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Arrival

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The main character of Denis Villeneuve's Arrival, Louise Banks, (Amy Adams) is a linguist who has written a book called The Universal Language. Of course the pet theory of the famed MIT linguist Noam Chomsky is "universal grammar" and like Villeneuve's main character he's an activist who has tried to create peace in the world. Despite Chomsky's sui generis reputation, it's unusual to find linguists, who are usually associated with the more esoteric reaches of academe, represented as super heroes or in this case heroine--who save the world. One of the other captivating elements of Arrival is the way it links science fiction and ethno-anthropology, to the extent that both deal with a form of stranger anxiety, in which the interpretation of the other inadvertently says more about the intention of the perceiver than the thing or creature being perceived. Deconstructionists will undoubtedly revel in the earthlings misplaced attempts to anthropomorphize the creatures who have arrived in ships that look like Brancusi sculptures. God also comes into play, since the first attempts that Louise and her team make are very much like puny men trying to make sense of the divine. The movie is brilliant in its construction. In the beginning, Louise is heard in voice over intoning, "We are bound by time and its order. Now I am not so sure I believe in beginnings and endings." The tone is lyrical and romantic, creating a tristesse that you at first associate with the tragic loss with which the film opens. However, the meaning ultimately becomes more linguistic and academic as it's tied to the notion of the alien culture's "non-linear orthography." It's not that Banks is prescient; her new found ability is actually retrospective. Spoiler alert. It's something that helps Louise eventually rewrite her own history.














{This was originally posted to The Screaming Pope, Francis Levy's blog of rant and reactions to contemporary politics, art and culture}

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The Social Psychology Behind Fashion

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What are the most interesting ways signaling theory has shaped our contemporary culture? originally appeared on Quora - the knowledge sharing network where compelling questions are answered by people with unique insights.

Answer by Judith Donath, author of The Social Machine and former director of the Sociable Media Group, on Quora.

One quite interesting way that signaling has shaped the contemporary human world is the rise of fashion, in clothing, but also in many other areas, including slang, car styling, management theories, programming languages, painting styles, etc. Like many costly signals, fashion appears frivolous and wasteful: why do we feel a need to continually replace perfectly good things with something new and different?


My hypothesis is that fashion is a signal of one's skill with information -- of one's access to it and one's ability to distinguish good information from bad. To be at the forefront of new fashions you have to both be privy to knowing what is new and upcoming and also be able to distinguish which is going to be the next cool new thing from something that is merely odd and different. The cost in fashion is the risk of making a mistake, of adopting the wrong thing.


The rate of change in fashion, the acceleration of information, moves faster and faster. Around the time of the birth of fashion around the 15th century information moved very slowly. It could take a year for the information about what was being worn in the courts of Paris to reach a princess in Poland. Today fashion moves around the globe instantaneously and fashion changes faster and faster. On the negative side, fashion thus creates tremendous waste, understanding the motivation behind it is key to ameliorating this problem.


But fashion is also closely related to innovation adoption. We can think of them as orthogonal phenomena: a pure fashion has no practical utility and is adopted solely for signaling social position while the ideal innovation is all utility, adopted for its usefulness. Understanding their interplay helps us understand why new ideas do and do not spread.





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Joy to the World

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Every year since its first broadcast in 1928, a magnificent tradition has been performed on December 24th (Christmas Eve) It's called The Festival of Nine Lessons and Carols and is performed by The Kings College Choir in Cambridge. The service includes carols and readings from the Bible. The opening carol is always 'Once in Royal David's City', and each year there's always a new, specially commissioned carol. The composer of this year's commissioned Christmas carol is British composer Michael Berkeley CBE. who has set to music the traditional 15th century Christmas text This Endernight. The carol will receive its first public performance on Christmas Eve at this years Festival of Nine Lessons and Carols.

As a young boy, I attended Lancing College, an English independent boarding school in the British public school tradition whose alumni include such literary icons as Evelyn Waugh (Novelist. Brideshead Revisited,) and Tom Sharpe (the satirical novelist). Other alumni include Sir Peter Pears (tenor), and my peers and fellow students in 1962,2016-12-08-1481199301-2729017-LancingChapelweb.jpg Sir Tim Rice (Lyricist. Jesus Christ Superstar) Chris Hampton CBE. (Playwright. Dangerous Liaisons) Sir David Hare (Playwright. The Hours, The Reader) and Jeremy Sinden (Actor. As Time Goes By, Middlemarch). The year before I arrived at Lancing I was chosen to sing the solo for "Once in Royal David's City," at my prep school Carol service. During my years, at Lancing (1962-1967) we were required to attend "chapel" twice a day (matins and evensong), seven days a week, and I would sit there lost in the pageantry and beauty of the music.I fell in love with choral music from the first day I sang "Once in Royal David's City in 1961, and continue my passion for it to this day. 4000 miles away in Arlington Virginia, around the same time, my future wife and musical partner was singing in The Rock Springs Children's Choir. She also, to this day, has an enduring passion for classical and choral music.



The Kings College Choir reputation resonates with millions of people around the world. They're one of today's most accomplished and renowned representatives of the great English choral tradition. The choir was first founded in 1441 by King Henry VI when he also founded its namesake college as part of Cambridge University.

Nowadays, Kings College Cambridge Choir comprises 16 boy choristers, between 9 and 13 years old, and 14 male Cambridge University undergraduates who're studying for various degrees. The 14 male chorister undergraduates all reside at Kings College, while the boy choristers are educated just across the river at King's College School where their education is the same as all their fellow students except that their choral commitments are handled before or after school hours.

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Henry VI specified originally that the "16 choristers were to be poor boys, of strong constitution and of 'honest conversation'. They had to be under twelve years of age when admitted, and able to read and sing. In addition to their choral duties singing Matins, Mass and Vespers, they were required to wait at table in Hall."

Much of the choir's fame derives from The Festival of Nine Lessons and Carols that is broadcast worldwide to millions of people on Christmas Eve. The Festival of Nine Lessons and Carols is a service of Christian worship celebrating the birth of Jesus. From 1931, the Festival of Nine Lessons and Carols has been broadcast consistently every year until modern day. The Nine Lessons, which are the same every year, are read by representatives of the college and of the City of Cambridge from the 1611 Authorized King James Version of the Bible. The singing is divided into "carols" which are sung by the Choir of King's College, Cambridge, and "hymns" that are sung by the Choir and congregation.



Stephen Cleobury CBE. is the Director of Music at Kings College Cambridge and Choir Master and Organist. He was born in Bromley Kent in 1948 to John and Brenda Cleobury, 2016-12-08-1481223213-9117348-StephenCleobury.jpgand educated at Kings School Worcester after which he became an organ scholar at St John's College Cambridge. During the mid-70's he was head of music at St Matthews Church Northampton and Northampton grammar school and in 1979 became Master of Music at Westminster Cathedral. In 1982 he took up the position of Director of Music for the Choir of King's College Cambridge which he holds to this day. In addition, he was conductor of Cambridge University Musical Society from 1983 until 2009.

Stephen Cleobury became the President of the Royal College of Organists from 1990 until 1992. Also, a Fellow of the Royal College of Music he became a visiting Fellow at the Louisiana State University School of Music for a year in 2013. He's married to Emma Cleobury, and they live in Cambridge with their two youngest daughters. He was appointed CBE. in the 2009 Queen's Birthday Honors for services to music. It's no surprise therefore, that all the accomplishments that have been bestowed on him during his tenure as Director of Music at Kings College have added to the true excellence of the Choir. Stephen Cleobury's dedication, artistic integrity, and passion for music is palpable in every King's College choir performance.

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On November 29th 2016 The Prince of Wales and The Duchess of Cornwall visited Kings College. Their Royal Highnesses were on a visit to Cambridge to mark the bicentenary of the Fitzwilliam Museum and to celebrate the 600th anniversary of the Cambridge University Library. After their visit to the Fitzwilliam museum, The Prince and The Duchess visited King's College Chapel to attend a Choir rehearsal. They were escorted to the Chapel by the Provost and greeted by the Dean, The Rev Dr Stephen Cherry. After enjoying the rehearsal, the royal couple met members of the College and Choir. The Prince of Wales attended Trinity College (1970) and is also a Patron of the Cambridge Commonwealth
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This festive season we will bustle around shopping, wrapping, and planning special meals to commemorate what we hold dear. We'll reach out to family and friends and, hopefully, a few strangers who need a bit of extra love. We'll walk our dogs, work and play, and probably2016-12-08-1481233671-9470557-KGS0017500x500.jpg complain a little bit about how hectic it all is. When the glorious moment arrives, we'll gather together. and pop our champagne, crack open some Andes Gran Malbec, or warm ourselves with wassail. Everything'll be ready, everything'll be perfect. Hang on, what about the music? What music appropriately conjures the beauty, tradition, and the majesty of our most prized celebrations? We suggest, if you haven't had the privilege of hearing the Kings College Choir of Cambridge led by Stephen Cleobury, that you tune in on Christmas Eve to either watch the Choir on PBSTV, or listen on BBC Radio 4 World Service, as well as treat yourself to something splendid and purchase 12 Days of Christmas, The King's Men's latest album, which was released on Friday 14 October 2016. It's available in CD format from the Shop at King's or as a download from iTunes. Many other fine recordings and DVD's are also available for sale at The Official Shop at King's College.

"I am delighted that, after the success of the first King's Men recording on the College label, the Choral Scholars have recorded this outstanding new collection of Christmas music. That they have planned, rehearsed and performed for this recording themselves is testament to the professionalism of Choral Scholars at King's, and the results speak for themselves." STEPHEN CLEOBURY



It truly is amazing what mankind can achieve when we raise our voices together. The dedication and passion that fine arts musicians and vocalists put into their performances take a lifetime to achieve. They practice, and practice, and practice so they can offer us the perfect reflection of our hearts for a few moments. So, when we're toasting this year, raise a glass of respect for the truly accomplished artists who bring us such joy and meaning through music, making us proud to be human beings.

A Festival of Nine Lessons and Carols will be broadcast live on BBC Radio 4, World Service and relayed on hundreds of stations across the US at 3pm GMT on Christmas Eve. In the Boston TV viewing area, A Festival of Nine Lessons and Carols will be broadcast on WGBHPBS at 10.00 am on December 24th. Check your local PBS and BBC Radio 4 World Service stations in your area to receive current schedules.

If you're interested in finding out more about what's involved in becoming a chorister at King's, please contact Sarah Williams at choristers@kings.cam.ac.uk or visit the King's Chorister Website
We wish everyone a very Happy Christmas, Joyeux Noel, Feliz Navidad, Happy Hanukkah and Joy to the World.


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Journey to the Center 6am

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I have been thinking about this essay for a long time and have been afraid to write it.

I have found that introspection about my work and contribution to the collective dialog leads me down a path of doubt and lack of confidence that springs up like the attack of a cobra, and brings up questions about my purpose and the depth to which I am willing to go. Do I have the courage to take the next step that transcends logic and begins to enter the realm of art? Should I do it? Can I do it?

Part of the equation is the medium that I have currently chosen with which I have chosen to work. For the past few years I have concentrated on the written word as the conduit for expression. I have been an essayist by avocation. But currently I have been feeling the need to go beyond what I have been doing and push myself to a larger palette. But does the written word allow for the expression of one's inner world or is it simply a tool for observation and commentary? To this point I have been experimenting with the latter as I have explored topics that interest me, such as technology, the visual arts, and the corporate gestalt. I have concentrated on the essay as the vehicle for communication as I consider the attention span of the reader and my own ability to sustain a thought. As I work I sometimes ask myself if I have satisfied an audience- not matter how large or small? But lately I have been asking a different question: does it matter? Is the purpose of my work a question of a conscious engagement of the reader or should I transcend and explore my personal truths? If so, I must, of course, first establish what they are.

To me, the steps to be taken at this point are to focus on the process, the process of creation, and accept the fact that the output will be flawed but that each attempt will take me deeper and build my skill in the world of ideas and emotion. I am committed to summoning the courage to do just that.

I would like to thank those of you who have read and considered my work and I hope you will stay with me as I attempt to go where I have not gone to date. Your support is greatly appreciated.

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Patti Smith Made Us Cry. But Why?

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Patti Smith Made Us Cry. But Why?

In our superfast turnaround-information world, much has already been written about Patti Smith's stunning rendition of Bob Dylan's "A Hard Rain's A-Gonna Fall" at Saturday's Nobel Prize ceremony in Stockholm. Some writers saw her performance as "transcendent"; others considered it "botched" because at one point Smith had to stop singing and begin again, admitting to an audience of royalty of all sorts that she was "very nervous." Some clearly felt that her admitted vulnerability really only added to her great success. The applause, both when she confessed her nervousness and when she ended her performance, was enormous.

Not only did Smith sing Dylan gloriously--with his own phrasing, imperfections, and raspy, affected voice--she sang it now, at a time when it seems everyone understands that the song is a perfect choice for the world we are living in. Sounding prophetic, folkloric, and completely American, Smith stood as Dylan's surrogate at this most auspicious of all ceremonies.

Patti Smith's performance moved many to tears. Elegantly dressed women in the audience cried; reporters writing about the event admitted they had cried; and those of my generation, the 1960s, watching it on YouTube surely cried, too. But why?

Many forces converged to move us to tears. The first simply was Patti Smith herself--looking so elegant and androgynous and plain with her long silver hair, her white shirt, her voice soft when she asked for forgiveness, whether for forgetting the words or losing track of the words or simply succumbing to emotion: "I am sorry, I'm so nervous." That vulnerability surely made me cry.

And the song, well, that song appeared in1962 in the middle of many struggles in this country, during the Civil Rights movement, the Vietnam War. And for those of us who lived through that time, the song resonated then with its enigmatic imagery as it resonates now, attesting to the timelessness of a great poem and a great American ballad.

But perhaps most significant, we cried because "A Hard Rain" is already falling. A reign of terror of a kind, a reign of undoing of all we've believed in, built, struggled for, an undoing of all those small and large successes over several decades in moving the country forward to fulfill its mission of democracy. We cried because we are living in a moment when that undoing of progress is undoing us. Every day the incoming administration proposes another unbelievably inappropriate choice to fill critical positions in government, people who--judged by most standards for progressive thinking, clear-headedness, and respect for other humans and the planet--have no business being considered at all. Every day we see this new concept of "post-fact truth" invading what once appeared to be a rational society committed to scientific truth, compassion, inclusiveness, and decency.

So there she was, Patti Smith, a big talent herself, who had also lived through the '60s, accepting the Nobel Prize, the highest acknowledgment of creativity awarded in this world, for another great artist, whose quirkiness kept him away. And she did it magnificently. For a moment, we could be proud of our country, proud of the brilliance of the artists who have emerged from our struggles, proud of the cultural contributions they have made to the world. Of course we cried. We were proud but we were also mourning. And perhaps the ceremonious event reminded us that we too could cry and be overcome with nervousness and emotion, because our hearts have been broken and not for the first time.

A hard rain is already falling. It is pelting us daily, and the real rain/reign has not even yet begun. But the resistance in our hearts already has. So maybe, too, we were crying to prepare ourselves for the battle ahead.

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Five Female Art Curators From The Middle East You Should Know

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The glitz and glam of exclusive parties, record-breaking sales, and provocative performances came to an end as curtains fell on Art Basel Miami last week. However, all the hype in the United State's seaport city can be a poignant reminder for many art-lovers of yet another aesthete region that is oftentimes synonymous with instability, repression, and at times "anti-western" sentiments.

In the Middle East region today--for many, especially young women--art appears as a bullet-proof mask, an escape valve, or at points, a liberating window of opportunity. While it may come as a shock, many Middle Eastern women are an integral part to and often on the forefront of some of the most innovative art that emerges from the region. This is while the majority of art organizations, institutions, commercial galleries and residency programs are formed and run by women.

In this centuries-old region, while political turmoil and social confinements often dominate news headlines, fresh female voices continue to emerge from countries like Iran, Saudi Arabia, and Turkey. These are women whose artistic instincts act as a fresh breath of air into the stagnant narrative that often emerges from their politicized societies--among the most powerful and creative of these women are the curators whose vision has the power to frame the industry's hungry appetite . Featured here are five emerging female curators from Saudi Arabia, Iran, UAE, Turkey, and Palestine who expand on the meaning of art in their country and what's its like to be an art-industry professional in this region.

Raneen Bukhari
Lives and works between Jeddah, Saudi Arabia.
Bukhari grew up in what she calls "a business/art environment" with an artist mother and a self-made successful businessman father. In 1990, her parents opened Desert Designs. Upon graduation Bukhari opened up a cafe in the Desert Designs store named Cafea Arab and also manages the Desert Designs art gallery with her team. In addition to her involvement in the family business, Bukhari is the creator and curator of LOUD Art, a Saudi initiative and brainchild of Desert Designs Art Gallery and a co-organizer of Huna Art, a platform for casual art talks. She is now expanding to go beyond the confines of the gallery walls and create pop up art shows in all kinds of locations.
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Photo Credit: Khaleejesque

TK: Define Saudi Arabia's art scene.
RB: It's still in the beginning and in our country we only have 50 years of art with the giant 30 years of gap where nothing happened during the Islamic revolution. We have a lot to learn and explore, and very few artistic expressions are devoid of Western influence.

TK: How does your curatorial practice shed light on the socio-cultural and political issues facing your country and the region?
I try to give space to artists that might be exploring the gray area of artistic freedoms in Saudi Arabia. There is a fear of what the government and society will accept; so in that way I think giving them the freedom to create sociocultural and political work is shedding light on the topics. 

TK: What are some of the challenges of working in your country? 
RB: Little or no formal education for artists can be a disadvantage. There is very limited public funding and awareness of the importance of art in private and public spaces. Also, there is high restriction on creative freedom; for example, sculpture is still looked on as a provocative medium as it relates to idolatry. 

TK: If you could curate an art show for the US president-elect Donald Trump, what theme would you choose?
RB: A Kara Walker-esque art show about American People of color and minority groups whose traditions and cultures have become a major part of American history. To use artists from each community to highlight what being American really is, and continue the conversation about why the white majority seems to find it so hard to accept and embrace them.

TK: Tell us about your upcoming project.
RB: LoudArt's fifth edition and also a show with a collective that I am a part of where the British Council has trained to increase their capabilities as curators. LoudArt will be next May and the graduation project of the BC training will be October 2017.

Lila Nazemian
Lives and works between Tehran and New York.

Nazemian is the Curatorial and Special Projects Associate at Leila Heller Gallery in New York. Her independent projects include curating Spheres of Influence, the first group show of Arab contemporary art in Iran, at Tehran's Mohsen Gallery in April 2016 and two co-curated shows in collaboration with Culturunners at the Redbull House of Art, Detroit in June 2015. 
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TK: Define Iran's art scene.
LN: Although Iran has a rich centuries-old art history and has even had a prolific modern artistic movement (the Saqqa-khaneh) in the 1960s, the contemporary art scene has been relatively isolated from the global arts community due a variety of factors such as revolution, Iran-Iraq war, and crippling sanctions. Despite such challenges in the past three decades, new private galleries regularly open in various established commercial spaces. The local Tehran Auction has organized several auctions since 2012 and the Tehran Museum of Contemporary Art (TMOCA) has contributed and taken initiative by launching a dynamic international program alongside displays of its infamous collection of Postwar and Modern Western Art. Private residencies such as KOOSHK in Tehran and Va in Isfahan host international artists and provide a collaborative exchange between local and international creatives. As the country is slowly reintegrating into the globalized world and opening its doors to foreigners, the scope of the arts community will undoubtedly continue to expand and evolve.

TK: How does your curatorial practice shed light on the socio-cultural and political issues facing your country and the region?
LN: Within every society, artists, curators, and critics often observe and respond to particular moments in history. With each project, I strive to connect themes, historical moments, and people by raising--at times-- uncomfortable truths. In the Middle East there are multiple layers of competitive, controversial, and contextually specific relationships both on the macro level such as countries, religious groups, ethnic groups as well as micro level like: laws, environmental initiatives, and nation building. I strongly believe that where there is conflict there is room to learn about one's self and others. I look to bring together groups of artists whose works not only have a dialogue with one another, but also constitute various pieces of a puzzle, which ultimately can address a contentious topic,place, and situation--hopefully with a bit of irony.

TK: What are some of the challenges of working in your country? 
LN: One of the main challenges in this part of the world is censorship. I do believe however, that obstacles and censorship compel the artistic community to be more creative. The artists' criticisms and messages are ultimately revealed not in an obvious manner, but in a much more cryptic and complex fashion. In some ways, censorship ends up being both a curse and a blessing; while artists are not permitted to speak freely, once they find their way to voice their opinions, their messages are richer and more profound.

TK: If you could curate an art show for the US president-elect Donald Trump, what theme would you choose?
LN: I would commission a group of artists around the world to create video works around the theme of Trump Towers in cities in different countries like Azerbaijan, Argentina, Russia, the Philippines and of course, the United States. Central to this project would be the medium of video art, and furthermore the voices of artists from around the world describing, questioning and challenging the impact of such real estate developments in their local cities and communities.

TK: Tell us about your upcoming project.
LN: I am currently working on a show around the theme of mainstream media and the ways in which narratives shape opinions by ignoring or accentuating certain facts. In my upcoming show, Emphasis and Omission: Accounts of a Hospital Airstrike, five Yemeni new-media artists are invited to weigh in on the current war taking place in Yemen and to create new work based on the conflicting news media reports on an airstrike attack on a hospital in Yemen's northwestern region on August 15, 2016. As expected, by comparing reports from various international media outlets, inconsistencies in the accounts are evident, which will ultimately reveal various underlying global political allegiances.

Munira Al Sayegh 
Lives and works in Abu Dhabi, U.A.E.

Al Sayegh holds an undergraduate degree in History of Art and Archaeology from University of London's School of African and Oriental Studies with a focus on the Middle East. She has worked at NYU Abu Dhabi as an assistant producer on the FIND project and was the co-curator of Art Dubai Projects 2014 as well as assistant curator of Emirati Expressions in 2015. She is currently working on the Guggenheim Abu Dhabi project as a Programs Officer. Al Sayegh sits on the advisory council board of the NYUAD gallery and has published various articles on the contemporary art scene in the region. She is curating the 2017 edition of UAE Unlimited Exhibition hosted in Abu Dhabi titled Bayn.
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TK: Define the Emirates' art scene.
MAS: Unlike what many think, the art scene in the UAE is not a recent phenomena, but has been around since the 1970's. In the present, Sharjah leads with its grassroots initiatives, always integrating the art scene within the already existing community spaces. In the early 2000's Dubai proved itself to be the commercial hub for the Arts--in the present day we have spaces such as Al-Serkal Avenue, which is home to local and international galleries and creative spaces in the heart of the industrial neighborhood.
In the capital, Abu Dhabi, an entire island known as Saadiyat is being built and will be home the Guggenheim Abu Dhabi, the Louvre Abu Dhabi, and the Zayed National museum. So in a nutshell, I would say that the ecosystem in the UAE is in constant evolution and that evolution has become a part of the identity of the country's art scene.

TK: How does your curatorial practice shed light on the socio-cultural and political issues facing your country and the region?
MAS: Being from the UAE I grew up in a multi-national society. So my curiosity as to how we are looking at 'change' from an anthropological and sociological way is very important when it comes to my work. The end result of an exhibition is always a reflection of the current issues as well as the ideas discussed in the UAE and the Gulf. With the rapid change that this young country has gone through in addition to the consistent shifts that continue to take place around us, questions of identity, social hierarchies, and the rearranging sense of language are all major factors reflected in the art scene.

TK: What are some of the challenges of working in your country? 
MAS: One of the main challenges is the way that each country works as a separate entity. There needs to be a bridge that combines the Gulf as a whole in order for the multiplicity of voices to be heard from a grassroots perspective. This brings up a second point that addresses the need for non-formal institutions to also rise alongside the large-scale international institutions in order to satisfy that which does not trickle down from the top. I would say once the challenges are satisfied, only then we can have what could be considered as a more holistic art scene.

TK: If you could curate an art show for the US president-elect Donald Trump, what theme would you choose?
MAS: I would look at the theme of separation in order to get the point of unity across by blurring boundaries of borders by engaging artists in producing works that look at division. Furthermore, I would open up the conversation to look at the insensitivities that are derived from hate in order to discuss the perspectives found in the lack of understanding of what unifies us as a global population.

TK: Tell us about your upcoming project.
MAS: It's a project under the patronage of His Highness, Sheikh Zayed bin Sultan's foundation, UAE Unlimited in collaboration with Sheikha Salama Foundation, New York University Abu Dhabi, and Marayah Arts Center. The upcoming exhibition, "Bayn"; looks to deconstruct and reconstruct labels, boundaries, and identities assigned, defining this constant state of transformation as a part of the present genetic make up of the UAE shedding light on personal, social, and environmental changes currently taking place.

Ulya Soley
Lives and works in Istanbul.

Upon her graduation from Robert College, Ulya studied art history and psychology at McGill University in Montreal, Canada. She spent a year at the University of Glasgow as an exchange student focusing on art history and comparative literature. In Berlin she participated in a round table discussion on historicizing video art as a speaker at the Moving Image fair, Istanbul. Currently she works at Pera Museum in Istanbul and writes for Sanatatak and Istanbul Art News. She is a co-founder and curator at Maybe Art Projects
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TK: Define Turkey's art scene.
US: Turkey's art scene is changing and evolving rapidly. It is definitely exciting to watch it expand in all dimensions, but quite hard to explain the complexities that define it. Private museums and investors that are key players to the development of the art scene have only been around for the past 10-15 years. Unfortunately the state support to contemporary art is minimum. The Istanbul Biennial is another very influential international event that has a 30 years long history. Although in its short history, Turkey's art scene has grown to become an interesting case due to the country's complex geographical and political situation.

TK: How does your curatorial practice shed light on the socio-cultural and political issues facing your country and the region?
US: I'm hoping to develop and work on projects that focus on contemporary thoughts and concerns at a global level. I'm interested in introducing, developing or contributing to these ideas and raising awareness in our present-day context.

TK: What are some of the challenges of working in your country? 
US: Freedom of expression is problematic, and insufficient funding is challenging. Instability of the political environment makes art a privilege. However, international perception about the area makes it difficult to collaborate with international partners.

TK: If you could curate an art show for the US president-elect Donald Trump, what theme would you choose?
US: I choose not to do a show for one specific person and have no answer for this question.

TK: Tell us about your upcoming project.
US: I'm part of Maybe Art Projects, a curatorial duo and we are currently working on a screening and talk program that brings together visual artists who engage with intersections of video art and film in their work.

Lara Khaldi
Lives and works in Jerusalem

Khalidi is an independent Palestinian curator. She currently teaches art history and theory at the International Academy of Art, Palestine, Ramallah and at Dar Al-Kalima University College of Arts and Culture, Bethlehem and is the interlocutor for the upcoming Sharjah Biennial 13 project in Ramallah.
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TK: Define your home country's art scene.
LK: It's an art scene continuously in flux because of the political instability. In Ramallah and Bethlehem for example many new institutions are opening and growing because of a relatively more stable political and international and local private funding situation. Possibilities for artists to exhibit and show their work has also been growing with new exhibition spaces like the artist-run space Khalil Sakakini Cultural Center, the Birzeit Museum, and the AM Qattan Foundation. An interesting debate in the Palestinian art scene is taking place now with the opening of many new museums, and many artists have been making art works around lost archives and new museums.

In Gaza the cultural scene suffers from the general problems of infrastructure caused by the Israeli siege and the many wars waged against them. As for the volatile city of Jerusalem, institutions suffer a lack of funding and a daily challenge in inviting audiences to immerse in public life, as there has been a withdrawal caused by a very tense public sphere.

Although the fragmented territory and contexts make it difficult for us to collaborate, it is for this very reason we have started Qalandiya International in 2012 which is a bi-annual program of exhibitions and artistic events run by a steering committee of visual arts institutions across Palestine.

TK: How does your curatorial practice shed light on the socio-cultural and political issues facing your country and the region?
LK: For the past few years I have been very interested in the proliferation of museums in the region and specifically in Palestine. In a paper for the Institute for Palestinian Studies conference I presented notes on artist's' work which portray museums in the region as flat and self referential, and where the museum becomes a space for the announcement for the death of a struggle for emancipation, especially in the Palestinian case. I also formed a due with artist Yazan Khalili where we work on lecture performances, some of which have dealt with the history of the conflicted history of the Arab Union (Love Letters to a Union).

TK: What are some of the challenges of working in your country? 
One of the many problems we face here in Palestine in the cultural scene is an isolation and a disconnection from other practices and practitioners in the Arab world and abroad, travel between our neighboring countries (and travel in general) has been near impossible since the Nakba of 1948, and so we have suffered a cultural caesura which is quite incommensurable. However there are advantages in these challenges that could more often be seen in the conceptual questions born out of the complexities of the region. For example, the question around building museums here in Palestine becomes a very interesting one which could subvert and change the question around the museum globally.

TK: If you could curate an art show for the US president-elect Donald Trump, what theme would you choose?
LK: One can either take this question seriously or sarcastically, as I think there is something very sarcastic in the fact that Trump is the president of the United States; or perhaps it is not sarcasm but simply the truth finally revealed, whereby the real leaders of America, capitalists, are now "officially" or "legally" ruling. To answer this question, I will use an anecdote. The Museum on the Seam is a Palestinian house built in 1932 by the Baramki family and was occupied by the Israeli military in 1948. Today it is called Museum on the Seam because it is located on the "1949 armistice line" which divides Jerusalem into West and East. The curators attempt to invite Arab and Palestinian artists along with international artists to reflect on 'borders' mostly because the museum is located on the now invisible but very palpable 'seam'. Of course many artists declined the invitation until one day an artist did express interest and accepted the invitation. After a few months of research on the history of the building, the artist submitted a detailed proposal for the museum. His proposed art work was that the building of the museum be returned back to it's rightful owners, the Palestinian Baramki family. Naturally the proposal was turned down by the museum curators and staff, and every document pertaining to this proposal was destroyed. I would basically invite this artist for an unconditional solo project for US president-elect Donald Trump at the white House.

TK: Tell us about your upcoming project.
LK: "ékleipsis", which is a small project within a wider program on Collectives with the AM Qattan Foundation. It is a loose adaptation of two theatrical plays into a combination of artistic forms. The two plays are, A'tma, authored and produced in Palestine in 1972 by the Avant garde theatre group Balaleen, and Victory Over the Sun, produced in Russia in 1913 by a group of Avant garde Russian artists and poets. Both plays address similar revolutionary questions around the notion of collectives, how collective work was poured into making plays about collective participation, the subversion of hierarchies and revolutionary thought and labor. Three groups of students will also be invited to participate in the adaptation, visual art, music and theatre students where they will be invited to collectively think through the adaptation, possibly resulting in an exhibition, and a theatre play or a combination of both.

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Michael D. Linares, 2016 Artist in Residence, Davidoff Art Initiative (VIDEO)

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Michael D. Linares is a Puerto Rican artist who works in a variety of media. He currently (October - December 2016) lives and works in Basel (Switzerland) thanks to a three-month artist residency at Atelier Mondial in collaboration with the Institute of Art at the FHNW Academy of Art and Design. The residency is part of the artist residency program of the Davidoff Art Initiative, which supports contemporary art and artists in the Caribbean, and fosters cultural engagement between the Caribbean and the rest of the world. The Davidoff Art Residency offers residency opportunities for Caribbean artists in selected leading artist residency programs worldwide, as well as for international artists in the Dominican Republic. These annual residencies aim to connect today's Caribbean art more closely with the international art world. This video is a short documentary about Michael D. Linares' residency in Basel.



For more videos covering contemporary art and architecture, go to VernissageTV.

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The Magic Remains - Joffrey's Nutcracker Transformation

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The Joffrey Ballet in Christopher Wheeldon's The Nutcracker. Photo by Cheryl Mann.

by Catherine L. Tully*

A different type of excitement buzzed throughout the Auditorium Theatre lobby Saturday night. In years prior the hum has always been the lively anticipation of a ballet that was a familiar favorite-a tradition for many people in the Chicago area. But Saturday the crowd whirred with a sort of nervous tingle, awaiting the reveal of Christopher Wheeldon's new Nutcracker, choreographed just for Joffrey. Would it be as engaging? Could the production live up to its predecessor? And for many-will this ballet continue to be worthy of inclusion in holiday tradition?

As I write this, I'm doing so without my traditional reviewer's hat, because The Nutcracker is supposed to be about capturing the essence of the magic that goes on this time of year. Magic can't be dissected easily-nor should it. So instead I attended opening night as a Chicago dance lover, waiting with everyone else to see if this ballet would fill me with the spirit of the holidays as the lights began to dim and the crowd settled in all around me.

I won't take you through the story piece-by-piece, but I would like to highlight a few things that are standouts in terms of adding a new dimension to this old favorite, starting with the sheer scale of the production. This version of the ballet brings the setting home to Chicago, around the time of the Columbian World's Exposition. The set design and costumes by Julian Crouch are nothing short of spectacular, from the rapidly growing Christmas tree to the glittering skirts in the snow scene. Everything really looks fresh and new. Coupled with Benjamin Pearcy's projection design and live music provided by the Chicago Philharmonic, all the elements are in place as a perfect foil, allowing the dancers to bring the story to life.

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Joffrey Ballet company member Fernando Duarte as Chinese Dancer in Christopher Wheeldon's The Nutcracker. Photo by Cheryl Mann.

Much like a successful movie director, Wheeldon is careful to preserve some of the story elements that are beloved to the audience, including the snow scene and the Arabian dancers. Other portions have been tweaked a bit, with Buffalo Bill and his ladies replacing the Russian dancers, and the addition of two large paper dragons alongside a lone Chinese dancer. Children are incorporated seamlessly into the ballet as snowflakes, soldiers, walnuts, and more, adding a bit of delight and humor to the mix. I love the fact that musicians are brought onto the stage and included as part of the cast, and Basil Twist's puppetry is such a highlight that I found myself wishing his rodents had played a larger part in the story.

Wheeldon's choreography vacillates between traditional classical movements and more innovative patterns throughout the ballet, challenging both dancers and the audience to reach a little bit beyond the standard, basic Nutcracker fare. At times I found myself missing things such as the "usual" pas de deux, but to be fair, it can take time to embrace change fully. On the other side of things, I welcomed modifications such as the shift away from waltzing flowers to the "fair visitors", which expands the role of men a bit more in this ballet.

Undoubtedly, new favorites will emerge as this production takes the place of the old. It is difficult to re-vamp a cherished holiday tradition, but doing so allows for the possibility of renewed spirit that often comes with a fresh perspective. For Joffrey's Nutcracker the magic remains-it has just been transformed into a delightfully new holiday experience.

*Disclosure - Joffrey dancer Cara Marie Gary and Music Director Scott Speck are contributors to 4dancers.org

This post first appeared on 4dancers.org

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A Familiar Tale From a 'Bronx' Perspective

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By Sheila Kogan, ZEALnyc Contributing Writer, December 13, 2016

There are some stories that are so specific and yet also so universal that we want to hear them told over and over. Such a story is A Bronx Tale. Based on a true incident in the life of Chazz Palminteri, he first told audiences the story in a one-man show. Then the actor Robert De Niro hired him to tell the story in a screenplay which became a successful movie version; and now a Broadway musical.

From the first moment that we hear the harmonies of a DooWop group and the narrator announces that "This is a Bronx tale," we are caught up in another time and place. It is the 60s in the Bronx, New York, where life includes Italian-American Wise Guys, neighborhood racial turf wars, and issues of decency versus crime. It is serious stuff; but in this musical universe, it's leavened with humor, music, dance and good fun.

Briskly paced by co-directors Robert De Niro and Jerry Zaks, A Bronx Tale is an old-fashioned book musical that takes us along for the ride. You don't need to do any research beforehand.

The music is by Alan Menken with lyrics by Glenn Slater (who are well-known for their work on Broadway in The Little Mermaid, Sister Act and Leap of Faith). Whether it's the harmonies of the DooWop guys or the girl group, or a ballad that Frank Sinatra might have sung, the songs sound familiar - not just the styles, but the tunes seem familiar as well. Although not wildly imaginative nor ground-breaking, they are evocative and enjoyable as sung by the talented performers.

The choreography by Sergio Trujillo (On Your Feet, Memphis, Jersey Boys) is energetic and hits the right balance between street dancing of the time with a bright Broadway-entertainment style. The opening number pulls you in immediately.

The beautifully sculptural stage set by Beowulf Borritt is erected with towers that suggest city fire escapes which move and slide around, allowing for a variety of playing areas and locations. Howell Binkley's creative lighting delineates space, provides drama or just clearly shows off the actors.

Even though this is a musical, all the characters feel three-dimensional, and the performers are all first-rate. Bobby Conte Thornton makes his Broadway debut as the narrator of the tale. (The character's unusual name is Calogero). It is his story, and so Thornton's likeability is an essential quality that makes the show work. He displays so much apparent potential that the audience cares and hopes for a positive outcome. Amusingly, at one point, Calogero is upstaged by his younger self, played by Hudson Loverro. Loverro is also making his Broadway debut, although he already has a long list of stage credits for his age. Self-possessed and polished, his song-and-dance routine ("I Like It") is a highlight of the musical.

Nick Cordero, nominated for a Tony Award for his role as a gangster in Bullets Over Broadway, plays the pivotal role of this other gangster, Sonny. (Coincidentally both gangsters were played by Chazz Palminteri in the respective movie versions.) Wearing a shiny suit (costumes designed by William Ivy Long), he sings about his philosophy, which was influenced by "Nicky Machiavelli". Ariana DeBose (Jane) is the love interest and a cause of conflict. She has a "diva" voice, can dance, and projects an intelligence and sweetness; so it's understandable why Calogero would be attracted to her. Richard H. Blake and Lucia Giannetta are Calogero's solid and decent parents, Lorenzo and Rosina. The drama hinges on the question: Will Calogero follow the lifestyle of the flamboyant criminal Sonny or his father, the regular guy Lorenzo?

There is a list of characters with colorful nicknames, all of whom distinguish themselves, and who can put across some of the broad humor. Strong musical actors/singers/dancers who are entertaining to watch comprise the ensemble.

A Bronx Tale provides a fun night in the theater, while also giving you something to discuss after you leave. Times have changed, but maybe not that much. So it remains ever fascinating to see how an innocent grapples with right versus wrong - at least as told so well (again) in a different format by Chazz Palminteri and this production team.

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A Bronx Tale at the Longacre Theatre (220 West 48th Street) opened on December 1, 2016 for an open run. Previously produced in its World Premiere by the Paper Mill Playhouse (Millburn, NJ) in February 2016. Book by Chazz Palminteri; Music by Alan Menken; Lyrics by Glenn Slater. Co-direction by Robert De Niro and Jerry Zaks; choreography by Sergio Trujillo; scenic design by Beowulf Boritt; costume design by William Ivy Long; lighting design by Howell Binkley. Cast: Nick Cordero (Sonny); Richard H. Blake (Lorenzo); Bobby Conte Thornton (Calogero); Ariana DeBose (Jane); Lucia Giannetta (Rosina); Bradley Gibson (Tyrone); Hudson Loverra (young Calogero) with Gilbert L. Bailey II, Joe Barbara, Michael Barra, Jonathan Brody, Ted Brunetti, Brittany Conigatti, Kaleigh Cronin, Trista Dollison, David Michael Garry, Rory Max Kaplan, Dominic Nolfi, Christiani Pitts, Paul Salvatoriello, Joey Sorge, Athan Sporek, Cary Tedder, Kirstin Tucker and Keith White. Swings: Michelle Aravena, Gerald Caesar, Charlie Marcus, Wonu Ogunfowora and Joseph J. Simeone.

Cover: (l. to r.) Bradley Gibson and Ariana DeBose; Bobby Conte Thornton; Lucia Gianetta and Richard H. Blake; photo: Joan Marcus

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Sheila Kogan is a Contributing Writer for ZEALnyc and writes frequently on theater, dance and other cultural events.

For more ZEALnyc features read:

Lepage Holds Met Opera's New 'L'Amour de Loin' Hostage

Fazil Say Scores a Triumph as Both Soloist and Composer with Orpheus at Carnegie Hall

'Sing!' Melds Christmas Traditions and Lifts Our Spirits

For all the news on New York City arts and culture, visit ZEALnyc Front Page.

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At LACMA, Picasso vs. Rivera

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Pablo Picasso (1881-1973) and Diego Rivera (1886-1957) -- two great artists whose creativity greatly defined the art of the 20th century. Both were larger-than-life, difficult personalities. Both were born --5 years apart-- at the end of the 19th century. But it was the tumultuous 20th century, with its wars and revolutions, that informed and shaped their art.

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The new blockbuster exhibition at LACMA, Picasso & Rivera: Conversations Across Time, not only presents a number of the major works of both artists, but also juxtaposes their artworks with excellent examples of Greco-Roman antiquities along with Pre-Columbian Aztec sculptures. There is a must-read scholarly catalogue with a treasure trove of information about both artists. It's fascinating to see their early drawings --both of them making studies of ancient Greek and Roman sculptures -- exactly the way all art students around the world did at the time.

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The most surprising aspect of this exhibition for me was learning about the friendship and collaboration between the two of them: both outsiders living in Paris, still young and struggling, one from Spain and the other from Mexico. And when you have a chance to look at some of their Cubist paintings hanging side-by-side, try to guess --without looking at the labels-- which is Picasso and which is Rivera. A near impossible task.

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Another important aspect of this exhibition is seeing and understanding that through their long careers both artists continued to be in dialogue with ancient art. Looking at Rivera's painting Frida's Friend (1931) next to a sandstone Aztec sculpture of a seated man, one becomes aware that Rivera is not just inspired by the ancient work, but absorbs and digests it -- and ultimately liberates himself.

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The difference between Picasso and Rivera, as this exhibition demonstrates, is that Picasso achieved his greatness at a relatively early stage of his career. His genius is already there, even in his early self-portrait (1906). And then we see his large 1923 painting The Pipes of Pan, with its two semi-nude male figures displayed next to an ancient Roman marble male torso. And once again, here's Picasso at his absolute best. And he continues to be great through most of his career, from Les Demoiselles d'Avignon to Guernica and beyond.

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One thing this exhibition doesn't allow us is to experience Diego Rivera at his absolute best -- his famous murals in Mexico City and at the Detroit Institute of Arts here in the U.S. The Los Angeles County Museum of Art is the lucky owner of Rivera's iconic 1925 painting, Flower Day with its image of a person selling huge amount of calla lilies. Looking at this great painting, one starts dreaming of seeing Rivera's frescos next to Picasso's greatest hits. Obviously, that would be more than a 'conversation across time'... it would be a battle between two heavyweight champions, two genius artists.






To learn about Edward's Fine Art of Art Collecting Classes, please visit his website. You can also read The New York Times article about his classes here, or an Artillery Magazine article about Edward and his classes here.

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Edward Goldman is an art critic and the host of Art Talk, a program on art and culture for NPR affiliate KCRW 89.9 FM. To listen to the complete show and hear Edward's charming Russian accent, click here.

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The Final Solution: No Trump Bidding

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One of the legacies of the election is to see the whole world as the election. Certainly the recent Republican victory is reflective of a jingoist, xenophobic turn in many major western countries. Brexit had already occurred before the election and the right in France, in the guise of Marine Le Pen's National Front, has been inflamed by the spate of terrorism. Italy is the latest to join the band wagon "With Populist Anger Rising, Italy May Be the Next Domino to Fall," NYT, 12/2/16). But rather than leaving a big hole in our dialogues (some people were afraid that the level of political discourse generated by the Trump candidacy was so great and all encompassing that it was going to be difficult to resume normal conversation after all the brouhaha was over) the election has spawned a whole new set of projections. The juggernaut continues and the world seems to be characterized by Trump clones who take extremist positions based on little evidence so as to dominate situations and attract the marginalized elements in any organization who're seeking a way to upset the apple cart. Whether they are Trump supporters or not makes no difference. You begin to regard certain people who play on fear and prejudices in the way you did Trump and you feel the same helplessness as the wildfire begins to spread over a drought inflicted landscape. Subliminal and not so subliminal prejudices have been ignited by both Trump and henchmen like Steve Bannon, but these have found there way into the culture to such an extent that it's hard not to be overly reactive to anyone who dramatically postures to make their point. Those who were sure average Americans with common sense values would repudiate Trump have been traumatized and like a lot of people with PTSD, they're suffering from counter reactions characterized by their own particular kind of myopia.














PTSD Art Project by Cpl. Andrew Johnston








{This was originally posted to The Screaming Pope, Francis Levy's blog of rants and reactions to contemporary politics, art and culture}

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This 'Winter's Curse' is a Blessing: Interview with Author April L. Wood

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April L. Wood is a new author with a lot to say. Winter's Curse, her debut novel, was released in October 2016, and that's not all that's keeping April busy. She is also a book blogger for A Well Read Woman Blog, an author interviewer, a professional beta reader, and a caffeinated book reviewer. I was excited to be able to interview her about her book, career, and more.

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Congratulations on the publication of Winter's Curse! What has been the most exciting part of having your debut novel published?

Thank you, Robin! It's been a dream come true. The most exciting part of having my debut novel published was holding it in my hands for the first time. Flipping the pages and seeing my words in print was magical.

How did you decide on its title?

The title, as well as the main character's name, came to me before the story did. I'm one of those weird authors who decide on a title during the brainstorming phase, before writing the story.

What is something that you hope readers take away from your story?

"Resilience in the face of misfortune." Winter Rose-Thorne has her share of adversity in Winter's Curse. She finds her place in the world despite the seemingly insurmountable odds stacked against her.

If your book was made into a film, who would you want to play the title character?

I can totally see Emma Stone as Winter Rose-Thorne.

When did you discover that you wanted to be a writer?

At a very early age I would write stories in crayon on craft paper and have them laminated with contact paper as if it was a real book. I was very proud of those "books".

What inspires you to write?

A love for writing inspires me to write, but as far as world building and setting, definitely nature inspires me.

Do you remember the first time you truly loved a book?

My mother always read to me, which was very comforting and I developed my love for books and reading at a young age. I don't remember any specific books that I truly loved, just details all jumbled together. My favorites were the Piggly Wiggly series, fairy tale books, and the Chronicles of Narnia.

Who are your favorite authors?

A: I love the sassy writing of contemporary romance author Victoria Dahl. I would love to publish a contemporary romance, someday. And the late great V.C. Andrews is my other favorite because of her taboo nature and "children in peril" themed novels. I've never been disappointed with either author. They always put out great books.

What do you most want to achieve as a writer?

I want people to read and enjoy my stories. It means the world to me when people tag me on social media to let me know where they are within my story and say how it's "hard to put down". That is music to my ears and makes it all worth it!

What do you wish someone had told you before you became a writer?

I've actually been really lucky and have received a ton of support. I can't think of anything specific that I wish someone would have told me, because industry professionals have prepared me well. I can honestly say I've had help/someone to hold my hand, nearly every step of the way.

What's your favorite compliment that you have received on your writing?

A woman told me that she hadn't read a book in four years and that Winter's Curse is the first book she had read in that time that she will actually read until the end. She told me she lost her love of reading, and my book rekindled that and how she looks forward to her "reading time" at the end of the day. That blew my mind. As a book blogger, I'm passionate about reading and encouraging a love of reading in others. So, this was a double compliment!

What do you most like to do when you're not writing?

I love to read and blog about the books I read on A Well Read Woman Blog. Spending time with my husband at home, whether it be raking the yard or watching a horror movie.

What are your favorite TV shows and films?

I love the mindless entertainment of reality TV shows - all of 'em. And crime TV shows on Investigation Discovery. My favorite show is Nurse Jackie on Showtime, and my second favorite is 2 Broke Girls on CBS. As far as movies, I love 1970's and 80's Italian horror - Umberto Lenzi, Lucio Fulci, Dario Argento.

When are you most happy?

When I'm at home with my family enjoying time together.

You can find April at her author website and A Well Read Woman Blog. You can also follow her on Facebook and Twitter. The Kindle version of April's debut novel, Winter's Curse, will be on sale for 99 cents throughout December.

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BSA 'Images Of The Year' For 2016

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Of the thousands of images he took this year in places like New York, Berlin, Dresden, Moscow, Marrakesh, Detroit and Miami, photographer Jaime Rojo found that the image still stands prominently in the Street Art scene - along with text-based, abstract and animal world themes.

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Surprisingly the scene does not appear to be addressing the troubled and contentious matters of the political and social realms in a large way, but the D.I.Y. scene keeps alive and defies the forces of homogeneity with one-of-a-kind small wheat-pastes, stencils, sculptures, and aerosol sprayed pieces alongside the enormous and detailed paintings that take days to complete.



Every Sunday on BrooklynStreetArt.com, we present "Images Of The Week", our regular interview with the street. Primarily New York based, BSA interviewed, shot, and displayed images from Street Artists from more than 100 cities over the last year, making the site a truly global resource for artists, fans, collectors, gallerists, museums, curators, academics, and others in the creative ecosystem. We are proud of the help we have given and thankful to the community for what you give back to us and we hope you enjoy this collection - some of the best from 2016.

Brooklyn Street Art 2016 Images of the Year by Jaime Rojo includes the following artists;

1Up, Above, Adele Renault, Alaniz, Amy Smalls, George Vidas, GEN2, Apexer, BordaloII, Buff Monster, C215, Collin Van Der Sluijs, Super A, David Choe, D*Face, Duke Riley, El Sol 25, Sean 9 Lugo, EQC, Faile, Faith47, Faust, Shantell Martin, Felipe Pantone, Hueman, Droid907, Icy & Sot, InDecline, Invader, JJ Veronis, Jilly Ballistic, John Ahearn, JR, London Kaye, Louis Masai, MadC, Marshal Arts, Mongolz, MSK, Rime, Myth, Nina Chanel, Optic Ninja, Otto Osch Schade, Panmela Castro, Plastic Jesus, QRST, Reed b More, Remi Rough, REVS, Self Made, Sharon Dela Cruz, Maripussy, Specter, Stikman, Strok, Swoon, Ted Pim, Thievin' Stephen, Farin Purth, Thomas Allen, Tobo, Uriginal, Vermibus, Vhils, Wing, Yes Two, Zola.

The artist featured on the main graphic is D*Face as shot by Jaime Rojo in New York.



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Please note: All content including images and text are © BrooklynStreetArt.com, unless otherwise noted. We like sharing BSA content for non-commercial purposes as long as you credit the photographer(s) and BSA, include a link to the original article URL and do not remove the photographer's name from the .jpg file. Otherwise, please refrain from re-posting. Thanks!

A version of this article is also posted on Brooklyn Street Art here.
and here

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Ten Simple Steps to Building a More Creative You

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What can I do an hour a day that will make my life better in 30 days? originally appeared on Quora - the knowledge sharing network where compelling questions are answered by people with unique insights.

Answer by Milena Rangelov, PhD student of civil engineering, on Quora:



What can I do an hour a day that will make my life better in thirty days? Create something. Anything. Every day for thirty days and see what happens.


WHY?


We are consuming so much content, so many posts, text, commercials, marketing messages, music, TV that our brains get overwhelmed. Our consumption heavily outweighs our production. Let's foster creative productivity. We are creative beings. At least we were, until a teacher, or a parent or a friend told us that our art is not good and that we should stick to math/science/whatever/keep our day job, which just isn't fair. Our creative side wants to be expressed.


WHAT?


Here are some ideas about what you can create every day for thirty days:




  1. A short story.

  2. A photo.

  3. A photo and a short story.

  4. A doodle.

  5. Haiku.

  6. Zentangle.

  7. Quora answer.

  8. Blog post.

  9. List of ten ideas.

  10. Short and sweet mail or message to a friend.

  11. Random act of kindness.

  12. A free-writing piece.

  13. A .gif of cat in a funny costume


These are just a few ideas, and you can choose or come up with your own, based on your interests, talents, and curiosity.


HOW WILL THIS BENEFIT YOU?




  1. You will become more observant. This is Seth Godin's idea because he encourages people to embrace the practice of writing and publishing daily, as a life-changing experience. When you're forced to create something every day, you will have to become more observant. You will have to look for problems, stories, cute pictures, conflicts, paradoxes, all the interesting things that make life, to have the material for your creations.

  2. You will become more mindful. This is a consequence of #1. When you become more observant, you will become more mindful. When you see the story or the idea, you will stop for a moment, thinking: "Hmmm, isn't this interesting? What can I create out of this? How will I share this with people? Why is this thing here?" You will start understanding yourself and other better.

  3. You will tap into your creative potential. At first, it will be easy. I bet you already have a few ideas, ready to come to life. But when you deplete the first few, then things will get interesting. That's when your brain will start to sweat and push and struggle and then, the magic will happen. Your mind will create something crazy that you couldn't possibly see before. The next day, it will surprise you with something new, and so on. The important thing is not to give up when it gets tough. Creative muscles, just like any other muscles, require a regular workout. That's how you will tap into your creativity.

  4. You will start building your body of work. Anyone can write one story or make one photo and post it. Anyone. Consistency is the trick. By forcing yourself to create thirty small projects, you will start building the body of your creative work. In "Originals," Adam Grant concluded that the most unique people have an enormous body of work, tons, and tons of ideas. It's not that they have brilliant ideas, they just have a lot of ideas. Some are crappy. Some are decent. Some are awesome. Building a body of work will give you a base of ideas to choose from and build upon.

  5. You will kill your perfectionism. Elizabeth Gilbert said that to live a creative life, we have to be forgiving. We don't have to be particularly brave, talented, weird or anything else. But forgiving. Why? Because we will all end up creating a lot of awful things. Ideas will look great in our minds, we will be psyched and passionate, but when we execute, things will not look as we have imagined. In this phase, a lot of people will get disappointed and give up. But if you force yourself to create for an extended period of time, you will have to forgive yourself for not being Hemingway or Dali. You will have to kill the perfectionism. You will have to realize that your little creations won't save the world. But then you'll realize that it doesn't matter. You will embrace imperfections. You will feel better.

  6. You will build your creative confidence. By building your body of work, by understanding yourself and the world better, by surviving perfectionism and your awful creations, you will start feeling more confident. The confidence is the product of experience. However, we often think that we have to be confident, to start doing cool things. The opposite is true, and the confidence is built by doing cool things. Creative projects are one practical example.

  7. You will have fun. Holy crap, this is a big one. You will have fun! Creative processes, (despite the resistance they invoke) bring playfulness and joy into our lives. A blank page is the field of infinite possibilities. Who knows what it can turn into? When you're creating, you are challenged, puzzled, present and open for the new experience. How cool is that?

  8. You will become more interesting. Interested people are interesting people. Read ideas #1 and #2. Creative projects/habits will make you more interested in life, nature, other people. You will ask questions, you will look closely, you will listen carefully. You will have your body of work (#4) and be more confident (#6), all of which will make you interesting. And when you let yourself play and explore, you give other people permission to do the same. And people love that. Fellow creators support each other.

  9. You will be able to see the abundance. When you create something every day, after a while, you will realize a bit of truth: There is always more where that came from. In other words, your creativity cannot be depleted. It can be temporarily stifled or blocked, but never lost. If you keep the creative practice, you'll notice that when you think you have exhausted all of your ideas, a new one will pop up all of a sudden. Just when you think you are done, a new insight will surprise you during the walk or in the shower. When I am writing ten ideas, I typically get stuck after the sixth one. And then, magically, something cool startles me. (The tenth plan is usually the best). Why is this important? When you see how abundant your creativity is, you will start noticing more abundance in life. You will find that you always have enough resources to tackle the situation at hand. You will see that when you do what you can, it's often sufficient to keep the ball rolling. You will find that there are enough success stories and opportunities for everyone. You will perceive life as magical and limitless.

  10. You will make the world a bit better. Liz Gilbert chimes in again and she says: "If I am not actively creating something, I am probably actively destroying something- myself, a relationship or my peace of mind." Hell yes! I don't want to talk about numbing, obsessing and destroying. I just want to say that when you are creating, you are bringing out the best in yourself and encouraging others to do the same, and that ultimately makes the world a bit better, happier and less lonely place.



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Alvin Ailey's 'Young NY Night' Premiere Dazzles

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By Mercedes Vizcaino, ZEALnyc Contributing Writer, December 14, 2016

Alvin Ailey American Dance Theater returns to New York City Center with an explosive five-week holiday season program created to enchant audiences. December 1st marked their first Young NY Night series aimed to attract and engage patrons between 21 - 30 to the captivating art of dance.

Because this particular night had so many fascinating elements wrapped into one, it is hard to highlight a singular moment. As I looked into the audience there was a wide demographic represented--from the coveted millennial crowd to well beyond--and everyone was ready to be entertained. To start the evening, Artistic Director Robert Battle made a curtain speech asking everyone in the audience to participate in videotaping a "mannequin challenge" for 40 seconds. This type of viral video sensation has swept social media and has been embraced and acted out by everyone from politicians, celebrities, fashion icons to law enforcement, as well as everyone else in the U.S. and around the world. Unconventional? Before the start of a performance? Yes--but very telling of the times in which we live--everyone is struggling to stay relevant.

The first piece of the evening was the World Premiere of Deep, featuring choreography by Mauro Bigonzetti, paired with vocals from French-Cuban twins, Naomi and Lisa-Kinde Diaz (daughters of percussionist Miguel "Angá" Diaz of Buena Vista Social Club fame). The melody had an inviting trancelike quality, so enriching for the ears to absorb. The choreography leaned toward classical ballet with a soulful twist. The dancers were costumed in subtle black ensembles and moved with effortless grace in sync to the music.

The next piece was Awakening, with music by American composer John Mackey--lyric-free with an apocalyptic feel--the performers danced in unison while dressed in all-white (in sharp contrast to the all-black clad dancers in Deep). Accentuated with frenetic solos, it seemingly symbolized the end of the world. The dancers moved together and were frequently guided by a white light shining on them from above, as if to embark on a new beginning.

Next was A Case of You, a steamy and sensual duet by Judith Jamison (excerpted from Alvin Ailey's former award-winning Artistic Director and choreographer's piece Reminiscin') performed to Diana Krall's throaty version of Joni Mitchell's song by the same name. The emotionally charged performance left audiences gasping for more.

The evening ended with the critically acclaimed Revelations, one of the company's signature works. Originally choreographed by Ailey himself in 1960, the autobiographical piece depicts his deep-rooted love for gospel and spiritual hymns. Exploring the highs and lows of the human condition, with scenery and costumes in earth tones, the choreography utilizes seemingly improvised movement. Within the framework of the traditional ballet idiom, there are obvious influences from the choirs and churches from historically prevalent Southern African-American communities.

Alvin Ailey American Dance Theater continues its season with new works as well as many favorites through the end of the year. Give yourself an early holiday present and see this company in action.
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Alvin Ailey American Dance Theater at New York City Center, 155 West 55th Street, New York, on December 1, 2016 with performances through December 31, 2016. Artistic Director: Robert Battle.

Deep; Choreography by Mauro Bigonzetti; music by Ibeyi, Bernard Hanighen, Theolonius Monk, Sakamoto Ryuichi and Cootie Williams; performed by Ibeyi; costumes by Jon Taylor; lighting by Carlo Cerri. Dancers: Constance Stamatiou, Fana Tesfagiorgis, Rachael McLaren, Sarah Daley, Ghrai DeVore, Belen Pereyra, Jacqueline Green, Jacquelin Harris, Daniel, Harder, Collin Heyward, Jamar Roberts, Glenn Allen Sims, Yannick Lebrun, Michael Jackson, Jr., Renaldo Maurice, Samuel Lee Roberts.

Awakenings; Choreography by Robert Battle; assisted by Marlena Wolfe and Elisa Clarke; music by John Mackey; costumes by Jon Taylor; lighting by Al Crawford. Dancers: Jamar Roberts, Rachael McLaren, Sarah Daley, Jacqueline Green, Belen Pereyra, Elsa Clark, Jacquelin Harris, Yannick Lebrun, Michael Francis McBride, Samuel Lee Roberts, Daniel Harder, Kanji Segawa.

A Case of You; Choreography by Judith Jamison; restaging by Hope Boykin and Jamar Roberts; music by Joni Mitchell; performed by Diana Krall; costumes by Jon Taylor; lighting by Al Crawford. Dancers: Rachael McLaren, Yannick Lebrun.

Revelations; Choreography by Alvin Ailey; music: Traditional; décor and costumes by Ves Harper; Costumes for "Rocka My Soul" redesigned by Barbara Forbes; Lighting Design by Nicola Cernovitch. Dancers: Renaldo Maurice, Elisa Clark, Samantha Figgins, Akua Noni Parker, Jermaine Terry, Kanji Segawa, Danica Paulos, Solomon Dumas, Collin Heyward, Ghrai DeVore, Vernard J. Gilmore, Constance Stamatiou, Michael Francis McBride, Michael Jackson, Jr., Collin Heyward, Sean Aaron Carmon and the Company.

Cover: AAADT in Mauro Bigonzetti's 'Deep;' photo by Paul Kolnik
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Mercedes Vizcaino, a Contributing Writer with ZEALnyc, writes about lifestyle and cultural events in and around New York City.

For more holiday features from ZEALnyc read:

The Rockettes Shine in the Radio City Christmas Spectacular

'Nutcrackers' in all shapes and sizes this holiday season!

Finding your inner Olaf at all the NYC area ice skating rinks

For all the news on New York City arts and culture, visit ZEALnyc Front Page.

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Live & Dangerous: Holidays 2016

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The holidays are upon us! And what better way to end the year than with family, friends, and some great live music. Here are our recommendations for three end-of-year shows, featuring some exciting emerging acts that are sure to be the talk of 2017.


WHO: Maren Morris
WHEN: February 2nd, The Bowery Ballroom - New York, NY
WHY: You might not have heard of Maren Morris yet, but the rising young country singer/songwriter is on track to become a household name next year. The surprise Grammy nominee for this year's Best New Artist has been a well-known figure in Nashville writing circles for years, having penned hits for country superstars like Kelly Clarkson and Tim McGraw. And now she's writing music for herself, making her major label debut in June (which peaked at #5 on the Billboard 200), followed by a high profile tour with Keith Urban. Morris most recently brought her pop-friendly brand of country to the SNL stage, making her the only country artist to play the show this season. Don't miss this up and coming artist's sure to be sold out show in NY this February.





WHO: Cherry Glazerr
WHEN: December 30th, Irenic - San Francisco, CA
WHY: Cherry Glazerr have had a whirlwind year after being signed to the well-known independent label Secretly Canadian. The 'fuzz' pop-rock trio (named after famed NPR reporter Cherry Glaser) have gone from a solo bedroom-recording project to a full-fledged indie rock sensation within the past 2 years - and none of the band members have even entered their 20s yet. Cherry Glazerr are currently mid-way through their longest cross-country tour yet (with international tour dates set for next year as well), while preparing for the January 20th release of their highly anticipated sophomore album, Apocalipstick. If you have plans to be in San Diego this December, check them out at their sure to be rocking New Year's Eve weekend show at Irenic.





WHO: Nick Waterhouse
WHEN: December 19th, Regent Theater - Los Angeles, CA
WHY: American singer, songwriter and producer Nick Waterhouse grew up playing music in the same Orange County underground music scene that yielded successful alt acts like the Growlers and Cold War Kids. But Nick's music evolved in a bit of a different way than his grungier sounding cohorts- developing into a rare sound that capture the old-feel of R&B, jazz and soul, while adding his own modern twist. Nick is hot off the tails of his most recent, critically acclaimed album Never Twice, so don't miss this raucous modern soul man on his last US tour stop in Los Angeles next week.

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Fantasy and Memory in Bordeaux

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At this, the darkest moment of the year, when the forces of political darkness appear to be entrapping the last fragments of civil expression in ever-tightening cyber cages, what can an art museum possibly offer but idle distraction?

If you're lucky enough to pass through the temperate clime of Bordeaux, do not fail to drop into the CAPC, the city's museum of contemporary art, an entrepot that once housed tons of African coffee beans alongside legions of African slaves chained to its walls as they waited to be shipped on to wealthy slave owners in Louisiana, Haiti, Mississippi and the rest of Dixie, where today those slave owners descendants are prepping to reinstitute functional segregation under the direction of Donald Trump's emerging oligarchy.

Yes, all that's a lot to swallow in a single museum breath, and yet the last 30 years of the CAPC's collections, much of it now on display curated by an American, take us in and out and through these cages of visual memory. Curator José Luis Blondet, normally at the Los Angeles Museum of Contemporary Art, has chosen not merely to display the works chronologically, but to use the building's spaces to encapsulate us in time and visual experience. One of the most startling spaces starts at the beginning where a polychrome painting of colored netting by Claude Viallat that might be a ship's rigging plays off against another sort of netting: Ed Ruscha's 30-year black and white documentation of grim, empty LA parking lots. Entrapped as we all feel in the one, we climb toward air and light of the other.
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Many of the pieces in the CAPC storerooms are installations that change from one presentation to the next, as in a disarmingly simple pyramid of shiny iridescent pieces of broken coal set on a flat white base. The same "monument" of course reads profoundly differently today than it did half a century ago as coal (outside of China and the U.S.) is a disappearing fossil rock--no matter the phony promise by the falsely elected new American president who continues to lie to his desperate supporters that he will reopen the their abandoned coal mines.
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Two rooms away from the pile of coal, a series of rolled up art works by the late Iranian artist Chohreh Feyzdjou fill a quiet corner. Within the rolls, that certainly recall Egyptian papyrus scrolls, are her prints and drawings, now forever sealed and labeled in dark waxes, calling us to wonder what buried images and imagination rest closed inside.

Far more playful is a multi-colored half swing and series of painted ceramic shower stalls by Canadian Jessica Stockholder, proposing that we wander into a dreamlike memory-sculpture of toys past and not yet found.
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And there is a hypnotic painting of leaves transmuting themselves into birds (see image at top), or are they fingers or possibly blind eyes: elements that float into and out of a sun-blinding yellow background, which altogether take us to the edge of seductive vertigo, a color zone into which inside and out play back and forth, again proposing that the fixed realities we trust in everyday life are not likely fixed at all, or in current cynical discourse, that "facts" are in themselves only the floating creations of their makers, nuggets of experience that we each use all the time to create a reality of our own willing.

At last, having passed numerous other fantasy stalls, we come to Annette Messager's forest of hanging female entrails: pink, black, spotted pieces of female being, sources of life, objects of misogynic derision, caressable and subject to butchery and display.

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These, altogether, are as Messager suggests in her own title (Plaisir/Déplaisir) the moments and memories of pleasure and misery on which women's lives--and the lives of those close to women--are constructed.

Each of these installations, transcendent or ghastly, takes us into the zones of contemporary art that with luck help us come to terms with the physical and emotional universe in which we have been captured.

Barren Trees of Hope. Down the road about a mile from the contemporary art museum is the elegant--and rather stuffier--Fine Arts Museum, which right now is presenting another sort of retrospective of a painter little known outside France, D'Odilon Redon. Mostly known for his mystic Christian portraits, most of these paintings presented under the rubric Silent Nature: Landscapes, speak to another sort of mystic sensibility.
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Most notable are the roots, vines and trees grown old and leafless as the march of 19th century urban industrialism stripped more and more land of its majestic trees, and the coastal prairies find themselves in a bare ballet with roaming clouds.

--All photos by Frank Browning

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The Arts Don't Just Heal, They Also Unify and Inspire Action

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I have been playing a lot of piano lately - my antidote for when I am feeling low, or my energy source for when I am working through challenges. This election season has brought to light challenges in our country, divides that I have always believed the arts can bridge. And so I find myself sitting at the keyboard and playing tunes by artists I admire like Bob Dylan, or trying out some dark Leonard Cohen pieces on guitar, or writing some of my own poetry in order to help me get from one state of mind to another. It also makes me imagine how to better convey the power of the arts during these difficult times as part of the solution for our country, much like my own art does for me. It doesn't matter whether I am great at it. It matters that I immerse myself in this different creative and healing space. The American poet William Carlos Williams once wrote that "it is difficult to get the news from poems yet men die miserably every day for lack of what is found there" - the line has always been a favorite.

And so for this holiday season I am thankful for many things, including my long-suffering piano teacher Mrs. Lutted in Stoughton, Massachusetts, who for the two years I had lessons desperately tried to get me to actually read the notes and play what was on the page. And I am thankful daily for the poets and professors I learned from in college at UMass Amherst who encouraged my own writing and introduced me to William Carlos Williams, along with Langston Hughes, William Butler Yates, and Maya Angelou. Actually, I am thankful for every artist I have ever encountered and in whose work I have immersed myself even if only for a moment. My life is better because of their art. My work is better. My community is better too.

We are in a time once again where our need for the arts is growing more and more apparent. Controversy and anger and fear seem to swirl around us these days in large supply. This has happened plenty of times in our history. We have needed and sought the healing and teaching power of the arts for a long time, perhaps forever.

Who cannot read the words of Congressman John Lewis without better understanding the painful struggle in our history for equity and rights? Who cannot stand in front of Picasso's Guernica or read the last page of All Quiet on the Western Front or watch "Saving Private Ryan" without understanding the horror of war a bit more and feel the pain of those who suffered? Who cannot walk through the halls of our National Museum of the American Indian, or the stunning new National Museum of African American History and Culture, or the Holocaust Museum, without feeling differently about privilege and hate, and also feel more love and hope coming out at the end of the experience? Art helps us understand our tragedies and perhaps rethink our priorities. It always has.

We often go through life carrying personal tragedy and collective pain and grief very close to the chest, very privately despite the endless blather of bloggers and the angry outbursts of ideologues. In my family we had a tragedy this summer, the death of my wonderful young nephew Ian. We, especially my brother and sister-in-law, will never fully recover, but it was the music, dance, poetry, film, photography, and camaraderie through song and ritual that brought us all some solace and hope.

On a national scale we have just labored through an election that left many people confused. We have seen a rise in ugly racial statements and verbal and sometimes physical attacks on people perceived as 'other'--whether because of gender or sexual orientation or perceived disability or race--and they have left many people fearful and some feeling hopeless.

But again, here is where the arts and artists and every single art worker can help. Art fights hate and helps celebrate and interpret difference. Ford Foundation CEO Darren Walker says it well: "the greatest threat to our democracy is hopelessness."

While I don't have easy or complete answers, I work in an organization and field that is steadfast in the belief that the ability to live a full, equitable, and creative life is a basic human right. Americans for the Arts will continue to advocate, convene, and educate with and for all people in this new administration, as well as in states and local communities across the country.

Art gives hope. Art fights injustice. But we ALL must fight for the freedom and resources for artists and arts organizations to unify us, bridge community differences and create places of understanding and healing.

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Escape to the North: What's Going on this Holiday Season in Canada

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By Caitlin Leonard, ZEALnyc Contributing Writer, December 15, 2016

Winter conjures images of hot mugs of cocoa, sleigh rides and crisp white snowflakes floating in the air. What better way to fully enjoy the best of this holiday season than in the Great White North? Canada is home to a flurry of exciting events this season and is extending a friendly invite to their neighbours to the South to come visit and enjoy a magical getaway.

Toronto


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The Toronto Christmas Market (Until December 22nd)

This holiday tradition is a unique and fully Canadian experience. Located in the city's Distillery Historic District, the market has been dubbed one of the world's best Christmas markets by several major travel guides. There will be carolling, dance performances, twinkling Christmas lights, and of course vendors with locally made food and gifts for the season.

Not to be missed are a life-size gingerbread house and hot Glühwein (mulled wine) in the beer gardens. Admission is $6, but will be free from Tuesday to Friday. Open hours vary throughout the week. For more information click here.

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National Ballet of Canada - The Nutcracker (Until January 3rd, 2017)

A long-running Christmas tradition, the National Ballet of Canada is presenting performances of The Nutcracker for the holidays. With a total running time of only two hours, this ballet would the perfect opportunity to see some of Canada's best performers and enjoy a night out in Toronto.

This version of the story, placed in 19th Century Russia, has been choreographed by James Kudelka, one of the most innovative choreographers in North America today. His unique interpretation of this beloved holiday story is highly influenced by his knowledge of modern dance, and well informed by his expertise as a former student of Canada's National Ballet School, and nine years as The National Ballet's Artistic Director.

Tchaikovsky's captivating score will be played by the National Ballet Orchestra of Canada, accompanied by the VIVA! Youth Singers of Toronto. For more information click here.

Montreal


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Santas are Taking over the Stewart Museum (Until January 8th, 2017)

A private history museum on Saint Helen's Island (Île Sainte-Hélène) in Montreal is presenting a very unique holiday attraction. The Stewart Museum focuses on Quebec heritage and the discovery of the New World in Canada, and is usually known for its collection of authentic maps, weapons, rare books and scientific instruments.

However, for the holidays there will be a rare feature added -- an exhibition on the artistic evolution of the Santa Claus. 30 different figurines will be on display, crafted by American and Quebecois artists, to offer a look at the history behind this important figure in the Christmas tradition.

Another exciting aspect of the collection to marvel at is a lavish 18th Century style doll castle, equipped with a ballroom and delicate dancers that come to life at the sound of music. This 1975 creation by a soldier turned toy furniture maker, Rudolph Szálasi, comes all the way from German Bavaria.

For a special treat there will be free access granted to the whole museum for the duration of the Santa exhibition. Another added bonus is that the real Santa Claus will be visiting the Museum on December 18th!

There are also free family friendly activities to choose from - including a Christmas workshop, scavenger hunt, and the screenings of three animated short films. For more information click here.

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A Multicultural Christmas as told by Boucar Diouf (December 21st-23rd)

Originally from Senegal, Boucar Diouf promises to get audiences into the Christmas spirit in a combined performance with The Montreal Symphony Orchestra. Presenting a bill of storytelling, poetry, symphonic works and traditional Quebecois music, this notable event will combine different cultural traditions to create a captivating and unforgettable night. For more information click here.

Ottawa


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The National Arts Centre Presents: A Christmas Carol (December 13th-31st)

Give or receive the gift of live theatre with the National Arts Centre's interpretation of a beloved Christmas Story - Charles Dicken's A Christmas Carol.

The classic tale of redemption, set in Victorian London, has been adapted by award-winning director Jillian Keiley. To make this version especially iconic, she has built the play to showcase the talents of many of Canada's best performers in theatre, music and dance. For more information click here.

Vancouver


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The Vancouver Symphony Orchestra Presents: A Traditional Christmas (December 8th -18th)

Known as "Hollywood North," Vancouver is the hometown of many well-known artists and performers such as Ryan Reynolds, Seth Rogan, and Matthew Good.

With the inspiring surroundings of gorgeous snow-covered mountain ranges, what could be a better time than now to catch a special performance by Vancouver's own Symphony Orchestra? Featuring Christmas classics like "O Holy Night," and "Ave Maria," the orchestra will be joined by the University of British Columbia's Opera Ensemble in a performance that is sure to thrill and warm hearts throughout the season. For more information here.
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Caitlin Leonard, a Contributing Writer for ZEALnyc is based in Canada and writes frequently on arts, culture and lifestyle related topics.

For more from ZEALnyc read:

Kent Nagano Discusses Ten Years with Montreal Symphony

'Exhibitionism--The Rolling Stones' is a 'rocker's Nirvana'

The Metropolitan Museum Hosts Special Holiday Exhibits and Events

For all the news on New York City art and culture, visit ZEALnyc's Front Page.

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2 Lessons Learned From My Selfie Obsession

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That one time I was an unpaid intern at Santa's artisanal workshop for classic menswear

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That one time I ran off to class at a New England prep school

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That one time I watched the season premiere of the walking dead

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That one time I was on the fence

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That one time I couldn't make up my mind

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That one time I got lost on the way to Whole Foods

For the past two and a half years, I have been posting a series of surreal animated selfies to my instagram account, accompanied by an overly contrived caption. When working on a long-term project with a very specific focus, there are so many interesting ideas about art theory and the creative process that you start being aware of. The first is from an interview with the painter Chuck Close, who believes that the more you work the more you find inspiration. His theory is that waiting for inspiration is not as effective as doing manual work like painting, because your mind begins to come up with ideas through your sub-conscious. I think this is true however even more relevant in a long-term creative project like this is the notion that you become inspired creatively by your own style. In other words, you are expanding on ideas that you already came up with yourself and by being influenced by yourself is the best way to be as original as possible. I think this is the more abstract conclusion of Chuck Close's argument and a much more important element to finding your own distinctive style.

The second element of creative art theory that I kept coming back to in this project was an idea from the performance artist Matthew Barney's idea. In his "Drawing Restraint" series he hypothesized that the more specific and the more restrictions you place on yourself and on your work the stronger the creative direction will be as a result. If there are no artificial restrictions placed on your project there is no tension for the creative to push up against. In other words, your creativity is not being deepened or challenged without a very specific set of parameters and confines to work within. In my case, the format was a series of animated GIF selfies always with myself, in a variety of circumstances, and always accompanied by a caption that begins with "That one time...". With these very narrow constraints, I it forces the series to delve deeper and deeper and keep pushing the boundaries and scenarios that I can come up with.

These are the two main lessons I learned over the past two and a half years of taking selfies. As a result these constraints, I was able to keep coming up with more and more outlandish scenes, keep, creating all these characters, and developing the worlds they lived in. Although I work as a commercial director and photographer, creating ad campaigns for fashion brands in New York and Europe, the selfie series is something that I keep coming back to during my travels, because after all, a selfie a day keeps the doctor away !


About the author: @mikemellia

Featured on Instagram's Mens Style Channel (with over 200,000 views), the everyday has never looked so whimsical. Mike Mellia's Instagram selfie series has also been the inspiration for many of the commercial works he has filmed for brands including The GAP, Swarovski, Hearst, Intel, Pierre et Vacances, BETC Paris and more in New York, France, and Italy.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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