“Valuable Things Should Be Paid For . . . Music Should Not Be Free”

(p. R10) Music is art, and art is important and rare. Important, rare things are valuable. Valuable things should be paid for. It’s my opinion that music should not be free, and my prediction is that individual artists and their labels will someday decide what an album’s price point is. I hope they don’t underestimate themselves or undervalue their art.

For the full commentary, see:
Swift, Taylor. “WSJ 125 (A Special Report): Music — it’s Too Soon to Write Off the Album: Yes, Musicians Aren’t Selling as Many of them; but Taylor Swift Argues that the Best Artists Will always Find Ways to Break through to the Audience.” Wall Street Journal (Tues., July 8, 2014): R10.
(Note: the online version of the commentary has the date July 7, 2014, and has the title “For Taylor Swift, the Future of Music Is a Love Story.”)

Ezra Pound, a Major Literary Figure of the 20th Century, “Loved the Movies of Walt Disney”

(p. C5) “Mussolini asked,” in A. David Moody ‘s retelling, “what was his aim in writing The Cantos, and Pound replied, ‘to put my ideas in order’; and Mussolini said, ‘What do you want to do that for?’ ” When the poet turned from this dismissal to economic policy, which had lately become the central obsession of his life, the dictator was unimpressed by Pound’s list of 18 proposals, alighting particularly on his assertion that “in the Fascist state taxes were no longer necessary”: “Have to think about THAT,” Mussolini said and ended the interview. To the fascist dictator, Pound, by any measure one of the 20th century’s major literary figures, merited hardly more bother than a fly.
. . .
(p. C7) . . . he was not always an elitist. He loved the movies of Walt Disney, . . .

For the full review, see:
DAVID MASON. “The Makers of Modernism; Pound’s generous spirit looms over 20th-century literature, and in the early years his megalomania seemed harmless.” The Wall Street Journal (Sat., Dec. 6, 2014): C5 & C7.
(Note: ellipses added; italics in original.)
(Note: the online version of the review has the date Dec. 5, 2014, and has the title “The Tragic Hero of Literary Modernism; Ezra Pound’s generous spirit looms over 20th-century literature, and in the early years his megalomania seemed harmless.” The first part of the title in the print version was intended to cover both the review of the Pound biography and an accompanying review of a biography of the writer and publisher James Laughlin.)

The book under review is:
Moody, A. David. Ezra Pound: Poet: Volume II: The Epic Years. Oxford, UK: Oxford University Press, 2014.

Greenpeace Desecrates Fragile, Ancient Hummingbird Etching in Peru

(p. A7) CARACAS, Venezuela — An expression of concern by the environmental group Greenpeace about the carbon footprint was marred this week by real footprints — in a fragile, and restricted, landscape near the Nazca lines, ancient man-made designs etched in the Peruvian desert.
The Peruvian authorities said activists from the group damaged a patch of desert when they placed a large sign that promoted renewable energy near a set of lines that form the shape of a giant hummingbird.
. . .
. . . the Peruvian authorities were seething over the episode, which they said had scarred one of the country’s most treasured national symbols.
. . .
“The hummingbird was in a pristine area, untouched,” Mr. Castillo said. “Perhaps it was the best figure.”
Mr. Castillo said that the culture ministry had sent out a team with drone aircraft equipped with cameras so that they could evaluate the damage without entering the delicate area.
He said that the harm was both physical and symbolic.
“This stupidity has co-opted part of the identity of our heritage that will now be forever associated with the scandal of Greenpeace,” he said.

For the full story, see:
WILLIAM NEUMAN. “Peru Is Indignant After Greenpeace Makes Its Mark on Ancient Site.” The New York Times (Sat., DEC. 13, 2014): A7.
(Note: ellipses added.)
(Note: the online version of the story has the date DEC. 12, 2014.)

“A Major Critical and Financial Reappraisal” of Norman Rockwell

RockwellNormanTheRookie2014-05-26.jpg “Peter Rockwell, son of Norman Rockwell, with “The Rookie,” which sold for $22.5 million on Thursday [May 22, 2014].” Source of caption and photo: online version of the NYT article quoted and cited below.

(p. B1) “Rockwell’s greatest sin as an artist is simple: His is an art of unending cliché.”

In that Washington Post criticism of a 2010 exhibition of Norman Rockwell paintings at the Smithsonian, Blake Gopnik joined a long line of prominent critics attacking Rockwell, the American artist and illustrator who depicted life in mid-20th-century America and died in 1978.
“Norman Rockwell was demonized by a generation of critics who not only saw him as an enemy of modern art, but of all art,” said Deborah Solomon, whose biography of Rockwell, “American Mirror,” was published last year. “He was seen as a lowly calendar artist whose work was unrelated to the lofty ambitions of art,” she said, or, as she put it in her book, “a cornball and a square.” The critical dismissal “was obviously a source of great pain throughout his life,” Ms. Solomon, a frequent contributor to The New York Times, added.
But Rockwell is now undergoing a major critical and financial reappraisal. This week, the major auction houses built their spring sales of American art around two Rockwell paintings: “After the Prom,” at Sotheby’s, and “The Rookie,” at Christie’s. “After the Prom” sold for $9.1 million on Wednesday; “The Rookie” for $22.5 million on Thursday.
. . .
(p. B5) Rockwell also gained a Hollywood stamp of approval. Two of the country’s most famous film directors, George Lucas (“Star Wars”) and Steven Spielberg (“E.T.”) were acquiring Rockwells. Rockwell “is a great story teller, and he used cinematic devices,” Mr. Lucas told an interviewer for the Smithsonian, which mounted the exhibition of his and Mr. Spielberg’s Rockwell collections, “Telling Stories,” in 2010. “He ‘cast’ a painting,” Mr. Lucas said. “It wasn’t just a random group of characters.”
Others, too, were discovering new depths in Rockwell’s work. “What distinguishes the best of his works for me,” Ms. Solomon said, “is that they’re rooted in real emotion. They’re not just a one-liner. Take ‘The Rookie,’ which is a great painting. It captures the tension between generations, when a rookie, a youngster, arrives, and the veterans realize they’ve just met their replacement. Their time is limited. It doesn’t matter if it’s baseball players, or newspaper reporters, or firefighters. It’s about time and how one generation replaces another.”
Laurie Norton Moffatt, director of the Norman Rockwell Museum in Stockbridge, Mass., observed: “What we’re seeing in the marketplace is that collectors, in a sense, are catching up with the incredible quality and enduring meaning and message in Rockwell’s paintings. There are a handful of his works that have iconic resonance, enduring meaning, and those pieces are what we’re seeing really take off in the marketplace.”
. . .
What would Rockwell himself make of this? “He would be incredulous,” Ms. Solomon said. The consummate modest man, he was content to be paid by his magazine employers, and never pursued the gallery scene. He often gave away his paintings to family, friends, co-workers or neighbors.
He sold one of his most famous images, “Town Meeting,” an oil study for “Freedom of Speech,” to the Metropolitan Museum of Art in 1952 for $100, and, according to The Saturday Evening Post, let out a “gladsome yelp” when he learned the Met had bought it. It was the first museum to buy one of his works.
But some things haven’t changed. The painting is nowhere to be seen in the Met’s recently expanded and reorganized American wing. The museum’s website says simply: “Not on view.” (The museum didn’t respond to a request for comment.)

For the full story, see:
JAMES B. STEWART. “Norman Rockwell’s Art, Once Sniffed At, Is Becoming Prized.” The New York Times (Sat., MAY 24, 2014): B1 & B5.
(Note: ellipses, and bracketed date, added.)
(Note: the online version of the story has the date MAY 23, 2014.)

Under Humble Austerity Policy China Builds $11.4 Million Giant Brass Puffer Fish

PufferFishStatueYangshong2013-10-22.jpg “A puffer fish statue in Yangzhong has raised ire in view of a government pledge to end spending on vanity projects.” Source of caption and photo: online version of the NYT article quoted and cited below.

(p. 6) HONG KONG — Chinese Communist Party leaders’ vows of a new era of humble austerity in government may have met their most exotic adversary yet: an $11 million, 2,300-ton, 295-foot-long puffer fish.

The brass-clad statue, which shimmers golden in the sunlight and switches into a garish light show at night, was built by the city of Yangzhong, in Jiangsu Province in eastern China, . . .
. . .
Chinese news outlets said the brass and steel for the fish cost about $1.7 million, raising questions about where the rest of the money went. Construction of the fish tower began on a previously isolated and undeveloped river island in March, four months after Mr. Xi was appointed party leader.
. . .
. . . China is speckled with outlandish works of official art that vie with even a giant, glow-in-the-dark puffer fish for attention and outrage.
Critics berated a county in Guizhou Province for building “the world’s biggest teapot,” a 243-foot-high teapot-shaped tower, complete with spout, that was part of a $13 million project.
In Henan Province, in central China, a government-backed charity has been accused of corruption in spending about $19.6 million on a vast, unsightly sculpture of Song Qingling, the widow of Sun Yat-sen, a revered founder of modern China. Zhengzhou, the capital of Henan Province, is also home to a sculpture of two pigs in a frolicking embrace. From certain angles, the pigs might appear to be mating.

For the full story, see:
CHRIS BUCKLEY. “As China Vows Austerity, Giant Brass Fish Devours $11 Million.” The New York Times, First Section (Sun., October 13, 2013): 6.
(Note: ellipses added.)
(Note: the online version of the review has the date October 12, 2013.)

SongQinglingSculpture2013-10-23.jpg

“A sculpture of Song Qingling, the widow of Sun Yat-sen, a founder of modern China.” Source of caption and photo: online version of the NYT article quoted and cited above.

Cultural Impact of Industrial Design Is Greater than Cultural Impact of Fine Arts

(p. C3) Capitalism has its weaknesses. But it is capitalism that ended the stranglehold of the hereditary aristocracies, raised the standard of living for most of the world and enabled the emancipation of women. The routine defamation of capitalism by armchair leftists in academe and the mainstream media has cut young artists and thinkers off from the authentic cultural energies of our time.
Over the past century, industrial design has steadily gained on the fine arts and has now surpassed them in cultural impact. In the age of travel and speed that began just before World War I, machines became smaller and sleeker. Streamlining, developed for race cars, trains, airplanes and ocean liners, was extended in the 1920s to appliances like vacuum cleaners and washing machines. The smooth white towers of electric refrigerators (replacing clunky iceboxes) embodied the elegant new minimalism.
“Form ever follows function,” said Louis Sullivan, the visionary Chicago architect who was a forefather of the Bauhaus. That maxim was a rubric for the boom in stylish interior décor, office machines and electronics following World War II: Olivetti typewriters, hi-fi amplifiers, portable transistor radios, space-age TVs, baby-blue Princess telephones. With the digital revolution came miniaturization. The Apple desktop computer bore no resemblance to the gigantic mainframes that once took up whole rooms. Hand-held cellphones became pocket-size.

For the full commentary, see:
Paglia, Camille. “How Capitalism Can Save Art; Camille Paglia on why a new generation has chosen iPhones and other glittering gadgets as its canvas.” The Wall Street Journal (Sat., October 6, 2012): C3.
(Note: the online version of the commentary has the date October 5, 2012.)

The Creation of Consistent, Predictable Dyes and Paints

The-Color-Revolution-by-Regina-Lee-Blaszczyk.png

Source of book image: http://www.kristenlovesdesign.com/wp-content/uploads/2012/09/The-Color-Revolution-by-Regina-Lee-Blaszczyk.png

(p. C12) Few things seem as eternal as color. Yet as Regina Lee Blaszczyk argues, color has a history, a history largely created by business. In “The Color Revolution,” Ms. Blaszczyk shows how the invention of synthetic organic chemistry in the 1850s allowed chemists to create consistent, predictable colors in dyes and paints. Once a chemical company’s magenta was reliable, manufacturers could select it from a color card, order it by mail, and use it to produce dresses and dishware in exactly the promised hue.

For the full review essay, see:
Marc Levinson. “Boardroom Reading of 2012.” The Wall Street Journal (Sat., December 15, 2012): C12.
(Note: the online version of the review essay has the date December 14, 2012.)

The book under review, is:
Blaszczyk, Regina Lee. The Color Revolution, Lemelson Center Studies in Invention and Innovation. Cambridge, MA: The MIT Press, 2012.

Isaacson’s “Steve Jobs” Tells Us Much About the Innovative Project Entrepreneur

walter-isaacson-steve-jobsBD2012-12-01.png

Source of book image: http://www.internetmonk.com/wp-content/uploads/walter-isaacson-steve-jobs1.png

Steve Jobs is one of my favorite examples of what I call the “project entrepreneur.” Walter Isaacson has written a fascinating biography of Jobs, full of memorable examples for any student of the innovative entrepreneur.
During the next few weeks, I will occasionally add entries that quote some of the more important or thought-provoking passages.

The book under review is:
Isaacson, Walter. Steve Jobs. New York: Simon & Schuster, 2011.

Steve Jobs Showed that Art and Commerce Could Be “Happy Bedfellows”

OldmanGary2012-06-22.jpg

Gary Oldman. Source of photo: online version of the NYT article quoted and cited below.

(p. 2) Gary Oldman is an English actor . . . widely known for his roles as Sirius Black in the “Harry Potter” film series and Jim Gordon in the Batman movies.
. . .
READING Right now I’m reading the Steve Jobs biography by Walter Isaacson. I love when people have a singleness of purpose and don’t get dissuaded. I can connect with that. I can recognize it. I think a lot of artists have that. Art and commerce are not particularly happy bedfellows, but he was the exception.
I read quite a lot of biographies. I like nonfiction. The other book I’m carrying around with me at the moment is “River of Shadows: Eadweard Muybridge and the Technological Wild West” by Rebecca Solnit. It deals with the 19th century and the arrival of speed with the coming of the industrial age. We were very much governed by nature before; we were at the mercy of our own speed and horses and the like. It’s interesting to think of living at that pace.

For the full interview, see:
KATE MURPHY. “DOWNLOAD; Gary Oldman.” The New York Times, SundayReview Section (Sun., February 5, 2012): 2.
(Note: ellipses added; bold in original.)
(Note: online version of the interview is dated February 4, 2012.)

“The Astaires’ Defiant New World Optimism”

AstairesBK2012-03-07.jpg

Source of book image:
http://ecx.images-amazon.com/images/I/513pEMI-LeL._.jpg

(p. C6) The Astaire universe was made of crazy joy, that guiltless worldview unique to the art of the American 1920s. The Astaires’ trademarked exit was the gleefully mischievous “runaround,” in which they trotted about the stage in ever increasing circles as if joined at the hip, expanding their geometry till they reached the wings and vanished. It was goofy and expert at once, a way of defining musical comedy as the state of being young, cute and in love with life.
. . .
“For all their jazz-fueled modernity,” Ms. Riley writes of the Astaires’ London réclame, they were “anti-modernist.” This pair was more than sunshine. The sheer zest with which they frisked through a show ran “counter to High Modernism’s pervasive sense of the instability of the self and the universe.” This was the time, Ms. Riley notes, of “The Waste Land,” “Ulysses,” “Vile Bodies.” Art was in despair. But the Astaires’ “defiant New World optimism” proved a remedy: meeting cute, assuming disguises and high-hatting the blues with fascinating rhythm. It’s a very American notion: that a strong foundation in popular art creates a positive worldview in general. Call it the audacity of charm.
. . .
They don’t make shows that way anymore, and Ms. Riley’s book is thus a resuscitation of a naive but perhaps more authentically native showbiz, an art of natural forces. “The Astaires” is a salute to an America at ease with itself and doing something wonderful in the song-and-dance line that seemed, for a time, like the hottest thing in the culture.

For the full review, see:
Kathleen Riley. “BOOKSHELF; Sibling Revelry.” The Wall Street Journal (Sat., March 3, 2012): C6.
(Note: ellipses added.)

The book under review is:
Riley, Kathleen. The Astaires: Fred & Adele. New York: Oxford University Press, USA, 2012.