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…
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.
“People want to see photography and right now there are not a lot of places to do that,” he says. Showing “the best photography in the world” remains Fotografiska’s core mission, Broman says.
For more than fifty years, Walter Bernard and Milton Glaser have revolutionized the look of magazine journalism. In Mag Men, Bernard and Glaser recount their storied careers, offering insiders’ perspective on some of the most iconic design work of the twentieth century. The authors look back on and analyze some of their most important and compelling projects, from the creation of New York magazine to redesigns of such publications as Time, Fortune, Paris Match, and The Nation, explaining how their designs complemented a story and shaped the visual identity of a magazine.
The premise is simple: a black cat loves scheming a white mouse who incessantly throws bricks at the cat’s head, which police dog Officer Pupp, secretly harboring a passionate love for the cat, tries to prevent.
The arresting visual beauty of “A Hidden Life,” which was shot by Joerg Widmer, is essential to its own argument, and to Franz’s ethical and spiritual rebuttal to the concerns of his persecutors and would-be allies. The topography of the valley is spectacular, but so are the churches and cathedrals. Even the cells and offices are infused with an aesthetic intensity at once sensual and picturesque. 
Thankfully, Willem Dafoe and Willem Dafoe’s face have used this innate recognisability to their joint advantage. To date, the actor has appeared in well over 100 films, and his prolific career can be charted through the cracks and comments — some nice, some not so nice — that those in the industry have made about his looks.
Boomers Daily 