February 3, 2002
Something about mimes really ticks people off. Maybe it's that precious handing-out-flowers-in-the-Latin-Quarter thing. Or perhaps it's the vague air of menace associated with whiteface. Either way, if the anti-mime jokes, Web sites, "Why We Hate Mimes" lists and mimes-versus-clowns feuds are any indication, the art of pantomime doesn't look like much of a growth industry. But Derek Martin isn't just another arty gesturist.
January 12, 1997 |
The Franklin Mint recently manufactured and put on sale copies of Jacqueline Kennedy Onassis' faux pearl necklace that went for $211,500 at auction. Selling copies of a copy--this is the sort of happening to end up on an index card of Hillel Schwartz, idiosyncratic cultural historian. He sees copies everywhere. "Copying," he writes in "The Culture of the Copy," "is what we are now about."
CALIFORNIA | LOCAL
February 5, 2001
Last month the Museum of Contemporary Art posted 61 billboards throughout Los Angeles. Designed like curators' notes, with black letters set against a stark white backdrop, the billboards tersely describe features in the landscape around them, encouraging harried commuters to consider urban details they may have dismissed as mundane.
April 15, 2012 |
Long before there were "real" housewives on television, actor-politicians and even potential celebrity politicians like Donald Trump, theme restaurants, virtual online vacations and Kim Kardashian, who makes her living by being Kim Kardashian, there was "The Image," historian Daniel Boorstin's prescient examination of a nation in transition, which celebrates the 50th anniversary of its publication this year. When "The Image" first appeared, one critic predicted that it would join William Whyte's "The Organization Man" and John Kenneth Galbraith's "The Affluent Society" as one of those seminal books that not only capture the zeitgeist but change the American mind-set.
September 13, 1993 |
Howard Stern, Shock-Jock. The words are almost inseparable in any media description of the now top-rated morning radio host. And although the expression may be a convenient (and by now, conventional) shorthand for describing the complex Stern, it obscures a deeper, more noble truth about Stern and his broadcast.
July 9, 2000 |
A cluster of bronzed young boys floated on bodyboards in Hurricane Harbor, eager for the lifeguard to activate the wave pool. Many of them had paid $23 and waited half an hour to spend just nine minutes riding the 2-foot mechanically generated crests at Irvine's Wild Rivers Waterpark. Why a virtual beach when a real one is nearby? "There are better waves at the beach, but it's more accessible here," said Chase Paddack, dripping and winded from the pool.
January 3, 1988 |
"April Galleons," John Ashbery's 11th volume of poetry not counting his recent "Selected Poems," sails in the postmodern waters whose nauseous chop and spooky fog this poet loves so well. His skill and cleverness (and something more) are such that he makes the reader appreciate, if not the waters, then at least the navigator's talents. How can you not like a gifted poet who wants you to have a good time sliding around on his deliberately slicked decks?
May 3, 1998 |
It is hardly surprising that the apparently unexpected popularity of the Getty would be quantified with all the close attention of a movie release: the sheer numbers crowding the site; detailed accounts of the long lines for rest rooms; exhibitions that open and close without being seen by their own publics; the media campaign that says, essentially, "Plan ahead--don't come now," are all recognizable as the familiar indices of blockbuster status.