In a special Christmas edition, Sir Paul McCartney tells Nihal about persuading John Lennon to believe in himself, the one famous person that even he feels nervous around, and his new children’s book ‘Hey Grandude’ and how being a grandad inspires him.
Soundtrack/theme music from the 1973 George Lucas film “American Graffiti,” with Richard Dreyfuss, Ron Howard, Paul Le Mat, Charles Martin Smith, Cindy Williams, Candy Clark, Mackenzie Phillips, Bo Hopkins, Harrison Ford, Suzanne Somers, Kathleen Quinlan & Wolfman Jack.
“Invention and Design in Laurentian Florence”
Patricia Lee Rubin Institute of Fine Arts, New York University
The promotion of Florentine excellence in all of the arts was a mainstay of Lorenzo de’ Medici’s cultural politics. Bertoldo di Giovanni’s sculptural production took place in a context of intense creative competition, resulting in works that are innovative, inventive, and beautiful, qualities explored in this lecture. This lecture is funded by Dino and Raffaello Tomasso.
Aztec art drew on the Mesoamerican past, citing works from the ancient cities of Teotihuacan and Tula to lend authority and legitimacy to the new empire. But this engagement with the past also provoked reflection on the inevitable end of empire and the cyclicality of time, themes that resonate as the five hundredth anniversary of the Spanish invasion of Mexico unfolds this year. In this illustrated lecture, Claudia Brittenham, University of Chicago, discusses how Aztec art reflects this engagement with this historical past. This lecture delivered on October 31, 2019, was generously sponsored by the Boshell Foundation Lecture Fund.
From a BrooklynRail.org online interview:
“…I am almost more interested in the paintings I didn’t get! I wish I could do a small photo exhibition of all the works that we failed to get. Of the early titans, we have two important ones, Giotto and Cimabue, but we don’t have Duccio, the third master of the birth of painting in Europe, if I may say. There was one in the Stoclet collection in Brussels, that we were following through dealer friends, but finally it was purchased by the Met. Also Velázquez, our biggest weakness!”
Michel Laclotte, President of the Louvre (1987 – 1995)
Joachim Pissarro (Rail): The premise of these three interviews is that all three personalities, each one, of course, with its own personal intonation and distinctive input, took charge of this antiquated and august institution, the Louvre, and you especially, Monsieur Laclotte, accompanied it towards the 21st century, end of the 20th century to 21st century. I think this was an incredible challenge. How did you take charge of such an ancient—two-century old—institution and how did you bring it into its present and prepare its future?
To read more: https://brooklynrail.org/2019/12/art/Michel-Laclotte-with-Joachim-Pissarro
In this episode of The Way I See It, our radio collaboration with BBC, we’ve captured composer Steve Reich’s audible awe as he sees his friend Richard Serra’s monumental 2015 sculpture Equal for the first time. As Reich puts it, he and Serra are “in tune to the same frequencies,” so their meeting in Manhattan in the 1960s and subsequent friendship was both important and inevitable.
Working in sound and steel respectively, both Reich and Serra rejected traditional compositional structures—one of harmony and the other of form—to give shape to their work. Reich is the recipient of countless awards, including two Grammys, a Pulitzer, and, recently, the Golden Lion at the Venice Biennale. His works are performed in concert halls all over the world, and recently at Glastonbury Festival. Find “The Way I See It” on BBC Sounds or wherever you get your podcasts. https://www.bbc.co.uk/programmes/m000…
Looking back on nearly a century-long life, Herbert Lust can’t help but feel lucky. He has one of the finest collections of works by artists including Alberto Giacometti, Robert Indiana and Hans Bellmer, among others. But he didn’t just collect these influential artists — he learned from them, challenged them and perhaps most importantly, he had the chance to befriend them. In this episode of A Life Less Ordinary, Lust recounts a life of eccentric curiosity, from his youth in rural Indiana to his career as an investment banker and eventually to his status as one of the leading collectors of art in New York. The close relationships he formed with artists would transform the way Lust perceived and collected art, and today offer us a rare, intimate view into the minds of 20th century icons.
Excerpts from The Revolutionary Seymour, By Steven Heller:
Seymour’s art was postmodern long before the term was coined. Yet it was resolutely modern in its rejection of the nostalgic and romantic representation, as in the acolytes of Norman Rockwell, that had been popular in mainstream advertising magazines at the time. Instead of prosaic or melodramatic tableau, Seymour emphasized clever concept. What makes the very best of his art so arresting, and so identifiable, is the tenacity of his ideas—simple, complex, rational, and even absurd ideas.
The illustrations for magazines, posters, advertisements, book jackets, record covers, product packages, and children’s books that he created after founding Push Pin Studios with Milton Glaser and Edward Sorel in 1954 directly influenced two generations (statistical fact) and indirectly inspired another two (educated conjecture) of international illustrators and designers to explore an eclectic range of stylistic an conceptual methods.
To read more: http://seymourchwastarchive.com/about/seymour/
Boomers Daily 