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DOG STAR NYC IS A CREATIVE ARTS GUIDE | ART + THEATER + CHEAP DATES + POP CULTURE + FREE EVENTS + CITY LIVING + DESIGN + MUSIC + PHOTOGRAPHY + SPORTS + VIDEO + FILM + STREET LIFE + WRITING + POETRY & LOTS OF FUN + MAKE ART OUT OF YOUR LIFE!
Image above: Vik Muniz
A Bar at the Folies-Bergère after Édouard Manet, from the Pictures of Magazines 2 series, 2012.
Out of the refuse of modern life—torn scraps of outdated magazines, destined for obscurity—Muniz has assembled an ode to one of the first paintings of modern life. Édouard Manet’s A Bar at the Folies-Bergère, painted in 1882, explores the treachery of nineteenth-century Parisian nightlife through the depiction of a bartender attending to a male patron reflected in the mirror behind her. Muniz plays on Manet’s style, replacing Manet’s visible brushstrokes with the frayed edges of torn paper and lending the work immense visual interest.
“Thank you for DogStarNYC, in general. The site speaks to so many kinds of interests; it discerns which qualities will appeal to many different tastes in a tremendous number of activities. I love how it encourages young people to pay attention to the unusual.
In New York we let so many teens walk around the periphery, mildly shell-shocked by life, while the information that they need to make sense of their world sits in the center of the room. DogStarNYC welcomes them into the middle of the room; the blog tells them how to walk there. ” - Stacy L.
DOG STAR is the creation of a high school English teacher in New York City. This blog began in 2008 as an online community for a journalism class and has since evolved into a curated site on the creative arts, arts-related news and a guide to free and low-cost events for teens. Our mission is to offer teens real-life options for enjoying all the creative arts in New York City. May wisdom guide you and hope sustain you. The more you like art, the more art you like!
Monday, December 31, 2012
Dog Star says watch this video, "Unfolding an Eighteenth-Century Gaming Table," and discover how wealthy people lived and played with the 18th century version of an iPad. Of course, two things make this furniture special: it's not digital since the technology did not exist yet. And it would have all been made by hand carefully crafted to fit compactly and placed inside a box. While this 18th century gaming table doesn't exactly fit into the palm of your hand, it is portable and very, very clever!
This portable gaming table and other examples of extravagant furniture are on view now until January 27, 2013 at the Metropolitan Museum of Art. The Met is ALWAYS FREE FOR HIGH SCHOOL STUDENTS WITH SCHOOL I.D. - take the 4, 5, 6 trains to 86th Street & Lexington Avenue then walk west to Fifth Avenue, south to 82nd Street. Closed on Mondays. Open until 9:00pm on Friday and Saturday nights. Show your H.S. I.D. card for a free audio guide, too.
Go here for links to more furniture videos
Go here for the Met Museum's website.
Dog Star admires F.D.R. and knows he is an important man during the Great Depression and at the start of World War II. He is also the former governor of New York State. His family's estate north of New York City - Hyde Park - is open to the public and a great way to spend a Summer or Autumn Saturday with your family. Of course, F.D.R.'s wife - Eleanor Roosevelt - is also an important figure and she had a huge role in drafting the Universal Human Rights delivered at the United Nations.
It's been 40 years since New York has been planning a memorial park for 32nd President Franklin D. Roosevelt on the east end of Roosevelt island. Originally designed by Louis Kahn in 1974, New York's almost bankrupt economy put the project on hold until the release of the documentary "My Architect" when enough support was fostered to fund the completion of the project carried out by local firm Mitchell Giurgola Architects.
The triangular site of the 'FDR Four Freedoms Park' funnels visitors along a white granite plinth lined in linden trees to an open-air courtyard, at the entrance to which is thick block with a 28-inch bronze bust of FDR's head, sculpted by Jo Davidson, facing the united nations headquarters only 300 meters away. On the backside, the four freedoms speech is engraved as a symbol of the president's legacy to the building blocks of contemporary democratic principles. The project is planned to expand in the future, transforming a 19th-century small pox hospital to an auxiliary visitor center. The park is now open to the public.
Read more about F.D.R. here.
Go here for directions to the Four Freedoms Park!
The Franklin D. Roosevelt Four Freedoms Park is an enduring tribute to the life and work of President Roosevelt. In the late 1960s, during a period of national urban renewal, New York City Mayor John Lindsay proposed to reinvent Roosevelt Island (then called Welfare Island) into a vibrant, residential community. The New York Times championed renaming the island for President Franklin D. Roosevelt and constructing a memorial to him, remarking: "It has long seemed to us that an ideal place for a memorial to FDR would be on Welfare Island, which...could be easily renamed in his honor... It would face the sea he loved, the Atlantic he bridged, the Europe he helped to save, the United Nations he inspired."
FDR's Famous Speech on The Four Freedoms On January 6, 1941 President Franklin D. Roosevelt delivered a speech that shaped this nation, now known as the Four Freedoms speech. He looked forward to a world founded on four human freedoms: freedom of speech and expression, freedom of worship, freedom from want, and freedom from fear. Today, by building Franklin D. Roosevelt Four Freedoms Park, we have the opportunity to honor this man and these essential freedoms.
Sunday, December 30, 2012
Portion of lyrics here and the entire song here:
So many vices, habits
Mine of course, bad chicks
My response to any advice on what is the essentials of life
I'm just rebellious, not selfish
Guess we all share different definitions of what wealth is
After some early recordings with Little Milton’s Bobbin label in St. Louis, she joined Chess and released her first records on its Checker subsidiary in early 1965. The first two, “Don’t Mess Up a Good Thing” and “You’ll Miss Me (When I’m Gone),” duets with Bobby McClure, had modest success on the rhythm-and-blues charts. But her career was made by “Rescue Me,” released later that year. Driven by a bubbly bass line, it featured Ms. Bass’s high-spirited voice in wholesomely amorous lyrics like “Come on and take my hand/Come on, baby, and be my man,” as well as some call-and-response moans that Ms. Bass later said resulted from a studio accident.
“When we were recording that, I forgot some of the words,” she told The New York Times in 1989. “Back then, you didn’t stop while the tape was running, and I remembered from the church what to do if you forget the words. I sang, ‘Ummm, ummm, ummm,’ and it worked out just fine.”
In 1990 Bass successfully sued for publishing royalties after she heard Rescue Me being used in an American Express commercial.
TRIVIA: The background vocals on Rescue Me were sung by Minnie Riperton.
Too broke girls
As I noticed her winding down, I asked a simple question: “What do you like to do for fun?”
After 10 minutes of bubbly effusiveness, I was met with silence. She furrowed her brow, and looked at me quizzically. “What do you mean, for fun?”
“If you had a day to yourself to do whatever you wanted, what would you do?”
I had rendered her speechless, at least for the moment. “I don’t have a lot of free time,” she started slowly, trying to make a statement but unable to be definitive.
I pressed on, asking what she would do for fun if she had a few free moments or days — not for a résumé or an obligation, but just for pleasure.
Quietly, she recoiled — she was a senior in high school, with good grades in fairly challenging classes and an extracurricular activities résumé more than a mile long, but she had no idea what she liked to do for fun. She was excessively concerned she wasn’t doing everything she possibly could to get into the “right” college. Everything she was involved with had an agenda behind it; it was all about receiving another accolade or getting to some next level of achievement. Her frenetic conversation style was caffeine-induced; her eyes revealed a level of exhaustion common among the sleep-deprived.
By many measurable standards of achievement, girls like Natalie are doing amazingly well today. Many junior high and high school principals flatly acknowledge that the majority of top students in their classes are female. Compared to their male counterparts, young women perform better on standardized tests, outnumber men in college, have better college graduation rates, and now frequently out earn men in the marketplace. All these indicators suggest a radical shift in the kinds of large-scale cultural freedoms girls and young women can now claim in both the classroom and the workplace.
Over the last decade, significant efforts have been made to empower young women to be leaders, encouraging them to drive fearlessly toward their goals and to refuse to take no for an answer. Certainly, today’s girls have opportunities available to them that would have been unheard of just one or two generations ago, and without question, there is still progress to be made.
But, even as girls are moving forward in all sorts of measurable ways, many are now hypercritical of themselves for even the slightest deviation from what they consider to be the social or academic norm. Some take life so seriously that it is nearly impossible for them to ever feel a sense of satisfaction or personal fulfillment.
Others are stuck on a treadmill of never feeling good enough and become convinced that happiness will come with the next set of accomplishments or achievements or after they have gained a certain level of social attention or perceived popularity.
Social media, reality television and our changing academic landscape bombard girls with conflicting messages regarding what they should do, how they should be and what they should look like. High-level club sports, with hours of practice and long weekends spent at high-intensity tournaments, are sometimes no longer functional exercise. Instead, the intense strain put on developing girls’ bodies produces high rates of injuries that could have long-term ramifications well into their adult lives. Somewhere along the way, the empowering notion that “You Can Do it All” has morphed into the impossible ideal of “You Should Be Able to Do It All, Perfectly, All the Time.” Now, not being successful at everything is akin to failure.
It is no coincidence that today’s girls are more anxious and struggle with greater mental-health issues than ever before. Compared to boys, girls have higher rates of mental illnesses such as depression and anxiety.
Research shows that girls between the ages of 15 and 20 have more than double the rates of depression than that of their male counterparts. Girls often grapple with eating disorders and negative self body image. There is an epidemic of meanness from girls directed at girls — which in many cases continues into adulthood. Some girls use alcohol, prescription drugs or other narcotics, and/or self-mutilation to cope with the intense pain and pressure from trying to meet a revolving carousel of external and internal expectations. More than one in five high school girls has seriously considered committing suicide. In general, teenage girls seem to be experiencing achievement-driven success and certain kinds of acute unhappiness at the same accelerating rates.
Though statistics about teenage girls with mental and emotional disorders suggest a dire situation, there is still hope for today’s overachieving and overstressed girls.
When Maggie, an incoming high school junior, first came to my office, she had spent her sophomore year getting between five and six hours of sleep per night, contributing to her irritability and anxiousness. She seemed resigned to spend the rest of her high school experience in stress overload, but we worked together to find organization, time management, and wellness strategies that actually empowered her to find time to authentically create, explore, rest and relax.
Over the next two years, Maggie transformed from a stressed out student to an engaged young woman. By taking one less advanced placement (AP) class, getting eight hours of sleep every night, and regularly spending time doing things she enjoyed, she felt both relaxed and fuller in her life. She could sometimes read for pleasure, or spend a few hours baking on Sunday with her mom, or take the dog for a long walk on a Wednesday evening. She discovered a new interest through a volunteer position that led her to take computer science classes, sparking a new interest that she pursued because she truly enjoyed it. In her senior year of high school, she gained admission to one of her top choices for college — not in spite of, or exactly because of, but beautifully in consequence of a healthier perspective of the integration of her school and life.
If we really want girls to be empowered, we need to shift the conversation from focusing on achievement and ambition to highlighting the importance of overall personal wellness, purpose, and fulfillment.
Maggie’s story suggests that encouraging girls to define their own core values, discover what is truly important to them, and cultivate their interests without a fear of failure can actually allow to dream bigger, go further and feel better than they ever have before. Indeed, it is only when girls are emotionally, physically, socially and spiritually healthy that the real empowerment begins.
Excerpted from Ana Homayoun’s “The Myth of the Perfect Girl: Helping Our Daughters Find Authentic Success and Happiness in School and Life” (Perigee), out this week. Visit anahomayoun.com
Over 84,000 fans LIKE this status.
Lil Wayne has close to 39 million "Friends" or "fans" or - let's really call it - "Followers".
But Wayne's self confidence and swagger is not a healthy self esteem it is something deeply toxic and a mental disorder: narcissistic personality disorder - to see all things emanating from him as the center of the universe.
Please, to all devoted Dog Star readers, don't get a twisted idea of reality - we are not like gods at all. We are mere mortals. Sorry, Wayne Carter, if you died today it would not be a holiday.
Saturday, December 29, 2012
BBC article on Karl Lagerfeld here.
15 Life Changing Lessons to Learn from Wayne DyerSome of the most powerful and life changing lessons I have learned so far came from this great man, Wayne Dyer and today I would like to share with you some of these lessons. The lessons are in no particular order as all of them are equally important.
1. COOPERATION IS HEALTHIER THAN COMPETITIONWork on improving your own person and be so busy with doing so that you don’t have time to compare and compete with others. We are all in this together and this sense of separation will only weaken us all creating more pain and suffering.
If you’re always in a hurry, always trying to get ahead of the other guy, or someone else’s performance is what motivates you, then that person is in control of you. ~ Wayne Dyer
2. IF YOU LOVE PEOPLE YOU DON’T TRY TO CHANGE THEMWhen you love somebody you love them for what they are not for what you want them to be, without imposing your will and without constantly trying to change them.
Love is the ability and willingness to allow those that you care for to be what they choose for themselves without any insistence that they satisfy you. ~ Wayne Dyer
3. IGNORANCE IS NOT BLISSAllow yourself to expand your mind a little more day by day, give up labels and you will be happier. If you constantly say NO to “strange” ideas, things, events, people, how can you expect to progress through life? Try new things, if it makes your life better stick to it and if it doesn’t let it go, It’s that simple.
The highest form of ignorance is when you reject something you don’t know anything about. ~ Wayne Dyer
4. YOU ARE NOT A VICTIM OF THE WORLDWhen you affirm thing like, You make me mad, this situation is upsetting me, I can’t believe you are treating me this way, etc., you start playing the victim game. Take responsibility for your own thoughts, your own feelings and actions and by doing so you will no longer give your power away to forces outside yourself. When something negative wil come your way you will pause and instead of reacting you will RESPOND, to everything and everyone. You will no longer be a victim but rather a person who is aware of his/her inner strength and power.
How people treat you is their karma; how you react is yours. ~ Wayne Dyer
5. YOU FIND YOURSELF IN SOLITUDEIf you deeply and profoundly love and accept yourself, you will enjoy the time you spend alone as much as you do when you are surrounded by the people you love dearly.
You cannot be lonely if you like the person you’re alone with. ~ Wayne Dyer
BELOW: Beachfront home in Lima, Peru - more here
BELOW: Hillside home with height for views in Slovakia - more here
Friday, December 28, 2012
Above: Base of Perisphere, New York World’s Fair, 1939 (Museum of the City of New York, Wurts Bros. Collection)
Dog Star knows a bit about the 1939 World Fair in NYC from visiting the Queens Museum (def worth a trip - go here). We live in a different world now. People would go these fairs to find out about new technologies, different cultures, commercial products and futuristic modes of transportation. These are all things we can discover on the internet. The days of the World's Fair may be gone, but the epic exhibitions will live on at the Museum of the City of New York starting this month. Their "Designing Tomorrow: America’s World’s Fairs of the 1930s" is now open and explores fairs from across the country, including New York, Chicago, San Diego, Dallas, Cleveland, and San Francisco.
The exhibition provides a glimpse into all that was sleek and futuristic in the 1930s, as the country was in the midst of the Great Depression. "Designing Tomorrow" includes a full-scale replica of Elektro, the talking robot created for Westinghouse, and modern conveniences (like toasters) exhibited at the fair. The show also features fantastic photographs of the fairground from the Museum’s collection and Kodachrome slides showing the fair in color.
Watch the video below to see what they considered a "robot" in 1939!
Museum of the City of New York IS EASY TO REACH
at 1220 Fifth Avenue at 103rd Street
6 train to 103rd Street and walk three blocks west to Fifth Avenue
(You will be walking underneath the railway overpass at Madison Avenue).
The Museum is open seven days a week: 10:00 am–6:00 pm
Museum admission is by suggested contribution - Dog Star suggests PAY $1! Seriously! It's okay!
From the YouTube trailer:
For this generation, coming of age in the digital age means pioneering in a world where pornography has become mobile and mainstream, privates are public, and extreme is the norm.
Thursday, December 27, 2012
Dog Star likes these kinds of exhibitions because they teach us about the real connections between cultures. In this case, the Met's new exhibition "African Art, New York, and the Avant-Garde" shows how African artifacts and objects influenced the ways modern artists made their paintings and sculptures. We have heard people say "modern artists stole from African art" and "African artists were doing 'modern art' before Picasso and others." These are misguided statements because they make some faulty assumptions. Let's take a look at these assumptions and the truths behind them:
African artists were NOT doing 'modern art' before Picasso and others. Modern art is a term invented by European art critics and art historians. No artist ever called himself or herself a 'modern artist.' No African artisan who created masks, sculptures, pottery or totems was ever creating what we call "art." So it is impossible to label any African art or artisan as "modern art" or as a "modern artist."
It is important to understand that African cultural objects are ALWAYS intended to be used in an active role in a ceremony. Art objects (paintings, sculptures, tapestries, pottery) are solely intended to be appreciated, studied and admired for their artistic qualities. So this is an important distinction. Members of an African tribe were not called "artists" in the way makers of art objects in Europe and America (referred to as "Western") are called artists. In fact very often it isn't even known who made an object such as a mask because that kind of "authorship" or claim to artistic ownership is a Western concept. A member of an African tribe was trained and worked his entire life to make masks for certain ceremonies. He didn't "sign" the back of the mask so others know he takes credit for it. It is only in the very late 19th century when ethnographers and other colonial "explorers" visited tribes that actual people could be identified as the maker of an African object.
Now, when African OBJECTS began to arrive in Europe and were put on display so that the general public could see them, people began to see artistic qualities to copy in their own art. Paul Guillaume is a famous Paris art gallery owner who collected an extensive African mask and sculpture collection. Picasso and all his friends saw Paul's collection, bought objects from him and shared them with visitors and friends. There IS a direct connection between the directions of modern art and the African influence but it is one of inspiration - or artistic borrowing / stealing - not a failure to credit African tribes for inventing modern art. If you want to learn more read the article below by Carol Kino (from the New York Times) and definitely make a point of visiting the Met Museum exhibition from November 27-April 14, 2013.
The Metropolitan Museum is EASY TO REACH at Fifth Avenue and 82nd Street - Take the 4, 5, or 6 trains to 86th Street & Lexington Avenue, then walk west to Fifth Avenue and then south to the Met Museum on the right hand side. Access tip: Walk a bit past the grand staircase in front of the museum to a street level entrance where the lines for entry, coat check and admission are much shorter. HIGH SCHOOL STUDENTS get in FREE with high school I.D. card and get a free Audio Guide - simply ask for it at the Admissions Desk.
When Artifact ‘Became’ Art
By CAROL KINO
Back in New York, de Zayas persuaded Stieglitz to mount the African art survey. In 1915, de Zayas opened his own gallery, where he built the collections of the Dada salonistes Walter and Louise Arensberg; the lawyer John Quinn, a major backer of the Armory Show; and Agnes E. and Eugene Meyer, who had previously been Stieglitz’s patrons.
De Zayas went on to curate exhibitions for Gertrude Vanderbilt Whitney at the Whitney Studio Club, the precursor to the Whitney Museum, the first of which was “Recent Paintings by Pablo Picasso and Negro Sculpture” in 1923.
Wednesday, December 26, 2012
Read more about Ayana here.
From this week's NY Magazine:
The Twelve Tribes of Hattie
By Ayana Mathis; Knopf; 256 pages; $24.95
From Ayana Mathis’s eloquent, Oprah-approved novel’s first chapter,
which ends with the shuddering chill of a double-infant death, we know
that Hattie Shepherd’s bright Philadelphia plans, far from her Jim Crow
Georgia past, won’t pan out. Through the episodic frame that emerges,
Hattie’s children (her “tribes”) get their own chapters — though some
have to share, just as they do in the Wayne Street house where Hattie
and her husband, August, watch their lives whittled down by trouble of
all kinds. Some of that has to do with no-account August’s small
ambitions and some with inscrutable, outnumbered Hattie, who confesses,
“I never did know what to do about my children’s spirits.” And some of
it is the wasted promise of the Great Migration — call it the Great
Disappointment — as filtered through closeted musician Floyd, Six the
venal preacher, poor crazy Cassie, and all the others. It’s a lot to
cram into a short novel, and Mathis sometimes seems a little like
Hattie, parceling her attention out too meagerly among too many
characters. But there are worse things, from a very talented young
writer, than leaving us wanting more. Buy It
By Leon Wieseltier
WHEN I LOOK BACK at my education, I am struck not by how much I learned but by how much I was taught. I am the progeny of teachers; I swoon over teachers. Even what I learned on my own I owed to them, because they guided me in my sense of what is significant. The only form of knowledge that can be adequately acquired without the help of a teacher, and without the humility of a student, is information, which is the lowest form of knowledge. (And in these nightmarishly data-glutted days, the winnowing of information may also require the masterly hand of someone who knows more and better.) Yet the prestige of teachers in America keeps sinking. In the debate about the reform of the public schools, the virulent denigration of teachers is regarded as advanced opinion. The new interest in homeschooling—the demented idea that children can be competently taught by people whose only qualifications for teaching them are love and a desire to keep them from the world—constitutes another insult to the great profession of pedagogy. And now there is the fashion in “unschooling,” which I take from a forthcoming book by Dale J. Stephens, the gloating founder of UnCollege. His deeply unfortunate book is called Hacking Your Education: Ditch the Lectures, Save Tens of Thousands, and Learn More Than Your Peers Ever Will. It is a call for young people to reject college and become “self-directed learners.” One wonders about the preparedness of this untutored “self” for this unknown “direction.” Such pristinity! Rousseau with a MacBook! Yet the “hackademic,” as Stephens calls his ideal, is a new sort of drop-out. His head is not in the clouds. His head is in the cloud. Instead of spending money on college, he is making money on apps. In place of an education, he has entrepreneurship. This preference often comes with the assurance that entrepreneurship is itself an education. “Here in Silicon Valley, it’s almost a badge of honor [to have dropped out],” a boy genius who left Princeton and started Undrip (beats me) told The New York Times. After all, Jobs, Gates, Zuckerberg, and Dell dropped out—as if their lack of a college education was the cause of their creativity, and as if there will ever be a generation, or a nation, of Jobses, Gateses, Zuckerbergs, and Dells. Stephens’s book, and the larger Web-inebriated movement to abandon study for wealth, is another document of the unreality of Silicon Valley, of its snobbery (tell the aspiring kids in Oakland to give up on college!), of its confusion of itself with the universe. To be sure, all learning cannot be renounced in the search for success. Technological innovation demands scientific and engineering knowledge, even if it begins in intuition: the technical must follow the visionary. So the movement against college is not a campaign against all study. It is a campaign against allegedly useless study—the latest eruption of the utilitarian temper in the American view of life. And what study is allegedly useless? The study of the humanities, of course.
THE MOST EGREGIOUS of the many errors in this repudiation of college is its economicist approach to the understanding of education. We have been here before. Not long ago Rick Santorum, if you’ll pardon the expression, delivered himself of this tirade: “I was so outraged by the president of the United States for standing up and saying every child in America should go to college. ... Who are you to say that every child in America go? I, you know, there is—I have seven kids. Maybe they’ll all go to college. But if one of my kids wants to go and be an auto-mechanic, good for him. That’s a good paying job.” He was responding wildly to Barack Obama’s proposal that “every American ... commit to at least one year of higher education or career training. This can be community college or a four-year school; vocational training or an apprenticeship.” Obama was not forcing Flaubert down a single blue-collared throat. Indeed, Obama and Santorum were regarding education from the same stunted standpoint: the cash nexus, or the problem of American “competitiveness.” A few months later, the Council on Foreign Relations published another instrumentalist analysis, equally uncomprehending about the horizons of the classroom, called “U.S. Education Reform and National Security,” which proposed, among other things, that the liberal arts curriculum be revised to give priority to “strategic” languages and “informational” texts. As Robert Alter acerbically remarked, in a devastating issue of the Forum of the Association of Literary Scholars, Critics, and Writers, this is “Gradgrinding American education”: “there is no place whatever in this purview for Greek and Latin, because you can’t cut a deal with a multinational in the language of Homer or Virgil.”
THE PRESIDENT IS RIGHT that we should “out-educate” other countries, but he is wrong that we should do so only, or mainly, to “out-compete.” Surely the primary objectives of education are the formation of the self and the formation of the citizen. A political order based on the expression of opinion imposes an intellectual obligation upon the individual, who cannot acquit himself of his democratic duty without an ability to reason, a familiarity with argument, a historical memory. An ignorant citizen is a traitor to an open society. The demagoguery of the media, which is covertly structural when it is not overtly ideological, demands a countervailing force of knowledgeable reflection. (There are certainly too many unemployed young people in America, but not because they have read too many books.) And the schooling of inwardness matters even more in the lives of parents and children, husbands and wives, friends and lovers, where meanings are often ambiguous and interpretations determine fates. The equation of virtue with wealth, of enlightenment with success, is no less repulsive in a t-shirt than in a suit. How much about human existence can be inferred from a start-up? Shakespeare or Undrip: I should have thought that the choice was easy. Entrepreneurship is not a full human education, and living is never just succeeding, and the humanities are always pertinent. In pain or in sorrow, who needs a quant? There are enormities of experience, horrors, crimes, disasters, tragedies, which revive the appetite for wisdom, and for the old sources, however imprecise, of wisdom—a massacre of schoolchildren, for example.
Leon Wieseltier is the literary editor of The New Republic. This article appeared in the December 31, 2012 issue of the magazine under the headline “The Unschooled.”
Why The Clock Is Worth Waiting Hours For
The Clock, Christian Marclay's masterful 24-hour film montage, is now running at MoMA. And if this month-long showing is anything like the art installation's cameo at last summer's Lincoln Center Festival, you can expect some serious queue time (we spent three hours on line late on a Saturday night in July). So is The Clock worth the wait? Yes.
Marclay's piece, which features thousands of movie clips featuring watches, clocks, transitions and other indications of the hour strung together in real time, is a fascinating metaphysical take on the passage and documentation of time both in cinema and reality. Marclay, an American-born, Swiss-raised artist who splits his time between London and New York, spent several years sifting through films from the past century, painstakingly stitching them into one subtle narrative. "Cinema is very much about forgetting time," Marclay said at a MoMA press preview on Thursday. "Time in cinema is stretched and compressed, and it's never truthful, in a way."
But time in The Clock is the one thing that's never manipulated, and viewers watch the minutes tick by onscreen in sync with their own watches and cell phone clocks, all while snapshots and sounds of film plots fly by. Marty McFly, Scarlett O'Hara, Gordon Gekko and Sam Spade stream into one another, reminding viewers it's 11:26, 11:27, 11:28. Doors open from one film into another, from black and white to color, from French noir to Clueless, from horror scream to action thriller soundtrack.
The Clock is designed so viewers can come in and leave at will, so you can soak up anywhere from twenty minutes to twenty-four hours of the film, if you so choose. It's difficult to decide when to leave because, just as watching a clock is mind-numbing and tedious, it's also hypnotic. Marclay keeps a clip running just long enough for you to recognize what film it hails from, or, at the very least, which star is onscreen, then moves onto the next one before you have time to settle into the scene.
The clips can be banal—someone pouring tea, eating a sandwich or stretching in bed—or they can be pivotal; either way you are constantly aware of how long you've been sitting in the theater, the exact time of day, the exact minute John Mclain hopped on a subway in Die Hard: With a Vengeance. And rather than remove you from reality for two hours or so, which is typically the goal of film, The Clock mires you in it, making it impossible to ignore or overlook seconds, minutes and hours as they move past, and you feel compelled to see how much longer you can stick it out.
The Clock will be shown at MoMA's Contemporary Galleries through January 21, and runs continuously on three weekends (Jan 4-6, 11-13 and 18-20), in addition to running a full 24 hours on New Year's Eve. There's no need to return time and time again to catch the clips in full—MoMA's admission price is still a super-hefty $25. But if you can brave a few hours wait (responsibly!) it's well worth it, if just to feel the full weight of a cinematic minute.
Dog Star reminds devoted teen readers: MoMA is ALWAYS FREE for high school students with school I.D.
ALMOST FREE! Enjoy Ice Skating at The Pond at Bryant Park (See details on how to make it free and keep the costs down!)
DOG STAR grew up ice skating on a REAL pond in the woods. Fell on the ice many times.
- Admission IS FREE.
- Bag check is $7.00-$10.00
- If you do not bring your own skates rental cost $14.00.
- Bring a lock for your stuff. Locks cost $9 of you don't have a lock.
- Lockers are FREE.
- Hours: Open Daily until March 3, 2013, Sunday-Thursday: 8am-10pm, Friday & Saturday: 8am-Midnight
Dog Star remembers falling in love with Henry Moore's sculpture when it was arranged all around the New York Botanical Garden in the Bronx a few years ago. Massive forms and figures between trees...and you could spot them peaking through the foliage with their odd shapes and impressive height and weight. Now we are lucky enough to get one of Larry Gagosian's British exhibitions in Chelsea and enjoy these great sculptures indoors while it's colder outside. Henry Moore is Britain's most famous post-World War II sculptor but he also worked in graphic an textile design (wallpaper, pillow covers), drawings and paintings, as well as the sculpture. Read more about Henry Moore here.
The Gagosian Gallery website has a preview video of what you'll see at the gallery here. Don't let the video be a substitute for actually going and seeing the sculpture in person. It is truly a special experience to allow yourself to stand around and gaze at Moore's unusual shapes cast in bronze and to wonder how they fit into your own understanding of our crazy, crazy world.
Late Large Forms
November 10, 2012 - January 5, 2013
522 West 21st Street
Hours: Tue-Sat 10-6 (closed on Sundays and Mondays)
Everything I do, I intend to make on a large scale... Size itself has its own impact, and physically we can relate more strongly to a big sculpture than to a small one. —Henry Moore
Upon the Two-Year Anniversary of the Death of My Grandfather Allen
The blood helps because the heart helps because the electricity moves us.
Kanye, my circulatory system looks like yours. So you too have a soft vein
too big for your temple, a pulse in your thumb. You’re still losing your mother.
One reporter called your mother’s death, “more data for the live stream.”
I apologize for him. He thinks, maybe, two years is a long time.
Last year, in Princeton, I tutored a sixth grader in every subject. As he learned
the systems of the body, I did too, beginning with the diagram of the heart.
What new words did you learn then? What new procession of breath
did you practice when I was teaching a boy how to say vena cava and aorta,
when I drew hearts on a chalkboard for him, day after day, and erased,
with my finger, the holes for the pulmonary veins to come in, to
fill the left atrium with the blood we could not draw? You recorded a song.
I’d love if you’d recorded a song. I almost forget again that your heart
looks like mine. You’ve heard the pulse in your ears then. You know
wush is not a foolish way to describe it. You miss her and I miss him but
surely I cannot say if, when you think of death, you, Kanye, think of the heart.
The Fallible Faceby Sarah Blake
- – featuring Levinas
he talked with his mother on the phone –
“Ma … Ma, I’m sorry. I’m sorry, I hurt myself.”
His mother got on a plane.
there is first the very uprightness of the face, its upright exposure, without defense
He was swollen.
He was indistinguishable.
this gaze is precisely the epiphany of the face as a face
His mother wrote of how she controlled her expressions,
how she told his girlfriend how to behave.
the epiphany of the face is ethical
Women are familiar with how not to scare
someone who’s in danger.
his mother wrote.
the face … formulates the first word
It might be love, or attraction, or
To structure, to surgery, to form.
in the access to the face there is certainly also an access to the idea of God
How did they put you together again?
How did you feel when someone saw you who didn’t know
you had ever looked like someone other
in the access to the face there is certainly also an access to the idea of God
The metal plate in your chin follows the bone.
The metal plate in your chin might ache.