How The New Whitney Could Be The Next Great Contemporary Art Museum

The museum used to be a storehouse for the art of the past, the display of supposed masterpieces, the insightful exploration of the present in the context of the long or compressed histories that preceded it. Now — especially as embodied by the Tate Modern, Guggenheim Bilbao, and our beloved MoMA — the museum is a revved-up showcase of the new, the now, the next, an always-activated market of events and experiences, many of which lack any reason to exist other than to occupy the museum industry — an industry that critic Matthew Collings has called “bloated and foolish, corporatist, ghastly and death-ridden.”

Confessional Writing: It’s Ubiquitous, It’s Annoying, It’s Uncool – But It’s Powerful, And We Seem To Need It

“No writer wants to own the label ‘confessional’ anymore. It’s an epithet, with the same tenor as ‘hipster’ or ‘artisanal’: something for privileged narcissists who can’t see any of their own silliness. … And yet, the practice has deeply ancient, religious roots. Bruenig notes that it was designed not just to let the person who is confessing spill his or her guts, but also a sort of collective anecdote.”

Scholar Who Rescued 30,000 Volumes Of Chinese Literature From Japan’s WWII Invasion Of Shanghai Has Died At 105

T.H. Tsien, “who was born in China in the twilight of the reign of its last emperor, was a young librarian there during the Japanese occupation, which lasted from 1931 until the end of World War II. Working in secret, he was charged with keeping a trove of precious volumes, some dating to the first millennium B.C., from falling into the occupiers’ hands.”

The First Black Ballerina At The Metropolitan Opera House

“‘It is opening night at the Metropolitan Opera – the gala performance of Giuseppe Verdi’s Aïda. It is the first time in the history of the venerable opera house that it has a black artist on its roster. Let me tell you, my friend, I am just as surprised as anyone else.’ It was 1951, and Janet Collins, the author of these words, was that black artist.”

Cirque du Soleil Is Such A Singular Enterprise. Can Its Creative Spark Survive A Sale Of The Company?

“Cirque has already played to over 160 million people around the world and I firmly hope it will continue to dazzle us with sights and wonders. But you’ll have to prove to me that a financial group whose major achievement has been the “branding” of J. Crew and Nieman Marcus will understand the impulse that made those crazy buskers from Baie-Saint-Paul become a bright, dazzling comet that streaked so thrillingly across the world entertainment sky.”