The couture line that Balenciaga launched this summer is another thing that has permanent residency in my brain. I think that what Demna [Gvasalia, creative director] is doing with sculpture and architecture through fashion is some of the most interesting theatre of our time. It’s like a marriage of Romantic and gothic style – it’s a bit ecclesiastical, almost monastic, and I want it all. There’s this really wonderful circular headpiece that feels like: “I’m going to service, but in the year 3021.”
Plans ‘in the trash can’: remote learning forces US college museums to get creative
The University of Michigan Museum of Art has set up socially distanced study pods in its atrium so t..
The University of Michigan Museum of Art has set up socially distanced study pods in its atrium so that students starved of campus space for study and reflection can book slots
University of Michigan Museum of Art
The move by America’s colleges and universities to go partially, or entirely, remote this autumn has thrown college museums into a period of prolonged uncertainty.
Spelman College in Atlanta had planned to reopen its campus in August, but those plans were overturned just weeks before the new school year amid a surge in coronavirus cases. For the Spelman College Museum of Art, that has brought considerable heartache. The museum had recently opened a traveling exhibition conceived by Theaster Gates before the Covid-19 pandemic forced it to close in mid-March. The exhibition, Theaster Gates: The Black Image Corporation, an exploration of the archives of Johnson Publishing, had come from stops at the Prada Foundation in Milan and Gropius Bau in Berlin, and was a major coup for a small museum with a staff of just four.
“It was a moment of love and attachment, followed by loss,” says Andrea Barnwell Brownlee, former director of Spelman’s campus museum, who was just named director and chief executive of the Cummer Museum in Jacksonville, Florida. The exhibition was an immediate hit with the students, many of whom did not grow up with Johnson Publishing’s iconic magazines Ebony and Jet, according to Brownlee.
The Spelman museum remains closed through the end of 2020, at minimum, and is making objects in its collection available to students via online presentations. Brownlee says the institution has chosen to focus on digitising the museum’s collection rather than developing an extensive program of online events. “The last several months have been very complicated,” she says, “but we’ve relished the opportunity to be quiet and inward. We didn’t feel the impulse to get out in front of the Zoom superhighway.”
Bowdoin College, a small liberal arts college in Brunswick, Maine, has partially reopened its campus, and its museum is allowing timed entry to students and faculty only—but its programming has been significantly reduced. In normal times, the museum would be opening 10 to 12 exhibitions a year. Since March, it has been able to open just two exhibitions in its galleries: displays of medieval objects and art from West and Central Africa, both incorporating loans from the Wyvern Collection whose shipments had arrived before the virus spiked on the East Coast.
The Bowdoin College Museum of Art in Brunswick, Maine
“If we could show you the number of plans we have drafted, thinking that right around the corner we’d be able to implement these plans—and how many of those plans have ended up in the trash can,” says Frank Goodyear, who is co-director of the museum alongside his wife, Anne Collins Goodyear. The campus is currently in code yellow, but if it moves to code orange—indicating rising coronavirus numbers and an elevated risk of contagion—the museum will close to students once again.
If that happens, the Goodyears will be prepared. During the lockdown, the directors organised the purchase of two 3D scanners to help with what they describe as explorations into “a new frontier of teaching” via e-packets of materials. In recent classes, students have been invited to virtually “handle” three-dimensional models of historic medals. (The directors noted that previous experiments with other forms of 3D modelling at the museum had led one student to an exciting discovery about the function of a pre-Colombian vessel.)
Indeed several college museums, whose primary purpose is to serve students with objects for study—and which tend to be more financially secure than many small arts institutions since they depend on funding from a wider university ecosystem—say they are taking advantage of empty galleries and cancelled programming to digitise their holdings and rework their online platforms.
“This closure showed me how far behind the libraries we were,” said Susan Dackerman, director of Stanford University’s Cantor Center for the Arts, which remains closed until further notice, along with Stanford’s entire campus. The institution has been developing 3D tours led by student guides, as well as curator- and faculty-led videos exploring works from the collection, and live online panels and talks.
The University of Michigan Museum of Art (UMMA) is similarly beefing up its online presence and digital materials—including the launch of a newsletter, Art in My Inbox, that has picked up 20,000 subscribers. It has also partially reopened its space, allowing entry to a limited number of students and faculty as well as members of the public on weekends. Socially distanced study pods have been set up in the museum’s atrium so that students starved of campus space for study and reflection can book slots.
The museum’s director, Christina Olsen, says that while the museum has reopened, the pandemic’s impact on its operaRead More – Source
Leeds Festival: Bad Boy Chiller Crew get Yorkshire bouncing
Bad Boy Chiller crew may have started out as a bit of a joke online but on Friday they provided some serious party vibes as Leeds Festival got under way.
Bradford’s notorious bassline collective got a sea of bucket hats bouncing with their infectious energy and hilarious stage presence.
The rap-dance collective brought their dads/friends onstage for a rave, while downing booze in between spitting bars.
But they were enjoying themselves for so long organisers pulled the plug.
Having overrun, the fun-loving outfit had their microphones, decks and music silenced, drawing boos from revellers as they stormed off to make room for a “No Leeds on a Dead Planet” public service video about environmental concerns around the event.
West Yorkshire Police later said they arrested two people following an incident on stage at Leeds Festival shortly after 16:00 BST on Friday.
The pair were subsequently bailed, pending further enquiries.
In recent years, the rap trio, comprised of Gareth “GK” Kelly, Kane Welsh and Sam “Clive” Robinson have have been not so quietly working their way up the bill at their home county festival, rapping over old school dance beats.
They’ve gone from starting in the BBC Music Introducing tent to one of the main stages, where they looked very at home, leading the crowd in a chorus of “oggy oggy oggy”s.
Dressed in their crispest white shirts and big red ties, the local rappers – who recently starred in their own ITV2 docu-series – raced through verses from their recent mixtape and debut album, including 450 and BMW, as well new track When It Rains, It Pours (thankfully it didn’t, as the clouds covered the Yorkshire sun for the first time on Friday).
They raced through beer, cider and vodka at an (alarmingly) equally rapid rate, as a family friend known affectionately as Kitchen Steve twirled a cane in a head-masterly fashion and Kelly’s dad Hopper, wearing a Burberry outfit, threw out some serious shapes and hip shakes.
One Twitter user commented: “Omg! Bad Boy Chiller Crew. What is this?! It’s like [Welsh act] Goldie Lookin Chain on speed. There is even a ‘Bez'”.
Robinson even appeared to have had an influence on, or at least reflect, some of the festival-goers’ fashion senses, with mullets adorning the heads of young men at Branham Park, for possibly the first time in decades.
Rap music from around the UK regions, not just the capital, has become more prominent on the bill here in recent years. “It’s tongue-in-cheek funny and unashamedly Yorkshire,” wrote the BBC’s Will Chalk about Bad Boy Chiller Crew – who recently launched a fans for foodbanks initiative – in an interview two years ago, when they were just starting their journey to where they are now.
Earlier on Friday, emo rocker Willow Smith, daughter of Will and Jada Pinkett Smith brought the first big singalong of the day as the crowds began to arrive in the searing heat, with one of the songs of last year, her viral hit Meet Me at the Spot.
She followed it up with a new one of her own, Hover Like a Goddess. “Every woman is a goddess,” she beamed, drawing loud cheers.
Bastille did an early set on Friday evening, having just released an extended version of their latest album Give Me the Future.
They told the BBC that performing at the double header Reading and Leeds Festivals 10 years ago in a smaller tent – and hearing one of their softer songs sung back to them with gusto – was the first time they thought they were really on to something as a band.
“We had to stop because I was it was so blown away, it just was just so overwhelming,” said singer and songwriter Dan Smith.
“That was kind of amazing moment, as particularly as back 10 years ago, Reading and Leeds was much more like rock and heavy music. So as a as a weird little cinematic indie band, and being the massive cynic that I am, I was like, ‘what’s the crowd gonna make of us?’
“So to have that first experience all those years ago was pretty surreal.”
The Leeds leg of the Bank Holiday weekender was officially opened on Thursday evening by up-and-coming Sunderland indie rocker Tom A Smith, who recently supported Sir Elton John. Afterwards he told the BBC it was “without doubt the best [gig] I’ve ever done”.
“We had mosh pits and people singing my songs back,” said Smith. “It was absolutely insane, what an experience.”
Reading and Leeds Festivals take place across two sites and will feature headline performances at each from artists including The 1975, Dave, Arctic Monkeys and Megan Thee Stallion.
Read from: https://www.bbc.com/news/entertainment-arts-62686220
On my radar: Moses Sumney’s cultural highlights
theguardian– Singer-songwriter Moses Sumney, 29, grew up between Ghana and California and studied creative writing and poetry at UCLA. His piercing falsetto and genre-defying music have brought him critical acclaim, starting with his self-recorded 2014 EP Mid-City Island, followed in 2017 by his debut album, Aromanticism, and the 2020 double album Græ. Sumney has collaborated with musicians including Bon Iver and James Blake and toured with Solange and Sufjan Stevens. His latest project is Blackalachia, a self-directed concert film created in association with WePresent, shot over two days in the Blue Ridge Mountains of western North Carolina, where he lives.
Selling Sunset (Netflix)
I pity anyone who hasn’t seen this show. It’s a reality show about a real estate agency in west Hollywood, and it follows the lives and deals of the people who work there, predominantly the female staff who are all ridiculously Barbie-ish – essentially “career Barbie on crack”. It’s incredible. I love reality TV – it tells us a lot about humanity. Reality shows are always inherently dated, so they’re a great capsule of the modern era.
Don’t Be So Hard On Your Own Beauty by Yeule
I don’t know what it is about this song, but I’m addicted to it. Yeule is a Singaporean artist based in London who’s kind of new on the scene, and this song is just so hypnotising – it hints and winks at hyperpop while being an absolutely heart-shattering folk tune. It’s a beautiful amalgamation of a lot of different genres, and it’s stunning. I have a lot of playlists – for driving, for chilling at night, a morning playlist, a folk playlist – and this is in all of them.
How to Do Nothing by Jenny Odell
I’m currently reading this – I put off reading it because it looks like a self-help book – but it’s really fascinating. The author is an artist who works largely in digital art and the book is about how to free yourself from the capitalist trappings of the workforce – not necessarily saying “quit your job”, but suggesting a new path for work. It asks the question: how can we construct our identities apart from defining ourselves by what we do and by our income? It’s a very radical book, and it’s often a hard read. But it has been mind-shifting.
Western North Carolina
I’ve been travelling a lot for work, so I’ve been thinking about how much I would prefer to spend my time in western North Carolina, particularly in the mountains, where I live. I think it’s the most beautiful place in the world. I first arrived in Asheville when I was on tour and knew immediately I wanted to live here. You turn around, 360 degrees in any direction, and you’re surrounded by trees, by the sound of animals, and that’s really a rare feeling for anyone who’s spent most of their life, as I have, living in the city.
Eve’s Bayou (Kasi Lemmons, 1997)
This stars a young Jurnee Smollett, who recently had a resurgence with Lovecraft Country. She’s 10 years old in the film, which is set in a fictional small town in Louisiana. Samuel L Jackson stars as the patriarch of the family, who is maybe cheating on his wife, his daughter sets out to kill him and punish him, perhaps through witchcraft. It was incredibly critically acclaimed and subsequently snubbed by every major award ceremony. It’s a gorgeous, heartbreaking film. I first saw it last year and I think about it every day.
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