth in 1941.
The Misunderstood Comic Master Who Is About To Get Her Full Due
Elayne Boosler performed in the most elite comic clubs on both coasts, but she could never get her own sitcom or even a network special – and she saw very limited time on the Tonight Show (Johnny wasn’t into assertive women). But she was a master of the stand-up hour. “Make no mistake: Ms. Boosler was its first female star, regularly putting out hours of jokes on cable in the 1980s and early ’90s that represented a break from the past. … Her act — hard-hitting, topical and dense with punch lines — anticipated the future of comedy better than most if not all of her peers.”
How The 19th Century Japanese Artist Hokusai Influenced His Dutch Contemporary
Van Gogh admired Katsushika Hokusai and studied prints of The Great Wave Off Kanagawa. Did it influence Starry Night? From a visual standpoint, that seems probable: “The similarities between the thrust of the wave and the swirling of the sky; that they are both striking studies in blue; and the fact that Van Gogh admired The Great Wave so much all point to a loose inspiration.”
Margo Jefferson On Being A Critic And The Many Forms Of Codeswitching In Her Memoir
Jefferson’s memoir Negroland won the National Book Critics Circle Award for Autobiography, partly because of its ability to be personal and critical at the same time. Jefferson says, “I’d spent my writing life as a critic. My initial feeling was that those kinds of tones and voices had to go; this was memoir. But then, I realized, no, that was as much a fixed part of my identity as other things. I realized I had to include the critic who is diagnosing, who is assessing, who is judging against a kind of backdrop that is aesthetic, cultural, political.”