Novelist Clive Cussler, the man whose maritime alter-ego, adventurer Dirk Pitt, raised the Titanic and explored countless shipwrecks, has himself located more than 60 sunken ships and submarines. Cussler (who died on February 24, 2020, at age 88) talked to correspondent Anthony Mason in this interview that originally aired on “Sunday Morning” on January 25, 1998, in which he discussed his passion for vintage cars, and for going beneath the ocean’s surface to find the answers to naval history’s perplexing questions.
Excerpts from a WSJ. Magazine interview (Feb 24, 2020):
Well, when you get older, you are more fabulous, actually. You go through a lot of hard times in your life… and then, at this stage you get out of those bad situations quicker and they are less painful. You figure them out, and you move on. And I’m having the best time ever. I’m 71 now, it’s the best time ever, and I think at 81 it will be great. My mom [had] her best times when she was in her 90s. So I look forward to that.
A model since age 15, Maye Musk was in her 60s when her life took a turn for the fabulous. In her seventh decade, the former dietitian appeared in a Beyoncé music video, signed a contract with top modeling agency IMG and became a CoverGirl spokesperson, setting a record as their oldest yet. At the end of last year, Musk, now 71, added memoirist to her resume. Her book, A Woman Makes a Plan: Advice for a Lifetime of Adventure, Beauty and Success, chronicles her career and experience raising her children—SpaceX and Tesla founder Elon, restaurateur and philanthropist Kimbal and filmmaker Tosca—as a single mother who fled a turbulent marriage.
Born in Canada, raised in South Africa and now residing in L.A., Musk spoke to WSJ. about what she eats for breakfast, how she stays on top of emails and why she doesn’t miss hustling all the time.
Excerpts from a New York Times interview (Feb 24, 2020):
“All that time I was listening to the past, and now I’m almost talking for a living,” Mantel said, “and it feels very frivolous and empty compared to the stillness that there used to be in every day.”Credit…Ellie Smith for The New York Times
“Hilary has reset the historical patterns through the way in which she’s reimagined the man,” said Diarmaid MacCulloch, an Oxford theology professor who published a new Cromwell biography in 2018. “It’s fiction which is extraordinarily probable, and it’s remarkably like the Cromwell I’d been excavating myself.”
Hilary Mantel has a recurring anxiety dream that takes place in a library. She finds a book with some scrap of historical information she’s been seeking, but when she tries to read it, the words disintegrate before her eyes.
“And then when you wake up,” she said, “you’ve got the rhythm of a sentence in your head, but you don’t know what the sentence was.”
To an unusual degree for a novelist, Mantel feels bound by facts. That approach has made her latest project — a nearly 1,800-page trilogy about the 16th-century lawyer and fixer Thomas Cromwell — more complicated than anything she’s undertaken in her four decades of writing.
Stephen Shore’s images from his travels across America in 1972-73 are considered the benchmark for documenting the extraordinary in the ordinary and continue to influence photographers today.
The original edition of American Surfaces, published by Phaidon in 2005, brought together 320 photographs sequenced in the order in which they were originally documented. Now, in the age of Instagram and nearly 50 years after Shore embarked on his cross-country journey, this revised and expanded edition will bring this seminal work back into focus.
Stephen Shore
Stephen Shore is one of the most influential living photographers. His photographs from the 1970s, taken on road trips across America, established him as a pioneer in the use of color in art photography. He is director of the photography program at Bard College, New York.
Teju Cole is a novelist, photographer, critic, curator, and author. He is the Gore Vidal Professor of the Practice of Creative Writing at Harvard.
Paris, City of Dreams traces the transformation of the City of Light during Napoleon III’s Second Empire into the beloved city of today. Together, Napoleon III and his right-hand man, Georges Haussmann, completely rebuilt Paris in less than two decades—a breathtaking achievement made possible not only by the emperor’s vision and Haussmann’s determination but by the regime’s unrelenting authoritarianism, augmented by the booming economy that Napoleon fostered.
Acclaimed historian Mary McAuliffe vividly recaptures the Paris of Napoleon III, Claude Monet, and Victor Hugo as Georges Haussmann tore down and rebuilt Paris into the beautiful City of Light we know today.
McAuliffe follows the lives of artists such as Edouard Manet, Berthe Morisot, and Claude Monet, as well as writers such as Emile Zola, Gustave Flaubert, and the poet Charles Baudelaire, while from exile, Victor Hugo continued to fire literary broadsides at the emperor he detested.
McAuliffe brings to life a pivotal era encompassing not only the physical restructuring of Paris but also the innovative forms of banking and money-lending that financed industrialization as well as the city’s transformation. This in turn created new wealth and lavish excess, even while producing extreme poverty. More deeply, change was occurring in the way people looked at and understood the world around them, given the new ease of transportation and communication, the popularization of photography, and the emergence of what would soon be known as Impressionism in art and Naturalism and Realism in literature—artistic yearnings that would flower in the Belle Epoque.
Napoleon III, whose reign abruptly ended after he led France into a devastating war against Germany, has been forgotten. But the Paris that he created has endured, brought to vivid life through McAuliffe’s rich illustrations and evocative narrative.
Mary McAuliffe holds a PhD in history from the University of Maryland, has taught at several universities, and has lectured at the Smithsonian Institution, the Barnes Foundation, and the Frick Pittsburgh. She has traveled extensively in France, and for many years she was a regular contributor to Paris Notes. Her books include Clash of Crowns, Dawn of the Belle Epoque, Twilight of the Belle Epoque, When Paris Sizzled, and Paris on the Brink. She lives in New York City with her husband.
“After 96 years on this earth, Yona has moved up to build a Spatial City and install some Space Chains in the sky. The Fonds de Dotation Denise and Yona Friedman, which he founded last year, will continue his work.”
From an Instagram post (02/21/20)
Yona Friedman (5 June 1923 – 21 February 2020) was a Hungarian-born French architect, urban planner and designer. He was influential in the late 1950s and early 1960s, best known for his theory of mobile architecture.
In 1958, Yona Friedman published his first manifesto : “Mobile architecture”. It described a new kind of mobility not of the buildings, but for the inhabitants, who are given a new freedom.
Mobile architecture is the “dwelling decided on by the occupant” by way of “infrastructures that are neither determined nor determining”. Mobile architecture embodies an architecture available for a “mobile society”. To deal with it, the classical architect invented “the Average Man”. The projects of architects in the 1950s were undertaken, according to Friedman, to meet the needs of this make-believe entity, and not as an attempt to meet the needs of the actual members of this mobile society.
The teaching of architecture was largely responsible for the “classical” architect’s under-estimation of the role of the user. Furthermore, this teaching did not embrace any real theory of architecture. Friedman proposed then teaching manuals for the fundamentals of architecture for the general public.
The spatial city, which is a materialization of this theory, makes it possible for everyone to develop his or her own hypothesis. This is why, in the mobile city, buildings should :
touch the ground over a minimum area
be capable of being dismantled and moved
and be alterable as required by the individual occupant.
The Spatial City is the most significant application of “mobile architecture”. It is raised up on piles which contains inhabited volumes, fitted inside some of the “voids”, alternating with other unused volumes, making it look aesthetically pleasant. The basis of its design is that of trihedral elements which operate as “neighbourhoods” where dwellings are distributed without a price.
This structure introduces a kind of merger between countryside and city (compare to Paolo Soleri’s Arcology concept) and may span:
certain unavailable sites,
areas where building is not possible or permitted (expanses of water, marshland),
areas that have already been built upon (an existing city),
above farmland.
This spanning technique which includes container structures ushers in a new development in town-planning. Raised plans increase the original area of the city becoming three-dimensional. The tiering of the spatial city on several independent levels, one on top of the other, determines “spatial town-planning” both from the functional and from the aesthetic viewpoint. The lower level may be earmarked for public life and for premises designed for community services as well as pedestrian areas. The piles contain the vertical means of transport (lifts, staircases). The superposition of levels should make it possible to build a whole industrial city, or a residential or commercial city, on the same site. In this way, the Spatial City forms what Yona Friedman would call an “artificial topography”. This grid suspended in space outlines a new cartography of the terrain with the help of a continuous and indeterminate homogeneous network with a major positive outcome: this modular grid would authorize the limitless growth of the city.
The spaces in this grid are rectangular and habitable modular “voids”, with an average area of 25–35 square meters. Conversely, the form of the volumes included within the grid depends solely on the occupant, and their configuration set with a “Flatwriter” in the grid is completely free. Only one half of the spatial city would be occupied. The “fillings” which correspond to the dwellings only actually take up 50% of the three-dimensional lattice, permitting the light to spread freely in the spatial city. This introduction of elements on a three-dimensional grid with several levels on piles permits a changeable occupancy of the space by means of the convertibility of the forms and their adaptation to multiple uses.
In Yona Friedman’s own words “The city, as a mechanism, is thus nothing other than a labyrinth : a configuration of points of departure, and terminal points, separated by obstacles”.
The lives and oeuvres of Impressionist pillars Cézanne, Degas, Gauguin, Manet, Monet, Renoir, Rousseau, Seurat, Toulouse-Lautrec, and van Gogh are each explored in-depth in TASCHEN’s Basic Art series. Now, this volume combines all 10 monographs into one for the price of three.
“These seductive books have slick production values, excellent illustrations, and smart texts. Each one is a fast-food, high-energy fix on the topic at hand.” – The New York Times Book Review
This book gathers ten Basic Art monographs into one volume featuring:
Cézanne, Degas, Gauguin, Manet, Monet, Renoir, Rousseau, Seurat, Toulouse-Lautrec, and van Gogh
a detailed chronological summary of the life and oeuvre of each artist, covering their cultural and historical importance
approximately 1,000 illustrations with explanatory captions
With blockbuster exhibitions, record-breaking auction prices, and packed museums, Impressionism remains close contender for the world’s favorite period of painting. Its favorite subjects— from dappled harbor scenes and summer days to vibrant Parisian salons and gardens—brim with optimism and joie de vivre. The works once dismissed as unfinished or imprecise are now beloved for their atmospheric evocation of time and place, as well as the stylistic flair of rapid brushstrokes upon canvas.
What we take for granted today—the relativity of perception depending on the viewer, lighting mood, or location to the object—was then the inspiration for some of the finest paintings in art history. Consider Monet’s 30+ variations of the Rouen Cathedral, Cézanne’s dazzling experimentation with color, Gauguin’s primitivist innovations, or Manet’s scandalous nudes: rarely has a single genre produced so many brilliant artists in such a short time.
Since 1985, TASCHEN’s Basic Art series has published some 200 individual volumes, making it the world’s most successful art-book series. Each title contains an extensive text on the artist’s life and work, a detailed biography, and some 100 high-quality color illustrations with explanatory captions. With Ten in One, TASCHEN now presents ten Basic Art monographs in one volume. A must for every art lover!
Like Beethoven, the poet Ruth Padel first came to love and understand music through playing the viola. Her great grandfather, a concert pianist, studied music in Leipzig with Beethoven’s friend and contemporary. Her latest collection Beethoven Variations (Chatto) is simultaneously a biography in verse of the great composer and a passionate and highly personal account of how one creative genius can feed, and feed on, another.
She was joined in an evening of readings and conversation about Beethoven, poetry and music by poets Raymond Antrobus and Anthony Anaxagorou, both of whom are currently engaged in creative projects working on and from the life and work of Beethoven.
Ruth Sophia Padel (born 8 May 1946) is a British poet, novelist and non-fiction author, in whose work “the journey is the stepping stone to lyrical reflections on the human condition”. She is known for her explorations through poetry of migration and refugees,science, and homelessness; for her involvement in wildlife conservation, Greece, and music; and for her belief that poetry “connects with every area of life” and “has a responsibility to look at the world”. She is Trustee for conservation charity New Networks for Nature, has served on the Board of the Zoological Society of London, and broadcasts for BBC Radio 3 and 4 on poetry, wildlife and music. In 2013 she joined King’s College London, where she is Professor of Poetry.
Meet the influential Canadian “design guru”, Bruce Mau, in this short video. Mau, who is the author of quintessential publications on architecture and design, shares his thoughts on how we can bring the book into the technological environment without losing its beauty and richness.
“I think it’s such a brilliant technology that if it didn’t exist today – if somehow we got to the present through technology and computers before the book – we would have to invent the book,” Maus says of the discussion surrounding the alleged ‘death of the book’. The book, he continues, is such a brilliant technology, that no computer can match: “It never crashes, it sequences narrative, which is one of the most important things we need to do to understand the world.”
Mau shares how he is working on a technology platform for books because he realized that “when we moved the book from the physical book to the digital book, we left behind the beauty of the book. We left behind the culture of the book and the experience of the book. We just took the text.” The true experience of the book, he feels, should be better incorporated into the technological environment, while adding the capacity and reach that technology offers.
Bruce Mau (b. 1959) is a Canadian designer. Mau began as a graphic designer but has later extended his creative talent to the world of architecture, art, films, conceptual philosophy and eco-environmental design. From 1985-2010, Mau was the creative director of Bruce Mau Design (BMD), and in 2003 he founded the Institute Without Boundaries in collaboration with the School of Design. In 2010, he went on to co-found The Massive Change Network in Chicago. Mau is the recipient of prestigious awards including the Chrysler Award for Design Innovation in 1998, the American Institute of Graphic Arts Gold Medal in 2007, the Philadelphia Museum of Art’s Collab Design Excellence Award in 2015, and the Cooper Hewitt 2016 National Design Award for Design Mind – for his impact on design theory, design practice and public awareness. In 1998, Mau designed a widely circulated 43 point manifest called ‘The Incomplete Manifesto for Growth’, which assists its users in forming and assessing their design process. Mau is also the author of iconic books such as ‘S, M, L, XL’ (1995) with Rem Koolhaas: an architecture compendium that quickly became a requisite addition to the shelves of creatives. In June 2020, he will publish ‘MC24’, which features essays, observations, project documentation, and design work by Mau and other high-profile architects, designers, artists, scientists, environmentalists, and thinkers of our time.
Bruce Mau was interviewed by Marc-Christoph Wagner in connection with The World Around conference (https://theworldaround.com/) in New York City in January 2020.
Forman’s photo-paintings explore those liminal and in-between moments – of coming and leaving, innocence and confidence, shadow and light, night and day, absence and connection, loss and longing, and not quite the past and not yet the future. Portals, both real and metaphorical, frequent her layered, complex and often dreamlike images.
“Each piece tells a thousand layered stories…”
By integrating her contemporary photography with historical periods and various settings around the world, Forman creates a world of illusion. Upon closer inspection, what appears ordinary suggests an underlying tension and an aura of mystery. Expressed in the diffused colors of twilight and chiaroscuro, her images blur the boundaries between photography, late Renaissance painting, and film noir.
Her work is recognized for imbuing harmonious compositions and for her explosive use of color, light, and shadow.Forman’s images elicit emotions of desire, vulnerability, and a desperate longing for connections.
Included with many of the images are texts submitted by thirty-three writers, poets, visual artists and others. Each person brings a specific specific frame of reference to an image, all reflecting who they are as individuals, and their words appear adjacent to their selected image.