The Women Of Abstract Expressionism – Why Were They Written Out Of Art History?

“We talk to Denver Art Museum curator Gwen Chanzit about her important exhibition, speak with the artist Judith Godwin – an Abstract Expressionist who has largely been ignored in the history books, I travel to the Upper West Side to get feminist art historian Linda Nochlin’s thoughts on the matter, and finally I chat with curator and critic Karen Wilkin, who was friends with Helen Frankenthaler.” (podcast)

Misty Copeland On Ballerinas As Athletes, Self-Care, And Her Body-Image Issues As A Black Woman In Ballet

“I’ve had so many issues throughout my career finding the right support – even in something like finding leotards to fit a larger butt. … With the conversations that I’ve opened up, people are more open to expecting the different body types that exist. Also, if you go back to the 1930s and ’40s you’ll see these ballerinas that had really soft physiques – they didn’t have muscles, they weren’t six-feet-ten, and had big breasts.”

What Was It About Nudity In Renaissance Art That Was So Shocking?

“Works of art get lost for many reasons, but there is a suspiciously high destruction rate for those involving nudity. Leonardo da Vinci’s Leda and the Swan was one of the first openly carnal depictions of myth in art, delighting in a big-bosomed, curvy-hipped Leda. Today, this painting is only known through drawings and copies. A French owner probably destroyed it deliberately.”

Only In Portland: A Food Truck For Opera

“At each stop, the cart – actually a converted truck that carries a foldout stage as well as set pieces – offers a ‘menu’ of arias, duets and ensemble pieces. When a selection is ‘ordered,’ a cast of three singers and a pianist gives a short performance.” And what is Portland Opera calling this venture? We’re afraid so: “Opera à la Cart”.

Ballet Company Still Reeling Financially Three Years After Cancelled Joni Mitchell Project

“On the heels of a series of successful pop productions, [Alberta Ballet] was working for a second time with singer Joni Mitchell, working to stage a production based on her love songs.” But an artistic disagreement with Mitchell and the consequent cancellation “cost [the company] about a million dollars … in single ticket sales that were budgeted for but were then lost.”