Arts Fuse Editor
Berkeley’s Nelson reinforces my sense that many fine composers of the twentieth century have largely slid off the map because they did not cater to the obsession of many critics and academics with “the New at all cost.”
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I found Through a Screen Darkly to be as enlightening as it is useful: we don’t just read about and invest our emotions in other lives; we learn what to do about our own.
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Beyond its engaging plot and the tour de force performances by Olivia Colman and Jessie Buckley, The Lost Daughter is a gorgeous and sure-handed work of cinema.
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A surprisingly moving collection, all of it mightily played and sung by musicians who clearly intuit John Harbison’s musical language.
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This is a fresh take on a teen sex comedy: someone who worships logic sets out to explore the complexity of sexuality.
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Remembering film critic Michael Wilmington, a unique guy, and friend, whom I knew for 53 years.
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Brian Wilson tweeted: “I loved her voice so much and she was a very special person and a dear friend. This just breaks my heart. Ronnie’s music and spirit will live forever.”
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Both of these exhibits are examples of the artist as a 21st century shaman — a prophetic, as well as a creative, force.
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Arts Commentary: Separating the Maker from the Made, the Doer from the Doing
It is natural to believe that there is (or should be) a close connection between the personality and the work.
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