Year: 2010
Words of solace and insight for the New Year culled by Harvey Blume (Short Fuse)—the sentiments are shared by the rest of the Arts Fuse contributors and editorial staff. This has been a great year for the magazine, and there are exciting developments to come. ========================================= My aim is: to teach you to pass from…
Read MoreWhat An Object of Beauty proves is that while people were fixated on his Hollywood day job, Steve Martin has made himself into a genuine novelist who gives the art world over the last 20 years an exquisitely balanced sort of attention. An Object of Beauty by Steve Martin. Grand Central Publishing,295 pages, $26.99. By…
Read More@Discographies is closer to marketing jingles or consumer guide advice than it is to reviewing—the exercise is fun but limited because it deals with the least valuable part of criticism: the opinion, the verdict. By Bill Marx. Further tongue-in-cheek (?) proof that the traditional conception of arts criticism—that there’s a difference between critical judgment and…
Read MoreI had always thought of January as a musically quiet month, but looking over the concerts I wanted to see, I realized how it is at least as great a month for concertgoing as any other in Boston. I am betting each of the concerts I listed here will be superb. By Susan Miron. January…
Read MoreNew York Times dance critic Alastair Macaulay is on solid ground when he critiques the shape of the dancers, but why his insulting tone? How do we, as readers, judge a critic who describes a dancer’s body in a demeaning way? By Megan Trombino While sitting at the Boston Ballet‘s production of The Nutcracker (through…
Read MoreThere is no shortage in this town of chamber music groups trying to carve out a charismatic niche of their own. This seems to have come naturally to this high energy, highly likable ensemble. By Susan Miron. Seventeen strings strong, A Far Cry is that rare kind of musical group that appears to do everything…
Read MoreBlack Swan isn’t about surpassing ordinary limits. It’s a film about a masochist seen through the eyes of a sadist. The film could be a textbook demonstration of what academics refer to as the male gaze—with a pretty young thing poked and dismembered under a misogynist lens. By Debra Cash Darren Aronofsky has said that…
Read MoreJulie Taymor’s film version of William Shakespeare’s The Tempest is conclusive proof that just because we can do something with technology does not mean that we should. Less is often more, and one great text in hand is worth a dozen computers in the mix. And what was the director thinking with the racist portrayal…
Read More“My condition was like that of a man who has fired a gun at people he dislikes, and finds these same people coming and giving three cheers for him: inadvertently he had been firing loaves of bread. – Bertolt Brecht, “Drums in the Night’s Success With the Bourgeoisie” By Bill Marx Granted, some of Brecht’s…
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