The income gap meets the longevity gap.
Read more. [Image: Reuters]
“Some writing doesn’t brush up against sentimentality as often as other writing. But whatever ‘bad’ edge your writing brushes up against, I think it’s important to touch it. You can always pull back from it, but at least you know where it is. It’s like when I was a dancer, we were always encouraged to fall in rehearsal, so that you could know what the tipping point of any given movement was. That way, when you did it on the stage, you could be sure you were taking it to the edge without falling on your face. It sounds like a cliché, but really it’s just physics — if you don’t touch the fulcrum, you’ll never gain a felt sense of it, and your movement will be impoverished for it.”
For their 2014 Art Series, the New York City Ballet enlisted the remarkable talents of French street artist and photographer, JR to create a large scale art photo installation featuring the dancers of NYCB, placed in various parts of the David H. Koch Theater at Lincoln Center. More after the jump:
The Museum of Modern Art in New York, 1948
“I want to argue that gay men and lesbians have not always existed. Instead, they are a product of history and have come into existence in a specific historical era. Their emergence is associated with the relations of capitalism; it has been the historical development of capitalism – more specifically, its free labor system – that has allowed large numbers of men and women in the late twentieth century to call themselves gay, to see themselves as part of a community of similar men and women, and to organize politically on the basis of that identity.”
Erich Kettelhut. Metropolis. 1927.
‘Heritage and Acquaintance' exhibition by Tunisian artist, Abdallah Akar, at the Sharjah Art Museum