Artist Re-Envisions National Parks in the Style of Tolkien’s Middle Earth Maps | Open Culture
▻http://www.openculture.com/2018/02/artist-re-envisions-national-parks-in-the-style-of-tolkiens-middle-eart
Artist Re-Envisions National Parks in the Style of Tolkien’s Middle Earth Maps | Open Culture
▻http://www.openculture.com/2018/02/artist-re-envisions-national-parks-in-the-style-of-tolkiens-middle-eart
Un artiste cartographie les parcs nationaux du monde, façon Tolkien ▻https://www.actualitte.com/article/patrimoine-education/un-artiste-cartographie-les-parcs-nationaux-du-monde-facon-tolkien/87264
Le Guardian, jaloux du rôle pionnier du Monde dans ce domaine, a enfin trouvé quelqu’un du cinéma pour porter le flambeau anti-#Metoo. Un qui a trouvé en plus super malin de dénoncer ça sur le thème de la « chasse aux sorcières »…
Michael Haneke : #MeToo has led to a witch hunt ’coloured by a hatred of men’
▻https://www.theguardian.com/film/2018/feb/12/michael-haneke-metoo-witch-hunt-coloured-hatred-men
Michael Haneke has become the latest figure to criticise the #MeToo movement against sexual assault and harassment in the film industry, arguing that it has instigated a “witch hunt” that “should be left in the Middle Ages”.
The Austrian film-maker, two-time winner of the Palme d’Or at Cannes, made his concerns known during an interview with Austrian newspaper Kurier, later reported by Deadline. “This new puritanism coloured by a hatred of men, arriving on the heels of the #MeToo movement, worries me,” he said. “As artists, we’re starting to be fearful since we’re faced with this crusade against any form of eroticism.”
While Haneke noted that any act of “rape or coercion” should be punishable, he said that “this hysterical pre-judgment which is spreading now, I find absolutely disgusting. And I don’t want to know how many of these accusations related to incidents 20 or 30 years ago are primarily statements that have little to do with sexual assault.
“This has nothing to do with the fact that every sexual assault and all violence – whether against women or men – should be condemned and punished. But the witch hunt should be left in the Middle Ages,” he added.
Le Guardian se réfère donc à cet article de « Deadline » (des fois que tu connaisses) : Michael Haneke On MeToo : “Witch Hunt Should Be Left To The Middle Ages”
▻http://deadline.com/2018/02/michael-haneke-metoo-witch-hunt-comments-1202285106
Oscar and double Palme d’Or winner Michael Haneke has become the latest prominent European artist to lament what he calls a “witch hunt” in the wake of the #MeToo movement. Speaking with Kurier, the Austrian filmmaker said there is no question that “any form of rape or coercion is punishable… But this hysterical pre-judgment which is spreading now, I find absolutely disgusting. And I don’t want to know how many of these accusations related to incidents 20 or 30 years ago are primarily statements that have little to do with sexual assault.”
Lequel Deadline tire ses citations d’une interview autrichienne de « Kurier » : Michael Haneke : "Hexenjagd im Mittelalter belassen"
▻https://kurier.at/kultur/michael-haneke-hexenjagd-im-mittelalter-belassen/310.169.980
Glauben Sie nicht, dass es neuerdings eine Tendenz gibt, Tabus wiederaufzubauen, etwa in der Folge der #MeToo-Debatte?
Oh Gott, fragen Sie mich nicht danach. Als Mann sollte man zu diesem Thema ja kaum mehr etwas sagen. Natürlich finde ich, dass jede Form von Vergewaltigung oder Nötigung zu ahnden ist. Das ist ja gar keine Frage! Aber diese Vorverurteilungshysterie, die jetzt um sich greift, finde ich absolut degoutant. Und ich möchte nicht wissen, wie viele dieser Anklagen, die sich auf Vorfälle vor 20 oder 30 Jahren beziehen, in erster Linie Abrechnungen sind, die mit sexuellen Übergriffen nur wenig zu tun haben.
Il y connaît rien en sorcières Haneke. La chasse aux sorcières c’était à la renaissance et pendant le Maccarthysme.
Ca m’étonne pas de lui.
Cette confusion entre érotisme et harcelement sexuel est typique de la culture du viol. Ces derniers jours j’ai fait lire à Amélie pas mal de textes sur la littérature libertine du XVIIIeme d’un point de vue féministe : comme par exemple celui ci ►https://imaristo.hypotheses.org/166
Cette littérature se caractérise par
un monde où la gloire des hommes s’acquiert par la conquête des femmes, et où les femmes ne sont jamais que des proies[3] au service de ce jeu faussé de la séduction.
#fraternité #érotisme #culture_du_viol #domination_masculine #male_tears
The Last Love of Jonas Salk - Issue 57: Communities
▻http://nautil.us/issue/57/communities/-the-last-love-of-jonas-salk
The first time they met, French artist Françoise Gilot seemed more interested in her salad than in Jonas Salk—somewhat embarrassing for her friend Chantal Hunt, who had insisted she join them for lunch. Chantal’s husband, John Hunt, the executive vice president of the Salk Institute, had invited Salk to their home to discuss “Institute issues.” Gilot had warned Chantal that she was tired from completing the lithograph series at the Tamarind Workshop in Los Angeles, and she needed some rest before returning to Paris. “I’m going to go have lunch at a restaurant,” she told her friend. “I don’t want to see a scientist.” Chantal said she didn’t need to talk. “Fine,” Gilot replied, “I don’t talk.”1 The next evening, Gilot accompanied the Hunts to a black-tie dinner at the Institute. Seated with other (...)
Elizabeth Catlett - Wikipedia
▻https://en.wikipedia.org/wiki/Elizabeth_Catlett
#Elizabeth_Catlett (April 15, 1915[2] – April 2, 2012)[3] was an African-American graphic artist and sculptor best known for her depictions of the African-American experience in the 20th century, which often had the female experience as their focus. She was born and raised in Washington, D.C. to parents working in education, and was the grandchild of freed slaves. It was difficult for a black woman in this time to pursue a career as a working artist. Catlett devoted much of her career to teaching. However, a fellowship, awarded to her in 1946, allowed her to travel to Mexico City, where she would work with the Taller de Gráfica Popular for twenty years and become the head of the sculpture department for the Escuela Nacional de Artes Plásticas. In the 1950s, her main means of artistic expression shifted from print to sculpture, though she would never give up the former.
Her work is a mixture of abstract and figurative in the Modernist tradition, with influence from African and Mexican art traditions. According to the artist, the main purpose of her work is to convey social messages rather than pure aesthetics. While not very well known to the general public, her work is heavily studied by art students looking to depict race, gender and class issues. During her lifetime, Catlett received many awards and recognitions including membership in the Salón de la Plástica Mexicana, the Art Institute of Chicago Legends and Legacy Award, honorary doctorates from Pace University and Carnegie Mellon and the International Sculpture Center’s Lifetime Achievement Award in contemporary sculpture.
Un aperçu de ses œuvres ici
▻https://www.youtube.com/watch?v=mnpu6sk1NL0
Elizabeth Catlett est une artiste américaine qui explore les thèmes liés à la race et au genre dans les domaines de la sculpture, de la peinture et des gravures. Comme Norman Lewis, Catlett met en avant la lutte des Afro-Américains à travers son art. En réponse à la ségrégation et à la lutte pour les droits civils, l’œuvre de Catlett montre l’influence du primitivisme et du cubisme dans ses portraits angulaires et ses surfaces lisses. Née Alice Elizabeth Catlett le 15 avril 1915 à Washington, D.C., elle reçoit une bourse pour étudier au Carnegie Institute of technology, juste d’être annulée sur la base de la race. Puis, elle s’inscrit à l’université Howard et devient ensuite la première étudiante à obtenir une maîtrise à l’université de l’Iowa. Dans les années 1940, elle se rend au Mexique grâce à une bourse et commence à peindre des fresques. À propos de ce travail, l’artiste déclare « J’ai appris à utiliser votre art pour le mettre au service des gens, des gens qui luttent, pour qui seul le réalisme signifie quelque chose ». Elle devient citoyenne mexicaine et meurt le 2 avril 2012 à Cuernavaca à l’âge de 96 ans.
▻http://www.artnet.fr/artistes/elizabeth-catlett/3
La #street-art del collettivo HAD in ricordo di Srebrenica
Uno sguardo dentro la fabbrica abbandonata di #Visoko, nella Bosnia centrale, dove il collettivo artistico HAD nel 2015 ha realizzato una serie di graffiti cesellando nel calcestruzzo i volti delle vittime della guerra in Bosnia Erzegovina
Tre giovani artisti, un architetto, un pittore e uno street artist, formano il collettivo «#HAD» dalle iniziali dei loro nomi Muhamed Bešlagić (soprannominato Hamo), Anel Lepić e Damir Sarač. Questi artisti usano una tecnica davvero particolare, nominata #wallcut, intagliando il muro con attrezzi specifici, finalizzati a creare dei rilievi che, una volta completati col colore, creano varie superfici e tridimensionalità nell’opera.
Il collettivo HAD nelle sue opere cerca spesso di parlare di tematiche sociali che riguardano la Bosnia Erzegovina e molte di queste opere rimandano alla memoria del genocidio di Srebrenica.
Plus sur le collectif d’artistes HAD :
„When we initially came in here to complete our first artwork (June 15, 2015), we wanted to put our names on the wall. During the lunch break, I started putting the name Hamo, and after writing the H and A letters, I realized that we don’t have a legal permission to work in here. Then I just added the letter D at the end, the first initial of Damir’s name, and that’s how the name of our collective HAD was created, just the first letters of our names: Hamo, Anel, Damir.“– Anel
About one month earlier, just after the collective exhibition in their hometown Visoko (Bosnia and Herzegovina), the three young artists came to an idea of making something different and unseen. It’s no wonder that the wallcut technique was what they decided to do together, since the members of artist collective HAD are an architect (Muhamed Bešlagić- Hamo), fine artist (Anel Lepić) and the street artist (Damir Sarač). The collision of their professions and the will to create something new in art went over the fact that the three of them were not familiar with their individual artistic expressions. The urge to create together was the only thing that mattered, and it still is.
The grain tank in Visoko was the place where they perfected the new technique on the walls, but more important it was the place where they got to know each other artistically and personally. Far away from everybody else, HAD worked there day and night for one month and a half, preparing their first revolutionary exhibition „WALLS“ (August 9, 2015). They weren’t aware of the fact that so many people were interested in what they do, so the number of visitors at this exhibition was what had driven them to create even more.
Soon after, the project „Silence“ started. It was the first time they worked outdoors and in front of everyone. This fact, together with the whole concept of „Silence“ and the usage of electric tools led them to new artistic psychology. The project was completed two months later (November 11, 2015).
Despite their expectations, they have drawn the attention of people in their country and the region. Many foreign media from all over the world came to Visoko to meet them and write about them. HAD has also broadened their connections and started the collaboration with various people from the music and film industry, design and fashion, etc. They are currently working on their new projects.
„We still have the same desire for creating art as we had the first day. It became our addiction, our passion, and our lifestyle.“ – HAD
Waterloo Station | Science Museum Group Collection
▻https://collection.sciencemuseum.org.uk/objects/co27959
Painting. [Waterloo Station] / by Terence Cuneo, May 1967. Signed and dated bl. Painted on site in the Science Museum, with the assistance of Anthony Kerr. Perspective view of the concourse of Waterloo Station, London, as seen from the first floor British Rail Southern Region Board Room windows. Includes both steam and diesel locomotives, porters, cars, passengers, indicator board and clock; relatives, artist and politicians of the day amongst the travelling public. General activity any day in the early 1960s
#Apple censors Vic Mensa’s views on #Palestine | The Electronic Intifada
▻https://electronicintifada.net/blogs/ali-abunimah/apple-censors-vic-mensas-views-palestine
This is reminiscent of the BBC’s decision to censor the words “Free Palestine” from a freestyle rap by Mic Righteous several years ago.
I am emphatically not criticizing the artist here: #Mensa has clearly pushed hard not to separate his politics from his art. However, it appears some of the executives at Apple might not be too comfortable with that.
Mensa’s music is wonderful and deserves to be heard, and access to mass audiences is still controlled by unaccountable corporations.
But the mood is changing precisely because of artists like Mensa and Lorde, whose recent decision to cancel her Tel Aviv show generated an outpouring of support, and of course all those before them who took a stand when it was even less safe to do so.
Watch Mensa’s original “We Could Be Free” video, partly filmed in Palestine, here:
Et
s’y met aussi... Age-restricted video (based on Community Guidelines)
▻https://www.youtube.com/watch?v=SQqUuzIlb2k&feature=youtu.be
Cette version est libre :
▻https://www.youtube.com/watch?v=bHTMh3TtkDQ
Nouveau tag : #critiques_de pour recenser les critiques de #facebook, #google and co :
►https://seenthis.net/messages/670745
Former Driveclub, Motorstorm devs form Wushu Studios
▻http://www.gamesindustry.biz/articles/2018-01-16-former-driveclub-motorstorm-devs-form-wushu-studios
New Liverpool label staffed by Secret Sorcery team, plus Mass Effect 3 artist
Reading the ruins | Thinkpiece | Architectural Review
▻https://www.architectural-review.com/rethink/reading-the-ruins/10026503.article
Ruins are a reminder of architecture’s transience, but they also embody often contested projections of meaning and memory
When the American artist Ryan Mendoza recently acquired a small abandoned house in Detroit, he had no intention of living there. Aided by crowdfunding, he dismantled it and shipped it to Europe as his contribution to the 2016 Rotterdam art fair. Extracted with forensic precision like an eroded tooth from a carious urban milieu, the transplanted dwelling was marooned forlornly on a hardstanding next to the fair’s exhibition halls. Its ‘authentically’ decayed state was seen as a testament to the precarious condition of Detroit and, by implication, America as a whole.
Double U.S. Book Launch of Duty Free Art and Supercommunity
▻https://www.guggenheim.org/event/double-u-s-book-launch-of-duty-free-art-and-supercommunity
C’est @fil qui me transmet une référence empreinte d’un gran mystère... Mais quand on voit Duty Free dans le titre, nous, on dégaine !
Double U.S. Book Launch of Duty Free Art and Supercommunity
January 24, 2018, 6:30 pm
Solomon R. Guggenheim Museum
In collaboration with e-flux and Verso Books, the Guggenheim presents the U.S. launch of two recent Verso publications: Hito Steyerl’s Duty Free Art: Art in the Age of Planetary Civil War, a new volume of essays by the writer, filmmaker, and artist; and Supercommunity: Diabolical Togetherness Beyond Contemporary Art, a collection of essays, poems, short stories, and plays by artists and theorists selected from the eponymous 88-text issue of e-flux journal commissioned for the 56th Venice Biennale. The evening will feature Steyerl in conversation with media theorist Wendy Hui Kyong Chun, a presentation by artist and Supercommunity contributing author Liam Gillick, and a one-act play by co-editors Julieta Aranda and Brian Kuan Wood.
Revoliutsiia! Demonstratsiia! Soviet Art Put to the Test | The Art Institute of Chicago
▻http://www.artic.edu/exhibition/revolutsiia-demonstratsiia-soviet-art-put-test
Through January 15, 2018
The October Revolution of 1917 changed the course of world history; it also turned Russia into a showcase filled with models. Every object and sphere of activity had to demonstrate how society could be remade according to revolutionary principles. It would take intensive experimentation and discussion to determine the shape of this unprecedented society. To be realized in any concrete way, communism had to be modeled and put on display.
Soviet Art Put to the Test accordingly fills Regenstein Hall with ten model displays from the early Soviet era. Each of these sections, detailed below, holds rare works of art and features expert, life-size reconstructions of early Soviet display objects or spaces, commissioned especially for this exhibition.
• Battleground: Posters from the Civil War years (1918–21) surround a “Lenin Wall” with three dozen works devoted to the first Soviet leader.
• School: Rare works from Soviet art schools convey breakthroughs in abstraction. Many loans come from the storied Costakis art collection in Thessaloniki, Greece.
• Theater: Model sets, props, and drawings bring to life classic Constructivist stagings that merged viewers and performers in a mass spectacle.
• Press: A 14-foot multimedia kiosk built from a design by artist Gustav Klutsis and a suite of his original drawings anchor an extensive display of rare magazines and unique poster maquettes.
• Factory: A 30-foot-long Workers’ Club designed by Aleksandr Rodchenko can be entered to see period books and magazines.
• Exhibition: A reconstructed 1926 exhibition room by El Lissitzky features paintings by artists included in the original exhibition, among them Piet Mondrian, Francis Picabia, and Lissitzky himself.
• Festival: A period model for Stalin’s Palace of the Soviets joins photographs of mass sports events and commemorative gatherings.
• Cinema: A rotating program of Soviet cartoons and documentaries is shown in a space that evokes an agitprop train.
• Storefront: Large picture windows showcase textiles, Constructivist advertisements, and Suprematist porcelain.
• Home: Personal images of leading Soviet artists, porcelain figurines, and a painting by Socialist Realist Aleksandr Deineka populate a model interior also outfitted with furniture conceived for small or collective apartments.
These ten displays—containing nearly 550 works—come together in the largest exhibition of Soviet art to take place in the United States in 25 years. Visitors have the opportunity to explore the trajectory of early Soviet art in all its forms and consider what it tells us about socially minded art now.
@reka, un peu moins d’une semaine pour aller à Chicago…
:-D
avec évidemment…
mais aussi
C’est drôle il me semble avoir vu passer une recension de cet expo quelque part... Mais où ?
you’re right (as always…)
here, ▻https://seenthis.net/messages/641440, by … you…
Merveilleux ! Je suis content qu’on partage cette passion ! Si on était riche et pas trop occupés on prendrait le premier avion pour Chicago, mais on rembourserait ce qu’il faut pour le CO2 :)
The decline and fall of Russian protest art—“Art Riot: Post-Soviet Actionism” - World Socialist Web Site
►https://www.wsws.org/en/articles/2018/01/08/russ-j08.html
Art Riot: Post-Soviet Actionism,” Saatchi Gallery, London, November 16, 2017-January 7, 2018
“Actionism appeared as a reaction to the mass depersonalisation and total commercialisation of art, as a reaction to the overload of objects manipulated by curators, gallerists, and collectors—and also the laws of the market. The artist protesting against this makes a striking statement, socially significant and visually spellbinding.”
These strong words from Oleg Kulik, father of post-Soviet actionist art, are quoted in the catalogue for the recent Saatchi Gallery exhibition in London, Art Riot: Post-Soviet Actionism.
On display at the gallery is the protest art of Kulik and other performance artists, including Pussy Riot, Pyotr Pavlensky, Arsen Savadov, Damir Muratov and the Blue Noses Group. The exhibition gives an opportunity to examine how the art of Kulik and his colleagues lives up to his manifesto. How have things proceeded since Kulik first hit the headlines in the 1990s?
#El_Lissitzky exhibition in Moscow, November 2017-February 2018 | The Charnel-House
▻https://thecharnelhouse.org/2017/11/20/el-lissitzky-exhibition-in-moscow-november-2017-february-2018
El_Lissitzky était entre autre un grand copain d’Otto Neurath, avec qui il a développé la méthode Isotype à Moscou au début des années 1930.
Voilà qui mériterait largement un voyage à Moscou.
▻https://i1.wp.com/thecharnelhouse.org/wp-content/uploads/2017/11/Эль-Лисицкий.-«Небоскреб-на-площади-у-Никитских-ворот.-Общий-вид-сверху».-c
▻https://i1.wp.com/thecharnelhouse.org/wp-content/uploads/2017/11/%D0%AD%D0%BB%D1%8C-%D0%9B%D0%B8%D1%81%D0%B8%D1%86%D0%BA%D0%B8%D0%B8%CC%86.-%D
▻https://i2.wp.com/thecharnelhouse.org/wp-content/uploads/2017/11/%D0%AD%D0%BB%D1%8C-%D0%9B%D0%B8%D1%81%D0%B8%D1%86%D0%BA%D0%B8%D0%B8%CC%86.-%C
▻https://i1.wp.com/thecharnelhouse.org/wp-content/uploads/2017/11/%D0%A0%D0%B0%D0%B1%D0%BE%D1%87%D0%B8%D0%B5-%D1%81%D1%86%D0%B5%D0%BD%D1%8B-192
El Lissitzky, renaissance man of the Soviet avant-garde, is the subject of a major career survey in Russia that opened last week. It is the first such show in the country for thirty years.
Ambitiously organized across two venues, the State Tretyakov Museum and the Jewish Museum and Tolerance Center, the shows are being treated as a single exhibition. They draw on an archive of the artist’s work preserved against all odds by Sophie Küppers, his German wife, an art historian and collector. Roughly 400 works are on display.
Lissitzky spent a significant portion of the 1910s and 1920s in Germany, promoting revolutionary art. When he returned to the Soviet Union in 1925, he left dozens of his paintings, photographs, architectural and graphic designs behind.
More than 100 artists including leading lights in film, theatre, literature, and music have come together to sign a statement of support for the singer, songwriter and record producer Lorde. While signatories to the letter, which is published on the Guardian’s letter page, may hold a range of positions on BDS (Boycott, Divestment and Sanctions), they are united in their defence of the right to freedom of conscience.
’We write in support of Lorde, who made public her decision not to perform in Israel and has now been branded a bigot in a full page advertisement in the Washington Post (Report, 1 January).
Shmuley Boteach, the author and promoter of the advert, supports Israel’s illegal settlements and wrote last month on Breitbart to thank Donald Trump for “electrifying the world” with his recognition of Jerusalem as Israel’s capital in defiance of international law.
He has nothing to teach artists about human rights. We deplore the bullying tactics being used to defend injustice against Palestinians and to suppress an artist’s freedom of conscience. We support Lorde’s right to take a stand.’
▻https://www.theguardian.com/music/2018/jan/05/lordes-artistic-right-to-cancel-gig-in-tel-aviv
Traduction en français :
Le droit artistique de #Lorde d’annuler un concert à Tel Aviv
The Guardian, le 5 janvier 2018
▻https://www.bdsfrance.org/le-droit-artistique-de-lorde-dannuler-un-concert-a-tel-aviv
La liste des artistes :
▻https://artistsforpalestine.org.uk/2018/01/05/leading-artists-stand-with-lorde
Et, sur le même sujet :
Lorde, un exemple que tous les jeunes artistes doivent suivre
Hind Awwad, Al-Jazeera, le 30 décembre 2017
▻http://chroniquepalestine.com/lorde-exemple-jeunes-artistes-doivent-suivre
Et précédents posts :
▻https://seenthis.net/messages/654943
▻https://seenthis.net/messages/656187
#Palestine #Boycott #BDS #Boycott_culturel #Nouvelle-Zélande
Parmi d’autres, Lorde avait été touchée par la lettre de deux jeunes filles de Nouvelle Zélande, une juive et une d’origine palestinienne. Un tribunal israélien vient de les rendre responsable de l’annulation et leur demande des milliers de dollars de dommages et intérêt. Voici leur réponse...
Justine Sachs et Nadia Abu-Shanab réagissent à la décision du tribunal israélien concernant leur lettre ouverte à Lorde
The Spinoff – 12 octobre 2018
►http://www.agencemediapalestine.fr/blog/2018/10/14/justine-sachs-et-nadia-abu-shanab-reagissent-a-la-decision-du-t
Nous avons eu une amende pour avoir demandé à Lorde de boycotter Israël, mais on ne nous réduira pas au silence
Nadia Abu-Shanab et Justine Sachs, The Guardian, le 22 octobre 2018
▻http://www.agencemediapalestine.fr/blog/2018/10/24/nous-avons-eu-une-amende-pour-avoir-demande-a-lorde-de-boycotte
C L R James: the revolutionary as artist
▻http://isj.org.uk/clr-james-the-revolutionary-as-artist
Palestinians stand by a “Black Lives Matter” mural in Tulkarem refugee camp. The mural was created during an Existence is Resistance artist delegation to Palestine earlier in 2017. [Photo by @harrabic on Instagram]
My Life as a New York Times Reporter in the Shadow of the War on Terror
▻https://theintercept.com/2018/01/03/my-life-as-a-new-york-times-reporter-in-the-shadow-of-the-war-on-terro
Très long article de #James_Risen, #journaliste d’investigation du #New_york_Times
My experience with [some] stor[ies] [...] made me much less willing to go along with later government requests to hold or kill stories. And that ultimately set me on a collision course with the editors at the New York Times, who were still quite willing to cooperate with the government.
[...]
By 2002, I was also starting to clash with the editors over our coverage of the Bush administration’s claims about pre-war intelligence on Iraq. My stories raising questions about the intelligence, particularly the administration’s claims of a link between Iraq and Al Qaeda, were being cut, buried, or held out of the paper altogether.
[...]
Meanwhile, #Judy_Miller, an intense reporter who was based in New York but had sources at the highest levels of the Bush administration, was writing story after story that seemed to document the existence of Iraq’s weapons of mass destruction. Her stories were helping to set the political agenda in Washington.
[...]
After weeks of reporting in late 2002 and early 2003, I was able to get enough material to start writing stories that revealed that intelligence analysts were skeptical of the Bush administration’s evidence for going to war, particularly the administration’s assertions that there were links between Saddam’s regime and Al Qaeda.
But after I filed the first story, it sat in the Times computer system for days, then weeks, untouched by editors. I asked several editors about the story’s status, but no one knew.
Finally, the story ran, but it was badly cut and buried deep inside the paper. I wrote another one, and the same thing happened. I tried to write more, but I started to get the message. It seemed to me that the Times didn’t want these stories.
What angered me most was that while they were burying my skeptical stories, the editors were not only giving banner headlines to stories asserting that Iraq had weapons of mass destruction, they were also demanding that I help match stories from other publications about Iraq’s purported WMD programs. I grew so sick of this that when the Washington Post reported that Iraq had turned over nerve gas to terrorists, I refused to try to match the story. One mid-level editor in the Washington bureau yelled at me for my refusal. He came to my desk carrying a golf club while berating me after I told him that the story was bullshit and I wasn’t going to make any calls on it.
As a small protest, I put a sign on my desk that said, “You furnish the pictures, I’ll furnish the war.” It was New York Journal publisher William Randolph Hearst’s supposed line to artist Frederic Remington, whom he had sent to Cuba to illustrate the “crisis” there before the Spanish-American War. I don’t think my editors even noticed the sign.
Quinn Norton à propos de cet article (à dérouler) :
▻https://twitter.com/quinnnorton/status/948620285695156230
« Elf, rien à foutre ! » - Romuald Hazoumé, 2005, Benin.
J’aime beaucoup l’œuvre et le titre de l’œuvre de cet artiste béninois
Global Art in Global Amsterdam 2013 in The Netherlands.
▻http://httpmyblogtzina.blogspot.com/2013/07/global-art-in-global-amsterdam-2013-in.html
One of these the artist Romuald Hazoume from Republic of Benin ( in Africa ) who became famous through his masks in the style of traditional West Africa masks.
’The Bridge’ El Seed at the Demilitarized Zone (DMZ) between North and South Korea
–-> French-Tunisian artist @elseed tries to bridge the DMZ with Arabic calligraphy and Korean poetry
Remarkable collection of early Soviet films on DVD: The New Man—Awakening and Everyday Life in Revolutionary Russia - World Socialist Web Site
▻https://www.wsws.org/en/articles/2017/12/29/revi-d29.html
A notable collection of early Soviet films, The New Man—Awakening and Everyday Life in Revolutionary Russia (Der neue Mensch—Aufbruch und Alltag im revolutionären Russland), has been released on DVD in Germany to coincide with the centenary of the October Revolution.
The DVD was compiled by Rainer Rother, artistic director of the Berlin Cinematheque, and film historian Alexander Schwarz. In 2012, the WSWS commented on the important Berlin Film Festival retrospective, “The Red Dream Factory”, which brought before the public a number of lesser known early Soviet films, as well as classics by directors such as Sergei Eisenstein, Vsevolod Pudovkin and Alexander Dovzhenko.
Invisible Cities Illustrated: Artist Illustrates Each and Every City in Italo Calvino’s Classic Novel | Open Culture
▻http://www.openculture.com/2017/12/invisible-cities-illustrated-artist-illustrates-each-and-every-city-in-
#illustrations #villes #Calvino
#Andro_Wekua: discover how this Abkhazia-born artist is rebuilding his hometown from memory — The Calvert Journal
▻https://www.calvertjournal.com/features/show/9344/new-east-100-andro-wekua-abkhazia-hometown-memory-art-music
Andro Wekua is one of the art world’s biggest mysteries, and obsessions. The Georgian artist fled war-torn Abkhazia in the 1990s with his family and has been based in Europe ever since. The past, however, is rarely the focus of discussions about his work. Rather, it’s the image of a sombre and enigmatic modernity, bordering on dystopian future, which comes through in Wekua’s visionary sculptures, installations and paintings. For the exhibition Some Pheasants in Singularity at Sprüth Magers gallery in London, Wekua created two sculptures of the same character, a young blond girl with a bionic arm, one where she is calmly riding on the back of a black wolf, and one where she is hanging passively by her chin from a rectangular piece of glass. The scenes evoke vague dreams birthed by the contemporary vortex of pop culture imagery, although they certainly cut deeper. Wekua has been exhibiting internationally since his mid-twenties – through the circuits Kunsthallen in Switzerland and Germany, and at Gladstone Gallery in Chelsea — and his output has always retained an eerie introspective quality, at the same time inviting the viewer to fill gaps in the narrative. It is worth mentioning that in 2011, for the work Pink Wave Hunter, Wekua did return to his native Sukhumi — although only virtually. He used photos sourced from the internet to create mixed-media replicas of buildings in the city, which turned out to have a ghostly presence of the erased history. The gaps and voids in the narrative, and the unexpected paths our minds follow to fill them, are perhaps his major preoccupations as an artist.
Van Gogh’s Ear | The New Yorker
▻https://www.newyorker.com/magazine/2010/01/04/van-goghs-ear
It is, in its strange way, at once the Nativity fable and the Passion story of modern art. On Christmas Eve, 1888, in the small Provençal town of Arles, the police found a young Dutch émigré painter in his bed, bleeding from the head, self-bandaged and semi-conscious, in a run-down residence called, for its peeling exterior, the Yellow House. A few hours before, the Dutchman had given his severed ear—or just its lower lobe; stories differed—to a whore named Rachel in a maison de tolérance, a semilegal bordello, as a kind of early Christmas gift. (She had passed out upon unwrapping it.) The painter, Vincent van Gogh, was known throughout the town as a crazy drunk who hung around the whorehouses too much for his own good, and who shared the squalid Yellow House with another so-called artist, even scarier than he was, though not usually as drunk and not so obviously crazy. That other artist, Paul Gauguin—after being interviewed by the police, and insisting that his friend must have sliced off his own ear in a fit—then sent a telegram to the Dutchman’s brother, urging him to come at once. Then Gauguin left for Paris, as fast as the trains could carry him, never to return.
The Christmas crisis had a real, if buried, effect on van Gogh’s imagination, turning him from a dream of living and working with a community of brother artists to one of painting for an unknown audience that might someday appear—a fantasy that was, in the end, and against the odds, not a fantasy at all.
Those words shine in his pictures. We tend to see the arc of his work, from the departure from Paris, in early 1888, to his death, in 1890, as more or less continuous, and miss the decisive break marked by the Christmas crisis. Even through the pictures of 1888 he’s still mostly a prose painter, with something of the nineteenth-century illustrator in him—children, postmen, absinthe-soaked café scenes. He still wanted to be Dickens or Daumier. After the Christmas crisis, he accepted that he was only Vincent. His new pictures—“The Starry Night,” “Cypresses,” and the pictures of the gardens at Saint-Remy—are depopulated, emptied of any vision of common life. Where in 1888 the pictures are still filled with people on top of people—six people in the “Night Café,” a dozen in the streets of Arles at night—in 1889, aside from his copies of Millet, van Gogh thinks only in solitary ones and lonely twos, the occasional individual portrait interrupting a world of visionary dailiness. He wrote, simply, “Let’s not forget that small emotions are the great captains of our lives.” Stars wheel, cypresses flame; the whole world comes alive. The common unity is the animism of the ordinary. “Starry Night Over the Rhone,” of 1888, has the night sky gently decanted into the gaslight world of the town, and the theme is the likeness of streetlight and moonlight, the modern urban subject—the amusement park at night. In the 1889 “Starry Night,” it’s all night and stars and rolling nebulae: me and the night and the music of the spheres. He’s a man alone, and for good.