Brian Dillon · At the MK · LRB 23 March 2011. ‘About twelve noon on 13 November 1951, at a distance of about 200 yards, two distinct humps … something like a couple of ducks, not anything like a porpoise, or a walrus, or a whale, which have been suggested.’
Art Beyond the Museum. The stairs leading to the front doors of the Metropolitan Museum of Art (Photo via new-york-tourism.com) Approaching the Museum The Metropolitan Museum's entrance hall (Photo via NewYorkTravelPlanning.com) Arts institutions often tell us to expect great things from what they house.
Take the Metropolitan Museum of Art, for (an extreme) example. As you approach it on Fifth Ave, the first thing you see is a monumental stair case leading up to huge doorways flanked by towering columns. If you make it up the two dozen steps, past the columns, doors, and security, you enter a vast breathtaking atrium. These various architectural elements convey to the visitor that what is inside is important. The Metropolitan Museum's central staircase (Photo via bridgeandtunnelclub.com) The Museum’s Mood. Andre Breton - First Manifesto of Surrealism 1924. First Manifesto of Surrealism - 1924 André Breton Translated by A.
S. Kline © 2010 All Rights Reserved. The art of Gerard Byrne. In July and August 1963, Playboy magazine published "1984 and Beyond": a two-part round-table discussion concerning the future, involving 12 science-fiction writers.
Among the authors involved were Arthur C Clarke, Isaac Asimov, Ray Bradbury and Robert Heinlein. It is a document at once of its time and oddly out of it. Speaking in the midst of global and national perplexity – the Cuban missile crisis had come to a head the previous October, the civil rights march on Washington took place in August, and US confidence was to suffer a catastrophic blow in November of that year – the 12 seers are almost comically optimistic regarding life as it might be lived two decades thence.
They conjure a world of routine space travel, lunar colonies, economic ease and social and sexual freedom – though predictably, this last seems to apply mostly to a sci-fi avatar of the standard male Playboy reader. 1984 and Beyond is showing at Tate Britain as part of BP British Art Displays. Art critic. What forced me on a detour from my original itinerary of criticizing criticism in my recent attempts to grapple with contemporary art was an encounter with a piece of museum actuality, to be precise, the “Let’s Entertain” show curated by Phillipe Vergne that opened at the Walker Art Center in Minneapolis in the winter of 000.
That this show availed itself of a piece of cynical logic, in trying to legitimize its uratorial organization by reference to Cindy Sherman is breathtakingly opportunistic. Archives. Home > Archives Archives Vol 14 (2013): Platform Politics Vol 13 (2012): Paying Attention Vol 12 (2011): The Digital Humanities: Beyond Computing Vol 11 (2010): Creative Media Vol 10 (2009): Pirate Philosophy Vol 9 (2007): Recordings Vol 8 (2006): Community Vol 7 (2005): Biopolitics Vol 6 (2004): Deconstruction is/in Cultural Studies.
Posts tagged "index cards" This weekend my friend Austin and I were talking about writing, and I remembered an interview with Lawrence Weschler in The New New Journalism in which he talks about building with wooden blocks while he’s thinking about the structure of his articles or books.
Here’s the passage, after he’s talked about his idea-gathering and information collecting: Are there any activities that help at this point? Two things. One is that I read a lot of novels. Writers like Larry McMurtry and Walter Mosley are especially good. Although the process sounds somewhat mysterious, and I’m not sure I would find it helpful in my writing, the important idea—that structuring writing is easier when you turn it into a physical activity—is undoubtedly true for me.
The Second Apocalypse. Third Text. JSTOR. ARTMargins: Central & Eastern European Visual Culture. Decline and Fall. Decline and Fall Tracing the history of ruins in art, from 18th-century painting to 21st-century film Jane and Louise Wilson, Sealander (2006), production still ‘I hear the ruin of all space, shattered glass and toppling masonry, and time one livid final flame.
Interview-jane-and-louise-wilson. Sitting at a table in a restaurant in Bermondsey, across the road from their studio, Jane says, "We are twins.
It's a fact. " Louise rolls her eyes and says, "The next question is: were you monozygotic or duozygotic? Were you one egg or two eggs? When we were born it was the late Sixties, and the only way you could find out was to see if there was one placenta or two placentas.
Deep Oakland - Home. Workfortheeyetodotoo. Derek beaulieu's blog. Derek beaulieu: Nothing Odd Can Last. Are the bawdy passages and double entendres important in this book?
Could it have been omitted? Does the author guide his pen or does his pen guide him? Does she have redeeming qualities? Does the novel demonstrate that there can be postmodern texts before post-modernism? Do you think the author intended to end the novel with the ninth volume?