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Over the past 6 weeks William Kentridge has shown the form of the lecture itself to be obsolete. But over the course of his returns to the podium, he has shown us that the lecture’s fate is not so dire as he had induced us —- for seventy minutes at a stretch -— to believe.
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The centenary of bassist/composer Charles Mingus’ birthday is days away and I am listening to the beautifully packaged and processed and richly annotated 3 lps of Mingus’s Lost Album, recorded live at Ronnie Scott’s London club in 1972.
Read MoreIn this superb production, George Bernard Shaw’s version of Wonder Woman is far from a comic book savior.
Read MoreAn Arts Fuse regular feature: the arts on stamps of the world.
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Imperfect as it is, the 16th Annual Jazz Critics Poll offers a wealth of expert information unmatched anywhere else.
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I am beginning to suspect that Franz Schreker was the most effective of the many semi-forgotten opera composers who were active in the German lands during the first decades of the twentieth century (that is, ones less well known today than Strauss, Berg, and Kurt Weill).
Read More“Fairness and Freedom” is a cultural/political/social history of the United States and New Zealand in one volume. To the general reader’s likely question, “Why would anyone put the two in one book?”, author’s answer and binding theme is that both former British colonies are open societies with liberal democratic systems, but with a difference.
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This was an improved edition of the Berlin International Film Festival, and a number of films seem poised to travel widely, despite being largely ignored by the US media.
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“Master Lovers” is written in a lucid, personable style, and the fictional scenes — David Winner’s recreations of history and imagined trysts — are deft, believable, and vividly imagined.
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Visual Arts Commentary: John Singer Sargent — A Particular Sort of Loner