Word: artisticness
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Anything gentler or more sinuous may have a harder time. A multipart installation by Betty Woodman, the ceramic artist whose work is full of liquid lines, looks like somebody dropped a Matisse into The Cabinet of Dr. Caligari. And Libeskind's plunging vectors will never be the ideal resting place for Vermeer or Monet--which might explain why the Denver museum will continue to house most of its older art in the more conventional galleries of the Ponti building. Daniel Kohl, the museum's installation designer, has taken on the job of mediating between Libeskind's building...
...might ask why powerful directors don't just straighten their spines, forget about the megamillions and go make their adult movies, NC-17 or no. The answer is that, for an American filmmaker, art and commerce are always in tension. The artist wants his film to be seen as he envisioned it. The businessman, who's taken millions to make the picture, also needs to satisfy his investors that the product will go into the widest market. A R-rated movie can play in any U.S. movie house; an NC-17 is verboten to many large theater chains and video...
...getting his work to a large audience. As for the movie studios, the only thing pure about them is their devotion to earning a buck. They see an NC-17 rating as restraint of trade, so they're unlikely to change the system in order to indulge a few artist-directors...
...she’s bringing him to the Fogg. For the past half-decade, Cornwell has been investigating the true identity of Jack the Ripper, the legendary criminal who gruesomely killed five prostitutes in Whitechapel, England in 1888. She has pledged 82 works by Impressionist artist Walter Sickert, whom she claims was the real “Jack the Ripper,” to Harvard’s Fogg Art Museum. The 82 works include 24 paintings, 36 prints, and 22 drawings by Sickert, who was born in England in 1860 and was a pupil of James McNeill Whistler...
...history of pop music, there is exactly one good song about celebrity: Fame, which required the combined effort of David Bowie and John Lennon to be brought into existence. Otherwise, from the Rolling Stones' Star Star to Britney Spears' Lucky, the subject has been a disaster for any artist who comes near it. It's not that people aren't interested in celebrity--Mary Hart's summerhouse is a monument to the contrary--but that the pleasures it provides are voyeuristic, defined completely by the distance between the famous person and the average viewer. But great pop music erases distance...