Tag: 05.18.19

Fighting Visual Clichés About Africa

Aïda Muluneh once worked as a photojournalist for The Washington Post. That didn’t go perfectly. “‘Are you an artist, or are you a journalist?’ her boss asked.” By now, the answer is clear: “Muluneh’s art isn’t coy. It deals in high-stakes disparities: Africa as aspiration and Africa as abyss. Reconsider the continent, her images command, and they proceed to connect it to a genre-blending aesthetic that reconceives notions of place and otherness.” – The Atlantic

For Decades, Cuba Exported Radio Soap Operas – And Now Their Post-Revolution Successors Are Going Digital

Plot twists, bingeing, and deep curiosity about characters are nothing new. Cuba exported tons of radionovelas, as they were called, from the 1930s through the 1950s. After the Revolution, “Cuban emigrés in Miami began making original Spanish-language radio soap operas … that reportedly ran on more than 200 stations worldwide. The Latin American Library at Tulane University is now digitizing a whopping collection of those 1960s-era programs and encouraging academic study of Cold War soaps.” You know, just like we “academic study” Game of Thrones. – NPR

As More Commercial Movies Flood Cannes, Deals Follow

There is, however, downward pressure on the market – which may eventually hit actors, directors, and everyone else working on films in the pocketbook. And – let’s face it – Disney is a challenge. “U.S. distribution is still a big issue. There are fewer studios now that Disney has purchased Fox, and most of the major companies are more interested in remaking past hits or backing sequels to long-running franchises than they are with buying an unknown property in the script stage out of Cannes.” – Variety

There’s A Moon Rush On, And Science Fiction Is Partly To Blame

Or, if not to blame, then to illuminate how we understand our moon. “If technologies once found only in SF do sometimes become real they do not, in so doing, always cease to be science fictional. SF is not, after all, simply a literature about the future; it is a literature about the shock of new capacities and new perspectives, about transcendence, estrangement and resistance in the face of the inhuman. Its ideas shape and constrain the ways in which technological possibilities are seen, understood and experienced long after those possibilities are first tentatively realised.” – The Guardian (UK)

LA MOCA Gets A $10 Million Gift To Make Entrance Free

A board member made the announcement of her gift at a quasi-40th birthday party for the museum on Saturday night. That fits with new director Klaus Biesenbach’s vision. “‘We are not aiming at having more visitors or larger attendance, but we’re aiming at being more accessible, at having open doors,’ Biesenbach said in an interview. ‘As a civic institution, we should be like a library, where you can just walk in.'” – Los Angeles Times

The Suburbification Of The Urban Landscape

Are cities urban anymore? Or are the suburbs moving in? New buildings across the country are offering parking, private entrances, “parks,” and other perks of suburban life – downtown. Yes, “these new buildings are designed for a very narrow slice of the population — those who can afford to spend multiple millions of dollars on a home — but it’s a slice of the population whose purchasing decisions affect all city dwellers.” – The New York Times

Protestors March From The Whitney Biennial To Board Member’s Townhouse

On the night of the Whitney Biennial opening,” a crowd of over 150 activists gathered at the Whitney Museum for their largest action yet: a culmination of Nine Weeks of Art and Action, a protest series spearheaded by Decolonize This Place (DTP) to oppose Whitney vice chair Warren Kanders. In a surprise move, the protesters marched from the Whitney Museum to Kanders’s townhouse in Greenwich Village to end the night.” – Hyperallergic

The Endless Discussions Of Game Of Thrones Won’t Stop Tomorrow

The show, which has earned a lot more viewers in its contentious final season, “was a mass-market hit for the era of no social consensus. … It divided its audience from start to finish, right down to the matter of what a happy ending would even constitute. It gave its intense fandom multiple angles to debate as well as to enjoy: whether it kept faith with the popular novels it was based on; whether it reveled in brutality in the name of critiquing it; whether it well-served its female characters or exploited them; and whether it lost control of its story as it sprinted to the finish.” – The New York Times