Art

Required studying

  • The architect David Adjaye discusses his plans with Alex Marshall of the New York Times for an institution that houses looted treasures to return to Nigeria:

A museum for the Benin bronzes in Nigeria has been required for decades. What was your motivation for the project?

To show the power of what a museum can be in the 21st century. It's not just a container full of curios. That makes no sense in Africa – there is no empire or some kind of "discovery" of what America or China is.

But what is really critical is how to deal with the real elephant in the room, which depicts the effects of colonialism on the cultures of Africa. This is the central discussion the continent needs to have about itself, about its own history and the structural destruction that has happened with colonialism. Indeed, there is a myth that Africans know their culture, but a lot has been demonized because of colonialism, and there is a lot that has been misunderstood because of the subsequent structures of colonialism – Christianity, Islam, etc.

I am not criticizing these religions, but they have somehow deteriorated the continent's cultural heritage. So there is relearning the fundamental meaning of these objects. And this retraining justifies a rethinking of what a museum on the continent is for me. It won't be a western model.

The painting process is humble and complicated at the same time: he covers a canvas or a wooden board with cardboard tiles, foil and other materials and wraps it in a newspaper (always The Financial Times, because of its warm salmon hue). The process is repeated several times with Mr Fordjour applying dabs of paint and then tearing and carving the accumulating surface.

"It gives us an insight into the fact that this was a movement that all nations were involved in," he adds. “You see individuals. You see families. You see children. In this book you can see a dynamic snapshot of the diversity of the Indian country. And it clearly shows how many people took the risk of coming to San Francisco to be there and taking the added risk of signing this book. "

25 million U.S. households have canceled their cable subscriptions since 2012, and last month CNBC reported that the industry expects an additional 25 million households to cut cable over the next five years. There's a reason two of the hottest minds in the media, Jeff Bewkes (who as head of HBO ushered in the second golden age of television) and Rupert Murdoch (tremendous damage to the world), dumped their cable bundle businesses in 2016. Pro tip: If these two people are selling an asset class based on that asset class.

News and sports are the last remaining anchors on the bundle of cables, but the streamers have the deepest pockets. Netflix nibbled through reruns and lousy movies for years before taking a mammoth bite of first-time content. Amazon currently broadcasts an NFL game and a Premier League game on Prime every week. If Jeff Bezos is going to spend $ 6 billion getting his girlfriend to the Emmys (Amazon original content) just imagine what he will pay to be on the field at the Super Bowl or the World Cup. Meanwhile, Apple is trying out news with News +, and HBO already has two news hits with Bill Maher and John Oliver.

As subscribers go down, so does advertising revenue. But it's getting worse because digital competition eats linear television lunch. Viewers note that advertising is a tax on the poor / lazy and can be circumvented through a subscription. And advertisers are flocking to digital products that offer more accurate targeting and measurement. CNN is only able to make 23 cents per viewer per hour, which interrupts Fareed Zakaria and constantly reminds them that getting old sucks. The cable bundle is based on the assumption that your time is worth less than $ 1 an hour.

Emily is a millennial naivete, played by Lily Collins, who is charged with imparting American capitalist wisdom to a French agency dealing with luxury brands. The showrunner is Darren Star, the creator of Sex and the City, but when Carrie's column is awarded that shows narrative structure and dynamism – everything is copied – Emily begins and ends in Paris in an avalanche of parched digital marketing language that seems to have subsumed Emily's soul. She only cares about "social" impressions, R.O.I.

https://www.latimes.com/projects/la-libraries-octavia-butler-books-life/#nt=00000175-c749-da42-a377-ff5f38920001-liA10promoSmall-7030col1-main

I think our site, if you will forgive my ongoing shorthand and binary logic, has something to offer everyone, and we can and must win in the long run by offering it and offering it through better stories and better means to reach those stories to everyone . We want everyone to have a living wage, access to health care, and a debt-free life for doctors, students, and housing. We want this to be a prosperous planet when the babies born this year turn 80 in 2100. The compromise recommended, however, means abandoning and watering down our stories, not empowering and improving them (and finding ways how they can actually reach the rest of America rather than letting them be forgiven or excluded altogether). I've spent much of my adult life watching politicians like Bill Clinton and sometimes Barack Obama sell their own side to appease the other with dismal results, and I pray times have changed enough that Joe Biden won't do it all over again.

Crying Eric Trump asks father if they are poor now

Required Reading is published every Saturday and consists of a short list of art-related links to long-form articles, videos, blog posts, or photo essays that are worth a second look.

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