Tag: 07.03.17

José Luis Cuevas, 83, Bad Boy Of Mexican Modern Art

“[His] brooding figures graced exhibits from Paris to New York during a career as a painter, sculptor, writer, draftsman and engraver that spanned more than seven decades. Cultivating the image of a philandering ‘tomcat'” – he claimed to have had hundreds of partners, once included his semen in an exhibition, and offered to impregnate any woman who wanted to have his baby – “Cuevas drew on the work of Francisco de Goya and Pablo Picasso, and his depictions of dark, deformed, animal-like figures were a sharp break with the socialist-tinged muralism long popular in Mexico.”

What Philosophy Can Learn From Film

From Gilles Deleuze and Stanley Cavell to Stephen Mulhall and Robert Sinnerbrink, an argument has been made that film can be philosophy. Indeed, that cinema can serve philosophy not in some ancillary role – for example, by providing ‘illustrations’ of philosophical problems in classroom settings – but in its own right, with its own means, and in a manner irreducible to the methods of traditional philosophy.

Learning Philosophy At The Movies

“Cinema can serve philosophy not in some ancillary role – for example, by providing ‘illustrations’ of philosophical problems in classroom settings – but in its own right, with its own means, and in a manner irreducible to the methods of traditional philosophy.” Exhibit A: Rashomon.

U.S. Authorities Are Delaying And Denying More Visas To Visiting Artists (And Giving More Ulcers To Presenters)

Says one specialist attorney, “There’s no conspiracy. There’s no one out there saying we’re going to stop artists. It’s basically much broader than that and artists they consider collateral damage.” Says another, “What is a broader effect, I think, is that there is a pervasive sense in the international community that the U.S. is becoming a hostile environment for performing artists.”

In The Age Of The Curator, Are Degrees In Curatorship Worth Anything?

“Though it was originally an occupation that kept one behind the scenes, the appointment of curatorial posts is now fodder for news headlines, particularly when it comes to events like documenta or the Venice Biennale. More and more frequently, critics evaluate exhibitions based on how they are developed or formulated—thereby placing the responsibility of a show’s success directly upon the curator’s shoulders, and proving that they are no longer considered merely an overseer of collections or exhibitions. As the position becomes more high-profile, the crop of those aspiring to be curators grows, with more universities offering specialized programs in the field.”

The Role Of Laughter In Our Culture

Laughter is no different than political systems, commercial relations or artistic practices: it evolves over time, the result and cause of material and social transformations. For medieval man, laughter was the great leveller. Preceding Martin Luther’s priesthood of all believers was Rabelais’s priesthood of all belly-laughers. Inclusive and communal, laughter left no one untouched; no less universal than faith, it was a bit more subversive. In fact, as Bakhtin notes, late-medieval laughter marked a victory, albeit temporary, not just over the sacred and even over death; it also signalled ‘the defeat of power, of earthly kings, of the earthly upper classes, of all that represses and restricts’.