Fifty-five years after co-founding the rock band The Who, Pete Townshend is still at it. The lead lyricist and guitarist says he actually doesn’t enjoy performing but views it as an “easy” job necessary to finance his lifestyle and support his family and staff. Economics correspondent Paul Solman sits down with Townshend to discuss aging, surviving child abuse and art’s ability to inspire hope.
From a UChicago News online article:
Three-quarters of a century later, at age 97, Goodenough will become the oldest person to receive the Nobel Prize in Chemistry. At a Dec. 10 ceremony in Sweden, he will be honored for pioneering breakthroughs that led to the widespread use of the lithium-ion battery—and helping spark the wireless revolution. The descendants of his batteries now power modern smartphones and hold the potential to one day sustainably harvest solar and wind power.
John B. Goodenough can still remember, word for word, what a University of Chicago professor told him when he arrived on campus following World War II: “I don’t understand you veterans,” said John A. Simpson, a new UChicago instructor who had just helped achieve the first nuclear reaction. “Don’t you know that anyone who has ever done anything significant in physics had already done it by the time he was your age—and you want to begin?”
From an Apollo Magazine online article:
He shot the Beatles in a St John’s Wood back garden before they had even broken the Top 10 (‘I didn’t know how to work with a group, but because I was a musician myself and the youngest on staff by a decade, I was always the one they’d ask’), and within a few months was kitting out the Rolling Stones with suitcases to look like a travelling band in a series of candid street shots.
His portraits, in grainy 35mm black-and-white, are a veritable roll call of the 1960s youthquake – Michael Caine, Terence Stamp, David Hemmings, Marianne Faithfull, Jean Shrimpton (walking barefoot on a rain-slicked King’s Road, or posing with the porcelain inmates of a dolls’ hospital) – and of the other stars of the age, from the Rat Pack to Muhammad Ali. He photographed Churchill being carried from hospital in an armchair, a potentate on a palanquin; shot Peter Cook and Dudley Moore floating on lilos in raincoats; and extensively documented the early career of Elton John – including a remarkable shot where he plays an upright piano with his legs floating up towards the ceiling, as if performing on the International Space Station.
To read more: https://www.apollo-magazine.com/a-tribute-to-terry-oneill/?utm_medium=email&utm_campaign=APWH%20%2020191129%20%20AL&utm_content=APWH%20%2020191129%20%20AL+CID_9ed0a73b6399ce6cb267d56ab17f0600&utm_source=CampaignMonitor_Apollo&utm_term=He%20redefined%20photography
Professional Canadian athlete Justin Kelly celebrates retirement by hitting the road on his motorcycle and enjoying the waves in Malibu. Share in Justin’s vision for sustaining his love for travel after retiring his #27 jersey and completing a remarkable ice hockey career.
From an Art Review online article:
I chose to call myself a portrait photographer because labels were always being thrown on me. When I was at Rolling Stone I was a ‘rock-and-roll photographer’, at Vanity Fair I was a ‘celebrity photographer’. You know, I’m just a photographer. I realised I wasn’t really a journalist. I have a point of view and, while these photographs that I call portraits can be conceptual or illustrative, that keeps me on the straight and narrow. So I settled on this brand called ‘portraits’ because it had a lot of leeway. But I don’t think of myself that way now: I think of myself as a conceptual artist using photography.
I remember going to the Factory in 1976 and watching Andy Warhol work. I’d been there before, earlier in the 70s, photographing Joe Dallesandro and Holly Woodlawn, and then Paul Morrissey. Warhol was a fixture of New York. It was just shocking when he died, because he was everywhere. I don’t know how he did it, but he was out at everything. You felt that if he was at a place you were at, then you were at the right place.
Warhol had things everywhere in the Factory – silkscreens all over the place, and tables of artwork – and things were always going on. I think Fran Lebowitz was there for Interview magazine, and [Warhol] was photographing the sisters from Grey Gardens . I was just a fly on the wall: there were people milling around doing all kinds of things, it was a pretty active place.
Gauguin’s stay at the Yellow House is mired in controversy. What really happened? Bernadette Murphy, author of ‘Van Gogh’s Ear: The True Story’, considers those fateful days from Gauguin’s point of view.
The Credit Suisse Exhibition: Gauguin Portraits 7 October 2019 – 26 January 2020 Book tickets online and save, Members go free: https://bit.ly/2IspPWH
The first-ever exhibition devoted to the portraits of Paul Gauguin. Spanning his early years as an artist through to his later years spent in French Polynesia, the exhibition shows how the French artist revolutionised the portrait.
Exhibition organised by the National Gallery and the National Gallery of Canada, Ottawa.
From an Apollo Magazine article:
Jencks’s book grew out of his PhD thesis, supervised by Reyner Banham at the University of London in the late 1960s, and paved the way for his later, more explicitly polemical The Language of Post-Modern Architecture (1977). In this bestselling book, Jencks set out his stall for a pluralist architecture that rejected what he saw as modernism’s reductive ‘univalent’ approach, swapping it for a symbolically rich and historically engaged ‘multivalent’ postmodernism. For good or bad it became the defining book of its era, an unabashed rejection of mainstream modernism that ushered in a new architectural style.
Modern Movements in Architecture (1973) by Charles Jencks was one of the first books on architecture I read, a birthday present given to me the summer before I started my degree. In some ways, it spoiled things: I thought all architecture books would be that much fun. Modern Movements in Architecture is a complex and sophisticated history, but it wears its learning lightly. It relates architecture to a wider cultural discourse and it is unafraid to be critical, even of some architects, such as Mies van der Rohe, who were previously considered to be above criticism.
To read more: https://www.apollo-magazine.com/remembering-charles-jencks/?utm_medium=email&utm_campaign=APNE%20%2020191125%20%20AL&utm_content=APNE%20%2020191125%20%20AL+CID_7c3d4bb6631465b2c8eab8a1cebe2725&utm_source=CampaignMonitor_Apollo&utm_term=His%20writing%20was%20always%20alive%20to%20the%20deep%20pleasures%20of%20great%20buildings