By Georgiana Banita,
A seemingly minor episode in Françoise Mouly’s biography holds special significance for the intersection of comics and the avant-garde during Art Spiegelman’s early career. In 1975, having arrived in New York with only $200 in her pocket and eager to improve her English by reading comics, Mouly had a part in Richard Foreman’s play Pandering to the Masses: A Misrepresentation, performed by his Ontological-Hysteric Theater at 491 Broadway. Despite her shaky command of English, Mouly had no trouble slipping into her role. Almost none of the dialogue was delivered live by the actors. The avant-garde director, seated on the edge of the stage with an electronic keyboard that spliced together music and speech, narrated the entire event. The play was a hit.
By Joseph Dimuro,
Whenever she found that monied interests were shaping aesthetic taste in American culture, Willa Cather decried the deleterious effects their contrary values had on what she called genuine art. In interviews, essays, stories, and novels written throughout the opening decades of the twentieth century, Cather’s critique of consumerism, in particular, took on what John N. Swift calls a “protest against a pervasive materialist commodity culture” and led her to create characters that Guy J. Reynolds claims “embody Cather’s suspicion of the corrosive impact of acquisitiveness, allied to her wariness about how economic modernism [was] producing an increasingly consumerist society.”
By Allison Neal,
In a letter written on August 30, 1964, Marianne Moore recounts listening to an old recording of her poem, “Rigorists,” that was playing that night on the BBC. “We had dinner at a little Greek Casa Blanca (very near) but stayed up late to hear me on the BBC—on a borrowed transistor,” Moore writes to her friend Hildegard Watson.
Primitivisms in Dispute: Production and Reception of the Works of two Brazilian Artists in Paris in the 1920s
By Ana Paula Cavalcanti Simioni,
The condition of Paris as the main artistic capital from the end of the 19th to the mid-20th century caused it to attract an expressive contingent of foreign artists, and among those, dozens of Brazilian artists who were attracted by what was seen as the world capital of arts. They encountered, however, an extremely competitive universe, in which national origins were important components to recognition.