Cherry Jones went onstage with a banana peel stuck to her dress. A sick Jefferson Mays threw up onstage and the director asked him to keep it in. John Leguizamo had to improvise after a propmaster forgot a key prop, only to have Ben Brantley scolded him in print for not knowing his lines.
“These were not newly finished pieces that failed to meet his vision or standards; in many cases, they were paintings that had appeared in exhibitions and shows—paintings that Der Spiegel estimates would now be worth around $655 million—before Richter eventually deemed them unworthy.”
“What I love now is mentoring young people about performance. Where do you get your ideas? You must read, do your homework. And get rid of those cellphones. Lift your eyes and look at each other. You aren’t going to grow if you don’t watch people. Tell their stories. Tell your story.”
“At issue is whether the 50 works — which include an 1881 painting by Claude Monet — should go to thousands of victims of the now-dead dictator, to the current Philippine government or to the personal secretary to Imelda Marcos, who contends she was rightfully given some of the art as gifts.”
Rowling is an entire industry. Books, movies, theme parks… she’s created an international creative franchise and everyone seems to celebrate her success. And she’s been rewarded. “A close look at Ms. Rowling’s sources of income suggests that she’s worth more than $1 billion, even allowing for a large margin of error.”
“The idea that we should be constantly policing our thoughts away from the past, the future, the imagination or the abstract and back to whatever is happening right now has gained traction with spiritual leaders and investment bankers, armchair philosophers and government bureaucrats and human resources departments. So does the moment really deserve its many accolades?”
“A DIA more fully engaged with the art of our time could have a catalytic influence on Detroit’s cultural scene and the artists who live and work here — especially at a time when there’s so much action in artists’ studios, in the galleries and on the street.”
The larger art world seemed on the verge of picking Miami as a cultural hot spot back in 2008, four Biennials ago, before it all went not exactly south but more like someplace else, to places whose artists address the politics of the world.
The son of Malcolm McLaren, the manager of the Sex Pistols, burned what he said was 5 million pounds worth of punk memorabilia on the middle of a boat in the Thames. He said: “Punk has become another marketing tool to sell you something you don’t need. …If you want to understand the potent values of punk, confront taboos. Do not tolerate hypocrisy. Investigate the truth for yourself.”