Quiggin
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Natalia Goncharova, who did sets and costumes for Diaghilev, and an important painter on her own, was very recently the subject of a Tate Museum show in London. The last painting in the link below, Peasants Picking Apples, looks as if it could be hanging in an Lower East Side gallery today, perhaps alongside one of Nicole Eisenman's works.
What's interesting about the Russian Futurists that Judith Mackrell refers to in Buddy's link above – Kandinsky, Mondrian and all – is how they deploy space, or objects in space, as on a stage floor, like a kind of Labanotation, rather than through a proscenium or in Renaissance perspective. The pictorial elements push and pull against each another and there is no wasted space. Even in Goncharova's paintings every corner is activated, up and down as well as side to side.
https://www.tate.org.uk/whats-on/tate-modern/exhibition/natalia-goncharova
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Chester Higgins in today's Times describes a visit to Robert Frank this past January "to thank him, for having the clearness of heart to make these 1950s images that gave black people like myself the same decency and agency usually reserved for whites." One of the most moving elements of many in "The Americans."
Walker Evans, whose own journey through America Frank was in part following, wrote sharply in his original but not used introduction to "The Americans" -
"Since it is the fashion to say that Americans can afford everything, let us say they can afford to have an astringent, abrasive picture of America ... Those who know the language of images and the speech of the eye ... will instantly recognize this photographer's intellect, his ungentle poetry, his ferocious wit and his educated morality."
And that book was basically a moral philosophy of photography, photographic aphorisms – that showed you could do and couldn't do as a photographer. It was an antidote to such overly ambitious shows such as Edward Steichen's "The Family of Man" which fuzzily said that everyone is the same person, everyone has the same experience.
Frank lived all those years in a small, green-fronted loft on Bleecker Street just off Bowery, "poor as a church mouse" as a friend used to say. There was always a light bulb on during the day – or maybe it was only on when he and June Leaf were in Nova Scotia. Originally the little loft seemed to me like a fishing boat among fishing boats, and as the years went on it was still a fishing boat but now seemed to be completely surrounded by yachts (cafes, chic hat shops, etc).
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4 hours ago, dirac said:
It just goes to show you how off base back in the day judgment can be, while acknowledging what the New Wavers were reacting against.
I don't think what serious film audiences liked then – just as serious ballet audiences appreciated Agon and The Four Temperaments in their time – was so off base in retrospect. After all George Lucas made American Graffiti from the bones of Fellini's I Vitelloni, Martin Scorcese was influenced by 8 1/2, and Arthur Penn's Bonnie and Clyde, which was previewed at film school for student opinions, was inspired by Godard's Breathless, which for years was hugely influential. Lawrence of Arabia in its time seemed like a big old fashioned, conservatively constructed but fun, entertainment film.
Panavision is less wide than mail-box-slot CinemaScope (great "envelope pushing" examples of which were Truffaut's Shoot the Piano Player and Kurosawa's The Bad Sleep Well). The most pleasing aspect ratio seemed to be semi-wide screen 1.6, the classic golden mean ratio of 5:8, in which most European movies were filmed. In the US they would inevitably be projected in the wider and less attractive – neither this nor that – ratio of 1.85, voiding all the cameraman's careful choices.
Here's Scorcese's (I can't forget the old spelling) list of Criterion Film favorites, Lourie's The River among them, and his reasons:
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I remember seeing Lawrence of Arabia back in the day at film school. It seemed like a big overstuffed armchair of a movie in faux naturalism, with its over the top wide screen landscapes and wide screen acting (with Anthony Quinn's nose looking as though it could fall off at any moment). This was in comparison to the modest New Wave films my friends and I were seeing and even the color A-grade films that those directors had graduated to, like Contempt and Blow Up. (In Contempt, which was filmed in CinemaScope, Fritz Lang says that CinemaScope is only appropriate for snakes and funerals, all the while Godard was having his mischievous ways with it.)
And students in the English dept would recommend instead reading Charles M. Doughty's Travels in Arabia Deserta, T. E. Lawrence's inspiration ("we may write books on parts of the desert … but here it is all said, and by a great master"). What Lawrence would have thought of this film must spin between the comic and the tragic in our imaginations.
An art director I knew later, Eugene Lourie – who did the art direction on Renoir's The River and Chaplin's Limelight – told me that he worked on an early film with Peter O'Toole just after O'Toole had some plastic surgery done. On the first day of shooting all of the crew pretended not to recognize him and kept looking at their watches and wondering aloud when the real Peter O'Toole was going to show up.
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21 minutes ago, Mashinka said:
Firstly one shouldn't conflate sexual abuse of children with knee squeezing. ..
But this wasn't just about knee squeezing – and knee squeezing, and what Matt Damon referred to as just a little pat on the butt now and then, eventually becomes a kind of sign meaning "I own you." But this was also about sex, the compete works, in exchange for being able to keep your job.
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17 minutes ago, dirac said:
I tend to think he meant what he said - he felt strange leaving money at all since that wasn't the nature of what happened as he saw it, but as the richer party he also didn't want her to have to cough up for parking ...
Why didn't he just say, here's something to pay for parking with. Why did he bring the word "prostitute" into the picture? A bit of a Freudian slip I would think as far as what he really thought of his "consenting" partners.
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16 minutes ago, Kathleen O'Connell said:
Oh it's worse than that. Any number of people would have happily believed that Domingo had gotten "handsy" (if not worse) with his accusers. They just wouldn't have cared very much, if at all. Back in the day I had more than one person explain to me that that kind of behavior should be taken as a compliment.
Yes, absolutely. But there is something in us that tends to want look the other way when everything else is going so well. Sometimes an authority – say a director – will say I won't have any of that in my theater and everyone breathes a sigh of relief. I think when it happens at the board level, it's inexcusable.
The strangest thing, and what blows all of Domingo's "alibis," is when he put $10 on a dresser and said it was just enough to pay for parking but not enough to make his partner into a prostitute.
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The Times is $15.00 a month – 50 cents a day. Single articles elsewhere start at $3.00 or $4.00 and on up. The Times and the Wall Street Journal are the only US papers left really keeping an eye on lots of dubious things and acts on a day to day basis. Even if I don't read all the national articles, I figure in some way I'm voting for good government by subscribing (at least to the Times).
Yes, a vote for Marina Harss per Marta and Kathleen O'Connell's links, most recently her well considered Dance Tabs Bournonville review.
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I'll miss Ulrich's reviews which seemed strong and just. He knew the music as well as the choreography. His championing of San Francisco Ballet's production of the "Shostakovich Trilogy" helped get it a full, not partial, reprise in the following season. From the initial review in 2014 -
QuoteThe music here is Rudolf Barshai's orchestration of Shostakovich's Eighth String Quartet, one of his most intensely personal works; though dour, the mood is occasionally leavened by moments of hysterical jubilation. The content grows more overtly expressive as a forlorn solo man (Davit Karapetyan) mixes with three women (Sasha de Sola, Lorena Feijoo, Mathilde Froustey) who either reject him, expire or drift away.
They may be elements of autobiography or three muses. Ratmansky's treatment of the score is wonderfully subtle; not for him a melodramatic setting of the recurring triplet that would entice lesser choreographers. -
I'm just catching up on this, too. Wheeldon uses the dubious term "balance" several times in the interview. Balancing dark forces against rational and light ones doesn't really seem to work – and we can see the results of twenty years of such attempts in the political arena. Wheeldon:
QuoteThe recent documentary is very believable, but our position in making this show is that we’re trying to make a show that’s balanced... / we’re not judge and jury. In our process, we’re facing it pretty much head on, but we’re also studying the many facets of Michael Jackson.... / And paint a balanced picture. Yes, lean into the complexities, lean into the darkness but ...
Another biography problem: While I've never followed Jackson's music and career that much, only the effect on its fans, I did find his surgeries and skin whitening treatments very disturbing. Who did he want to be, to represent? What was his attitude towards his black heritage? Who did he become?
From a 2009 Rolling Stone article on Jackson's legacy:
Quote“The reason black folk never turned their backs on him,” says Georgetown professor Michael Eric Dyson, “is because we realized he was merely acting out on his face what we collectively have been tempted to do in our souls: whitewash the memory and trace of our offending blackness.” Still, we struggled to understand why. Some have said he no longer wanted to see his father in the mirror, but there seem to be deeper forces at play.
https://www.rollingstone.com/music/music-news/michael-jackson-black-superhero-71199/
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When I worked in a law firm library, we kept everything in date order, the most recent memo on top (we were very old fashioned). If I were as organized at home today, I would keep all the cast lists of a company in one folder in such a date order, with colored sheet of paper between seasons. I'd put occasional tear sheet from programs in another. If I put them in my computer, they would lose a lot of their "tangible" value, though you could probably do a lot of Nate Silver/538 like statistics and charts with them.
Anyway I've even kept the ticket stubs nestled in the casting sheets of my San Francisco Ballet seasons – when the dancers I most liked were still in the company and they were regularly doing Balanchine and Ratmansky – as a kind of stamp of authenticity. Some of my old City Ballet programs still contain those little slips of paper that indicated a very nervous-making when you first saw them, last minute casting change.
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Reading the Wikipedia entry on "West Side Story" gives some interestingly crazy, slightly bad faith, background – which could be a play in itself, if not a musical.
Originally WWS was a Romeo and Juliet story (Jerome Robbins's idea) about a Jewish girl and Roman Catholic boy set on the Lower East Side ("East Side Story"). The Jets were Catholic and anti-Semitic, the girl a survivor of the Holocaust. Later the musical was to be set in Los Angeles among Mexican American gangs on Olvera Street. Arthur Laurents. who wrote the book, said he was more comfortable setting the story among Puerto Ricans whom he was more familiar with – though he ended up coining their slang words rather than transcribing them (so that they wouldn't date). Jerome Robbins was happy that the musical had a "Latin beat." Stephen Sondheim originally wanted to write the music as well as the lyrics, but Laurents wouldn't go for that idea. Bernstein wrote some of the more florid lyrics but most of them were eventually dropped. (Bernstein was writing 'Candide' at the same time and some of songs were shuffled back and forth between the two works.) The credits were all over the place, Bernstein given the nod for some lyrics, Sondheim not wanting to be associated with them, Robbins claiming the concept – and no one speaking to him by opening night as a result. Rita Moreno was the only Puerto Rican cast member.
So maybe it's alright that the afterlife of West Side Story continues on in a like manner.
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nanushka:
QuoteWhen it comes to language and meaning, context (historical and otherwise) is everything.
Yes, shadings of meaning contribute to clarity (and wit).The Oxford Dictionary on Historical Principles has affair as this:
QuoteA romantic or sexual relationship, often of short duration, between two people who are not married to each other; spec. (a) one that is carried on illicitly, one or both partners being involved in a relationship with another person; (b) an intense sexual relationship. Also: a sexual encounter of any of these types. Frequently with with.
To back it up they cite, among others, Noel Coward: "We could carry on a backstairs affair for weeks without saying a word about it."
And I'd add to my own OED:
Barbara Pym, from Jane and Prudence: "It was not a very nice book – so often Miss Trapnell or Miss Clothier asked her, ‘Is that a nice book you’ve got, Miss Bates?’ – but it described a love affair in the fullest sense of the word and sparing no detail, but all in a very intellectual sort of way and there were a good many quotations from Donne. It was difficult to imagine that her love for Arthur Grampian could ever come to anything like this, and indeed she was hardly conscious of him as she read on into the small hours of the morning to the book’s inevitable but satisfying unhappy ending."
In literature at least, most love affairs are unhappy affairs, while relationships are fairly (teleologically speaking) neutral.
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1 hour ago, Kathleen O'Connell said:
Shades of the Jockey-Club de Paris. That video was never anything but problematic, and yes, it needs to come down.
10 minutes ago, sandik said:Jockey Club, yes. And an excellent illustration of "male gaze."
Which Degas faithfully recorded. Link from Robert Herbert's Impressionism which treats the movement as documentary footage for a sociological interpretation.
"The lives of Morny and Halevy … are very rewarding for the study of Degas’s own role as a backstage at the opera. The artist’s devotion to the dancers at the opera cannot readily be understood unless we examine the roles of powerful men."
Suite of backstage monotypes begins on page 107 –
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I think reading Save Me the Waltz alongside Tender is the Night might be helpful. Scott Fitzgerald of course drew from, and collaged in, some of Zelda's observations and letters into his own work. And she perhaps had the purer Modernist voice, something of the tone he needed to use in his own more traditional stories.
From their "co-counseling" sessions as Zelda Fitzgerald was being institutionalized in Maryland in 1933 –
QuoteScott: You’re a third-rate writer and a third-rate ballet dancer. I am a professional writer, with a huge following. I am the highest paid short-story writer in the world.
Zelda: I am perfectly sure I can write, and [Scott] knows that, too, or he would not be raising so much hell about it... It seems to me you are making a rather violent attack on a third rate talent … If I thought that about anybody, I would not care what they wrote.
Quoted in "Tender Is the Night and F. Scott Fitzgerald's Sentimental Identities"
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Two things I'll add to my comment above:
On the plus side of the Times Dance ledger is the weekly feature Speaking in Dance, consisting of Instagram clips of a fairly wide variety of contemporary dance choreography curated by Gia Kourlas. It's something we wouldn't have had in the gray old days. One of the most intriguing of the recent postings was a compilation of semaphoring Nijinsky moves from Netta Yerushalmy's Paramodernities, also a clip of Pam Tanowitz's pickup company tapping in "rounds."
https://www.nytimes.com/column/speakingindance
And sadly Douglas Crimp, whom I mentioned as one of the art world-dance world crossover critics, just died. He devoted a chapter in his recent memoir to his New York City Ballet going years with another October journal writer, Craig Owens. Crimp also curated an important show, with Lynne Cooke, on the gritty urban New York art scene of the 70s called Mixed Use, Manhattan (MIT Press), featuring work by Trisha Brown, Joan Jonas, Chantal Ackerman, Peter Hujar, Gordon Matta-Clark and William Gedney.
Crimp's dance writings will be published by Dancing Foxes:
QuoteBarbara Schroeder, an editor at Dancing Foxes Press, said that the publishing house is currently working on Dance Dance Film, a book of Crimp’s writings on dance and film that focuses on Charles Atlas, Trisha Brown, Merce Cunningham, Tacita Dean, Anne Teresa de Keersmaeker, Yvonne Rainer, and more. “Douglas’s devotion to dance and film is well known to so many, and he was thrilled, as we are, at the prospect of the publication of this collection,” Schroeder said. “We will dearly miss Douglas’s sharp intelligence and distinctive voice.”
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The Times may be having a difficult time finding the right voice for a lead ballet reviewer. Macaulay was unique in being able to create color and (melo)drama around City Ballet and ABT, always advancing the cause of seeing Balanchine afresh, introducing Ratmansky's new world to the readers and keeping an eye on Cunningham. John Rockwell's short tenure just before AM's did not work out, so maybe it's not an easy position to fill.
In comparison, there seem to be three visual arts reviewers at the Times now, Jason Farago joining senior reviewers Roberta Smith and Holland Carter. Together they post on average three articles a week and then, along with two or three stringers, write a group of four thumbnails on what's current. Kimmelman does a couple of non-specialist architecture articles a month, and I hardly notice classical music reviewing anymore.
Maybe part of the problem is that in the past more compelling new works came out of the dance world, with Tharp and mid-sized companies more active. In the art world painting-painting has had a big revival and there are lots of ongoing rediscoveries, so reviewing reflects that (and of course all the auction and art fair activity). In the fifties and sixties there seemed to be a big crossover between art and dance via Cunningham, Elaine de Kooning, Edwin Denby, Frank O'Hara, Susan Sontag and Douglas Crimp – lots of bouncing back between art openings and City Ballet. Don't think that's the case anymore (except for the Gala).
With the exception of Balanchine, who had roots in the Soviet avant-garde and knew how to combine the traditional and radical, Ratmansky, who has a bit of this magic, the lesser but often good Peck, and the Cunningham revivals, I don't see much outside Vail and Jacob's Pillow clips that seem to catch my eye (though more a visual arts eye than dance one). Trey MacIntyre's work, Body/Poem seemed to translate downtown to the San Francisco Opera House stage quite well.
But much of what I see at SF Ballet is not dangerously "highbrow" but more sleepy "middlebrow" where a few downtown ideas are borrowed and softened with generic off-the-shelf semi balletic movements. The works seem fussy and overwrought and unclear. And I find myself less interested in boy-girl, or even retrofitted boy-boy, spurned love stories anymore (except, appropriately, in the 19c classics). I enjoyed Ratmansky's Seven Sonatas because it seemed to be more about a world and a community than about individual cases. McIntyre's work too came from another point of view, the second half of Body/Poem an intriguing dance monologue. (Balanchine I always read as a world, and the boy girl relations and solos – such as in Liebeslieder and Emeralds – not what they first appear.)
OT: interesting Schjeldahl review and Yau interview with the rediscovered Stanley Whitney, who easel-painted away, albeit sometimes on the floor with a mop, during the Pop and Minimalist 70s and 80 when it was totally unfashionable.
I don't know if anyone reads the Brooklyn Rail but it seems to regularly cover the New York Dance scene, St Marks, perhaps a bit unevenly. Has a sponsor credit.
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8 hours ago, kbarber said:
The OUP Dictionary is now the Oxford Dictionary of Dance (Craine and Mackrell, 2010).
Thanks. Both might be worth owning. Craine and Mackrell seem to use as a basis, and amend, many of the old Koegler entries (though without crediting K.). The new Dictionary updates the "Germany" entry through Pina Bausch but eliminates much of the important pre WWII history, Joost, etc. Since much of visual arts of the fifties and sixties in the US (abstract expressionism and minimalism) seem to be a fulfillment of ideas seeded in Russia and Europe in the teens and twenties, this might be a significant loss of history for dance.
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Some dance books I've found helpful, randomly found in used bookstores here in San Francisco:
Horst Koegler's Dictionary of Ballet Oxford University Press, 1977, seems to be a sturdy and learned reference book, not outdated, but being unsupplemented might be its weakness. Don't know if there's a successor.
John Percival's Modern Ballet, studio vista Dutton Pictureback, is an interesting snapshot survey of dance up to 1970, much of it European. Major companies and currents of the period, some now forgotten.
Human – Space – Machine. Stage Experiments at the Bauhaus, Spector Books covers important developments in Germany in the twenties that have had a stealth influence on modernist dance of the post war period, lavishly illustrated.
Theatre in Revolution: Russian Avant-Garde Stage Design 1913-1935, Thames & Hudson/San Francisco Fine Arts Museums, has chapters by Elizabeth Sourtiz and Nicoletta Misler about Soviet dance experiments which have had a trickle down influence on modern dance everywhere – and during the late twenties on the Diaghilev company. George Balanchine (New Ballet) was a junior member of this movement.
The Ballet Annual, Arnold Haskell editor, published from 1948 to 1958, is a good survey of European and American ballet in the immediate post war period. (I see $5.00 penciled on the inner cover of the copies of my broken set.)
Bonus: one of the last issues of Ballet Review has an article by Alexei Ratmansky on the problems and delights of restaging a Petipa ballet:
http://www.balletreview.com/images/Ballet_Review_47-1-2_Alexei_Ratmanksy.pdf
Always liked this bit of ballet history in Franz Kafka's Letters to Felice:
QuoteJanuary 17 to 18, 1913
… tomorrow the Russian Ballet will be here. I saw it once two years ago, and dreamed about it for months, above all about one very wild dancer, Eduardova. She won’t be here; very likely she was considered an unimportant lady anyway; the great Karsavina won’t be here either (she has been taken ill, to spite me), but there is still a great deal left. You once mentioned the Russian Ballet in a letter; a discussion concerining the Russian Ballet had taken place at the office. What was it about? And what is this tango-dance you danced? Is that really its name? Is it something Mexican? Why is there no picture of this dance? More beautiful dancing than that of the Russians, more beautiful dancing than individual movements, now and then by individual dancers, I have seen only at Dalcroze’s. Have you seen a performance of his Institute in Berlin? I believe they dance there quite often.
January 19, 1913
Nijinsky and Kyast are two flawless human beings; they are at the innermost point of their art; they radiate mastery, as do all such people.
And per Sandik, Horst Kroeger's succinct entry on German ballet in his Oxford Dictionary fills in the background of Kafka's note –
QuoteModern dance gained an ever-increasing following after I. Duncan and St. Denis 1st appeared in Ger. in 1902 and 1906 respectively, and Jaques-Dalcroze opened his Institute for applied rhythm in 1911 in Hellerau (a suburb of Dresden). When Rudolf von Laban and Mary Wigman returned from Switzerland after the 1st World War, they became the leading personalities of the Ger. movement of 'Ausdruckstanz' .. This movement brought forth such personalities as Yvonne Georgi, Gret Pulucca, Dore Hoyer, Kurt Jooss, Albrecht Knust, Sigurd Leeder, Max Perpis and Harald Kreutzberg. It had its climax during the mid-1920s and then slowly faded out or was usurped by the Nazis in 1933; significantly, the most important comp. work of the movement, Jooss's Green Table, had its 1st perf. by the Essen Folkwang B. In Paris in 1932 ... b. fared extremely badly during those years, surviving mainly through schools like those of Eugenia Eduardova and the Gsovskys in Berlin. After 1945 Ger. was for a long time undecided whether to resume its modern dance activities or to build anew from a classical basis, though the East Berlin State Op under Tatjana Gsovsky developed a native form of modern b. ...
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I enjoyed reading Artforum's recent reviews of the Cunningham evenings and found this comment about the difference between dancing ballet and dancing Cunningham helpful. From the London review:
QuoteAnother hole was made evident by the performances of the professional ballet dancers, who at times seemed to lapse back into the stylization they are used to. Cunningham drew on classical technique, but left out its ornamentation and sentimental flourishes. For one: Ballet asks a dancer to finish, whereas Cunningham asks them to stop. Ballet’s finish is often a lyrical phrasing that suggests a romantic curling off of a line into the ether, a slight gesture or nod of the head to mimic the musical accent. Cunningham’s stops are blunter punctuations, almost lists of possible tilts or curves, syncopated jumps or accented limb-stabs. The thrill of his work is not procured by ethereal sylphs or emotional heroism but by the seemingly illogical and contradictory shifts of the dancer’s body in several directions at once.
and this from the Los Angeles review:
QuoteMore importantly, the evening offered audiences some long-overdue what-ifs. What if a Cunningham cast was diverse in age, race, body type, and training? I was knocked out by the backbend of a very young man that built on the bridges executed by a much older dancer. There were multiple performers of color on stage at once—a much-needed change. What if more of the effort required to perform a Cunningham dance was allowed to show?
London - Michael Hargreaves
Los Angeles - Megan Metcalf
New York - Deborah Jowett
https://www.artforum.com/performance/night-of-100-solos-a-centennial-eventnew-york-79578
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Tacitus the historian was pretty yappy, sharp and staccato, though Tacita Dean the filmmaker is not. I was thinking that three syllable names for dogs are good for calling them home (I always liked the four part Greek Ach-il-lay-us for that) but one syllable names are better for disciplining. Miranda (Shakespeare), Florida (Jane Bowles) and Sidonie (Colette) might also be good choices.
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It should be Miss Havisham rather than just plain Havisham – always waiting for something, a little like Odysseus's dog, Argos. Moriarty is also significantly Sherlock Holmes' adversary. Of the Latins, Catullus would be a nice three syllable name (as would be Tacitus, or Tacita). And where is Asta, as in "and Asta as Asta" of "The Thin Man"?
https://www.youtube.com/watch?v=EnWGRJkIRIw
(There's also the Cerberus associated with Cerberus Capital management company – guarding the Hades of money perhaps.)
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1 hour ago, KikiRVA said:
I feel like there is a subtext in this article, but also in the general conversation about this situation, of unspoken, not-wanting-to-be-spoken, and/or “don’t you dare call me homophobic” homophobia. When I read about Ramasar’s “gusto,” or “machismo,” contrasted with Huxley’s reaction to a fall, I am left feeling like the community is still struggling with tremendous ambivalence about moving past traditional norms of gender. I just finished Michael Langlois’s book, and was struck by his description of the importance of gender-normative attitudes in a business that is decidedly queer. This “team Ramasar,” like the “team Martins” divide can feel like a pretty homophobic trope.
Good comment. And Seibert goes on to say that Huxley "could use some of Mr. Ramasar’s un-self-conscious gusto."
Macaulay should have gracefully ended his Instagram comment with "... how much the directorship welcomes him back." His use of the words "stridently" and "irredeemably" is disrespectful to those made uncomfortable by the situation.
1 hour ago, nanushka said:Completely agree that some balance in the form of thoughtful, incisive, keen-eyed dance criticism/reviewing would be very welcome.
Have enjoyed reading Marina Harss's reviews at Dance Tabs and the Danceviewtimes City Ballet reviewers. But the day of the long thoughtful review seem to be over. (Or else I can't seem to find my way to them as easily as I used to.)
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Preston Sturges was a great men's, women's and extra's director as well as great screwball comedy writer (Easy Living with Jean Arthur for Mitchell Leisen). Created classic roles for Hutton, Veronica Lake, Barbara Stanwick, and Joel McCrea – as well as the brassy Eugene Palette and long suffering Franklin Pangborn.
Now looking back, at least as I remember, Day perhaps had two big movie careers – an early group of April in Paris, Love Me or Leave Me etc – and later the racy Ross Hunter movies, with Man who Knew in the middle. Her name seemed to be perpetually on the marque of my hometown cinema as I was growing up.
2 hours ago, canbelto said:Well maybe it's not getting as much notice because Day did not seek credit and validation for Rock Hudson.
It's not that she took or didn't take credit, it's that the event on her show was a significantly newsworthy one and was reported on the front pages of most newspapers. Hudson was a shell of his former self and people were shocked to see what AIDS could do to someone who was so familiar to them, almost a neighbor. It really brought the epidemic home to them.
The Dancing Painting
in Other Performing & Fine Arts: Performances, Exhibits, Films, and Events
Posted
I don't know which painters Suzanne Farrell was referring to at the National Gallery. She could have been pointing to one of the impressionist works such as Monet's Garden at Vetheuil. Or maybe to the to one of the Washington school of Color Field painters such as Morris Louis. The Monet has both color and texture, the Louises use color as structure.
Monet:
https://www.nga.gov/collection/art-object-page.52358.html
Morris Louis:
https://www.nga.gov/collection/art-object-page.52382.html
Stuart Davis:
https://www.nga.gov/collection/art-object-page.166441.html
Veronese [red pushing against blue?]:
https://www.nga.gov/collection/art-object-page.46146.html