A recent article in The Economist, a rather curious, at times spurious analytical culling-together of data from auction tallies and Artnet, reveals that the most expensive women artists of the post-war and contemporary period, while still grossly underpaid compared to their male counterparts, can likely look forward to increasingly improving lots.
What's more, the data indicate an arguable—in various ways—formal force behind the trend.
The analysis opens with a brief account of a recent sale of post-war and contemporary works at Christie's. Raking in $388 million, the evening's sales were the auction house's highest ever for works from that period. Yet a further point of interest is the disparity between works by men and works by women—because there was at least a little bit more parity than usual: "[I]t had ten lots by eight women artists, amounting to a male-to-female ratio of five-to-one. (Sotheby's evening sale offered a more typical display of male-domination with an 11-to-one ratio.)"
Thanks to everyone who came out to the Wythe Hotel last night for the second semifinal reading of this year's Literary Upstart: The Search for Pocket Fiction. If the rained scared you off, here are some pictures to tide you over until the last semifinal, on Wednesday, June 6, two weeks hence; and at the final, on June 27.
If you'd like to submit a story and haven't yet, pleased be advised that the submission deadline is Memorial Day—this Monday, May 28.
Plus! Stay tuned next week for the unveiling of Upstart's new microliterary contest, Twitterary Upstart!
Literary Upstart 2012: The Second Semifinal
All photos by Sam Polcer.
Here's an excerpt of the email Nick sent out to bloggers and Cake Shop fans alike:
From the New York Times:
Thinking of hitting the road this weekend? We've got news for you: it's a lot quieter, calmer, and generally more pleasant staying in this city than the highway. But if you're looking for more fun ways to celebrate the start of summer than throwing your own barbecue, here are a few clues. Enjoy the mild weather and slow pace while it lasts!
Alex Ross Perry loves BAM, so much so that he wore the free BAM socks he was recently given to a Q&A at the Rose Cinemas after a screening of his breakthrough feature, The Color Wheel, making him the first director, he hoped, to wear BAM socks at a BAM Q&A. Like his film, Perry can be silly, but also serious, cutting, and droll. His influences are varied, but Philip Roth is probably the biggest on the film's story and tone, he said—"humor plus the existential sense of sexual dread"; it's no accident that the credits use the typeface from the first edition of Portnoy's Complaint. (Perry said he spoke to the font's original designer, who was excited about their using it, and who "gave us advice, which we didn't use, on how to make the T better.")
This sort of understanding is exactly what I appreciate about Nicolas Rapold's L Mag review: rather than wringing more hands about whether Anderson makes movies that are too hermetic and glassed-in, it considers Moonrise in relation to Anderson's other films and on its own themes, visual schemes, and effectiveness. I haven't seen Moonrise yet, but if you look at Anderson's other films, you'll find variations within his precise style: the jarring violence of The Life Aquatic, the formal challenges of shooting on a moving train in The Darjeeling Limited, and replicating a particular filmmaking style in animation, a medium so often used for team efforts, aesthetically speaking. I like that this one is getting a Memorial Day weekend berth, a tacit admittance that: (a.) giving his movies fall prestige-picture slots is silly because they're not really Oscar bait and (b.) for a particular demographic with particular tastes, this is a massive summer movie.
Not only did the students of the city's Architecture Construction Engineering mentoring program dream of ziplines, but a massive ferris wheel, baseball fields, a boardwalk, and an amphitheater to boot, reports the Brooklyn Paper. The plan earned an honorable mention in the Construction Industry Roundtable’s national design competition, presumably for fresh, new hope in the face of sewage overflows, oil slicks and carcinogenic sediment. Plausible or not, we think it's great to think in these optimistic terms. Go big or go home, right?
How did the Memorial Day concerts at Green-Wood start?
The Memorial Day concerts have a rich history that began with the historic Goldman Memorial Band, followed by the Band of Long Island, and now the ISO Symphonic Band—which, it should be noted, was the first time a youth symphonic band played this historic event. And add to that the ensemble is Brooklyn-based.
Some museums are known for vast collections. Some are known for rarefied and priceless collections. Some are known for both.
Others might be known for variable period-specific holdings, curatorial integrity, visitor-friendliness, impressive architectural design, lush layout of grounds, perhaps even strangely intelligent placement of parking lots.
And then there's the Getty Museum in Los Angeles, which is somewhat well known for all such things. What's more, it's also long been well known for its educational program employing many highly skilled museum docents—and ostensibly decently paid ones—tasked with providing enriching tours for visitors.
Yet now this latter feature of the museum, according to Hyperallergic and the LA Times, has seen the keen side of the axe of payroll-slimming pecuniary scrutiny. The educational staff will keep only 32 of its 51 employees, and the teaching staff will drop from 17 docents to 5, all of which should save the museum just over $4 million of its annual budget. Meanwhile, other branches of the museum's payroll haven't been touched much at all, and the monies saved are earmarked for acquisitions.
"In recognition of the fact that this velvet spider lives underground, the new genus has been named Loureedia in a whimsical salute to the musician who began his distinguished career leading the 60s rock band 'The Velvet Underground,'" reports Sci-News.
Researchers then engaged in a massive laugh attack, pulling tissues from their pocket protectors to wipe up tears of whimsy.
Last night in the Sky Lounge at the New Museum, NOWNESS, the “editorially independent website of LVMH Moët Hennessy Louis Vuitton,” in association with powerHouse Books, hosted the launch for Ari Seth Cohen’s Advanced Style, the book based on his successful blog about stylish older women. (Check it out if you haven’t already—these ladies know how to put an outfit together.) Many of Cohen’s subjects attended, along with some very well dressed youngsters; everyone was more than happy to pose for a few photos.
In Killing Them Softly, those citizens who believe in “America the Beautiful” are soft, meek, and doomed. Andrew Dominik’s brutally pessimistic vision of modern American capitalism resonates with anger from the very beginning, spraying its raging ideology across the frame in sharp flashes of violence and stylized dialogue sequences. While it lacks the poetry and melancholy of Dominik’s previous film, The Assassination of Jesse James by the Coward Robert Ford, Killing Them Softly feels like a spiritual cousin to that masterful Western. Both deal with the subject of economic Manifest Destiny, and in this particular Gangster universe, pulling ones self up by the bootstraps has never been so punishing and filthy.
The Guardian's Duncan Clark reports:
The giant sash windows of Oxford's spectacular Radcliffe Observatory were designed to provide astronomers the best possible view of the starry heavens. But on Monday I found myself using them to scour the skies for something altogether less likely: a helicopter carrying rap superstar Will.i.am to the university to discuss, of all things, distributed climate change modelling.
S.E. Cupp is a lovely young lady who read too much Ayn Rand in high school and ended up joining the dark side. Cupp, an author and media commentator who often shows up on Fox News programs, is undeniably cute. But her hotness is diminished when she espouses dumb ideas like defunding Planned Parenthood. Perhaps the method pictured here is Ms. Cupp’s suggestion for avoiding an unwanted pregnancy. [The Blaze]
The paper doesn't have the whole story, but early reports indicate that neighbors responded to the victim's screaming, caught the perpetrator, and detained him until police arrived. "It is rumored that responding officers let the suspect go and failed to take witness statements," the paper reports—a distressing echo of last year, when police were widely criticized for failing to respond seriously to the attacks.
So, are you publishing new stories, or previously published work?
Halimah Marcus: Both. Guest editors may choose unpublished or previously published work—journals, for instance, will select a story from their archives. When it’s Electric Literature’s turn to curate, which happens every fourth week, we’ll publish original fiction. Our first story, "Watching Mysteries with My Mother" by Ben Marcus, operates in part on a philosophical level, but resonates viscerally. The goal, whether or not the story has been published, is to distinguish extraordinary pieces of fiction through personal recommendations.
Comedy writer Adam Resnick met performer and satire scion Chris Elliott while interning for David Letterman's groundbreaking late-night program in the mid-80s. The two struck up a friendship and creative partnership that would produce, most notably, the now-classic anti-sitcom Get A Life and the 1994 sea-faring film-oddity Cabin Boy—the latter of which has grown in popularity since its initial, less-than-enthusiastic reception. Indeed, during the first few test screenings audience members fled from their seats confused at the 20-minute mark; Chris and Adam's names were met with silence as the premiere's end credits played. Cabin Boy has since been christened into the AV Club's New Cult Canon, and will be showing on Friday, May 25th at 92Y Tribeca's screening room. Both Chris and Adam will be in attendance for a Q&A between the evening's two screenings—the second added after the first sold out, a month in advance—and can likely expect more applause during the titles.
Speaking to Chris and Adam over the phone about the film, I felt somewhat superfluous—their years as friends are evident in their lissome conversation, and I could tell that they'd chewed over Cabin Boy before with the help of more than a few drinks. But I had to interject several times to insist how well the film has aged for an early-90s comedy. It dreamy, dada aesthetic, through which Chris's powder-wigged “Fancy Lad” literally sails, and the obstreperous lack of pop culture references in favor of tobacco-spitting-cupcake weirdness have proved prescient—especially considering Adult Swim's brand of surreal nostalgia. Chris and Adam are reluctant to accept the film's cult following, having been, in their own words, “trained” to hate their own creation, but they've slowly come around to acknowledging the movie's merits. Our conversation traced the outline of their collaborative efforts, which were gathering hilarious, critically-acclaimed steam until the Cabin Boy debacle.
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