Unemployment is particularly high for performing artists, of whom 27.4 percent report being unemployed, roughly twice the fraction of non-performing artists (14.5 percent) and higher even than those working in retail (18 percent). By contrast, at 11.4 percent, the unemployment rate for architects, librarians, and archivists is about the same as for the rest of the economy. The difference is likely due, at least in part, to the fact that performing artists are much more likely to be self-employed. But it also may be that performing artists have more trouble earning money by working from home, whereas designers, writers, and even visual artists may be able to continue working, publishing, or selling their art remotely.
Most radically, there was the show’s obsessive circling around its accumulated past, whose visual summary might be the whiteboards in one of the final episodes (“Sunk Cost and All That”) on which BoJack, together with Todd, Diane, and Princess Carolyn, tries to list all his many crimes and misdemeanors. That kind of unruly frame-breaking isn’t necessarily something you might associate with poignancy or sincerity. But it was this continued backtracking attention to its own making that finally allowed BoJack Horseman to end up showing that cartoon might be the most truthful model of our landscape. A person, you might conclude, is also an outline infested by other selves, a vehicle for mournful self-criticism and recomposition. We’re all fantastical now, it seemed to argue, in the multicolored digital light.
What qualifies as urinal lit? Well, technically it’s anything that someone is brave enough to scribble on a bathroom wall. I’ll admit, most of these scribbles are nonsense, as alcohol fuels a tremendous amount of urinal lit (though the same could be said, I suppose, for lit lit). Urinal lit often has a sense of urgency, as well as a clarity typically reserved for a form like haiku. The best urinal lit uses an economy of language that makes Raymond Carver seem positively prolix. The urgency of urinal lit comes from the necessary brevity of scrawling a message in a public place without being seen. Given the amount of graffiti in bar bathrooms, I’m amazed I’ve never actually caught anyone in the act.
At his fashion shows, Deneuve always sat front and centre in the private clients’ row, supporting her friend and wearing his couture designs, which he made especially for her. The star was his first customer at his new Prêt-à-Porter store, Rive Gauche, when it opened in 1967, and remained Saint Laurent’s muse until his death in 2008.
Did you know about “Fantasy Coffins”?
The Ga people used to refer to the coffins as abebuu adekai, which roughly translates as “receptacles of proverbs” or “proverbial coffins.” Put simply, coffins that are imbued with some sort of meaning. The practice of making and using figurative coffins arose from changing colonial and postcolonial policies towards the dead in Ghana—they facilitated (and still do) very public statements about familial identity, ancestral power and status in increasingly competitive environments. The cultural significance of their use has been documented in both popular media and scholarship (see Bonetti 2012; Tschumi 2008). So, attaching the qualifier “fantasy” to these coffins and the associated practices lends an overly simplistic and unrealistic sentiment to death and funerals in Ga culture. They are, in fact, highly emotional and complex.
#metoo from India. Painter & sculptor Jatin Das.
More public testimonies followed. Garusha Katoch, who was 20 years old when she started her internship at the Jatin Das Centre of Art in 2013, posted a detailed account of how Das had hugged and attempted to kiss her on her third day at work. “I can’t describe what I felt like, I really have no words for it even now,” Katoch told me. “The thing that bothers me with the Jatin Das story is that none of this is a secret, it is not even like there was a whisper network attached to him, it was freaking normal talk. Everybody knew,” Shree Paradkar, an Indo-Canadian journalist who had interviewed Das in the mid-1990s, told me when we spoke over the phone. Her account was first published on the digital news website The Wire.
People consumed by their art.
Unfortunately, it ended badly for Livry. On Nov. 15, 1862, she fluffed her skirts too close to a gas lamp and went up in flames. As Livry ran in circles around the set screaming, fellow cast members and the audience watched in horror. Another dancer and a fireman tried to save her — the emperor later rewarded them for their bravery with cash — and managed to smother the flames by wrapping her in a blanket. But 40 percent of Livry’s body had been burned, and her corset melted into her ribs. She spent 36 hours wrapped in bandages in her dressing room, then another eight months recuperating, before dying of blood poisoning. Many dance scholars pinpoint Livry’s demise as the end of France’s dominant role in ballet. But her death also inspired safety measures: new designs for gas lamps, the invention of flame-retardant gauze and wet blankets hung in the wings just in case.
A real funny prank, when things get reversed.
My friends were visual artists, writers, musicians, actors, and activists. Because of our lifestyles, we made the place a cool attraction for the “bridge-and-tunnel” tourists who drove through and pointed their cameras through the smoky windows of their Greyhound buses. We were the freak show, the animals they could mock. Fed up with this, I decided to take the freak show back to suburbia to ridicule the squares we had left behind: “Oh, look! They’re mowing their lawns and washing their cars!” The natives freaked when they saw us. One lady actually shrieked: “We’re being invaded!” I had no idea about the interest this satirical gesture would ignite. Carloads of journalists trailed the bus everywhere we went. Some were even on the bus.
The historic body of work built by Campari across 70 years lost gusto with the arrival of television. Finding itself surrounded by more competitors than before the liqueur largely replaced poster design with cutting edge mediums of TV and photography, and lost its taste for all that was artistically new. Directors replaced artists, but brand directors replaced visionaries. Its east London pop-up Negroni bar of 2016 arguably cemented its place in the league of contrived. And now Cremonicini believes Campari to simply be “very much a brand”.
Surveying the biennial circuit, the obvious conclusion is yes, the international art world is too elitist. For all the rhetorical emphasis on engaging local communities, histories, and cultures, it is populated by globetrotting curators, artists, critics, and patrons who temporarily parachute into various settings – the more obscure the better – and pat themselves on the back for their (our) worldliness and commitment to diverse publics while mostly talking to people they (we) already know. Occasionally this can tip over into outright black comedy: think, for instance, of the reports in the art press about Documenta 14 curators and staff carrying stacks of euros from Germany to Athens in their hand luggage to circumvent the cash-strapped Greek banks’ €120 cap on withdrawals (all under the auspices of ‘learning from Athens’).