Posts Tagged ‘theater’
“We live in an age when the traditional great subjects – the human form, the landscape, even newer traditions such as abstract expressionism – are daily devalued by commercial art”*…
… But it wasn’t always so. A current exhibit at the Metropolitan Museum in New York is devoted to the work of (often anonymous) artists who illustrated commercial catalogs in the late 19th and early 20th centuries…
Art of Commerce: Trade Catalogs in Watson Library features a selection of the library’s extensive holdings of sale catalogs. Watson Library has almost two thousand trade catalogs published in many countries from the eighteenth century to the present. Objects featured include furniture, jewelry, tiles, ironwork, glasswork, lighting, stoves, tableware, textiles, decorative paper, artist’s materials, fashion, typography, automobiles, and musical instruments. Numerous catalogs illustrate works of art or related objects now in The Met collection.
The library has strong holdings of Art Deco trade catalogs including Modern furniture design = Le dessin moderne des meubles—a colorful furniture portfolio by Czech architect Karel Vepřek—and Van Clef Arpels présentent, an elegantly illustrated accessories publication designed by Draeger Frères, the most innovative graphic designers and printers of the period. Both catalogs are on display in the exhibition.
Trade or sale catalogs — also called commercial or manufacturer’s catalogs —are printed publications advertising products of a particular trade or industry. Sale catalogs were often used in shops or showrooms to promote a company’s products. Examples include the massive Reed and Barton catalog Artistic workers in silver & gold plate from 1885 that illustrates the entire inventory of the company…
Among the more unusual and appealing trade catalogs in the exhibition is a German Art Nouveau-inspired cake decorating book from 1910 and a baby carriage catalog from 1934 offering Art Deco styled tubular steel baby prams. These trade catalogs demonstrate the distillation of major art movements applied to quotidian objects.
The earliest trade catalog in the exhibition is Muster zu Zimmer-Verzierungen und Ameublements, a neo-classical interior design catalog by luxury German manufacturer Voss und Compagnie, offering entire rooms that can be bought en masse or as separate pieces. It is illustrated with richly toned hand-colored engravings that detail the design and color of the objects.
One of the library’s most fragile and weighty catalogs is Album des principaux modeles de verres: produits spéciaux en verre coulé. It is a magical trade catalog with sixty-five intact glass samples manufactured by French glassmaker Saint-Gobain. Founded during the time of Louis XIV, the company remains a manufacturer of glass for construction.
The majestic ironwork catalogue of Maison Garnier has pink-tinted papers and was bound in Morocco leather as a special copy for Rémy Garnier, the son of the firm’s founder. The firm’s initials are boldly blind stamped on the cover.
The most unusual and perhaps unexpected catalog, Urinoirs, illustrates the decorative ironwork structures of urinals (or pissoirs) that adorned the streets of Paris from the 1840s to the mid-twentieth century. The ornamentation of these structures demonstrates an impulse to beautify the animated street life of Paris and other cities…
See the items mentioned at the links above, and other articles in the exhibit here.
Beauty in the service of business: “Art of Commerce: Trade Catalogs in Watson Library,” from @metmuseum (where one can see the works on exhibit through March 4, 2025).
* Andy Warhol
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As we browse, we might spare a thought for Oscar Fingal O’Flahertie Wills Wilde; the novelist, essayist, playwright, poet, and master of the bon mot died on this date in 1900.
As he said: “There are moments when art attains almost to the dignity of manual labor.”
“Every day is Halloween, isn’t it? For some of us.”*…
Tomorrow’s the big day– by some counts, the second biggest holiday of the year. The National Retail Federation’s annual Halloween survey of more than 7,900 consumers found 72% plan to celebrate the holiday with 67% of those planning to hand out candy. We’ll an average of $103.63 (about $4.62 less than last year’s record of $108.24), the survey found. In total, Halloween spending is expected to reach $11.6 billion, with candy sales at an estimated $3.5 billion.
Axios on how those sugary purchases are allocated…
Chocolate is America’s favorite Halloween candy, with Reese’s Peanut Butter Cups once again the top choice in an overwhelming majority of states, according to data from Instacart.
The big picture: The chocolate peanut butter candy was the top-selling candy in 40 states based on Instacart grocery sales last year. Chocolate was a key ingredient in eight of the top 10 candies.
After Reese’s, regular M&M’s were the next most popular candy andthe favorite in northwestern and midwestern states like Montana, Nebraska, North Dakota and South Dakota. Peanut M&M’s were the most purchased Halloween candy in Hawaii, Idaho and Utah, Instacart found.
… Reese’s is also the reigning king of Easter candy, with its eggs ranked as the top purchased candy and cups the No. 3 candy, based on 2023 Instacart data.
Candy corn was the most-searched candy in 34 states between Sept. 3 and Oct. 3, according to Google Trends. Candy corn accounts for 84% of all searches around Halloween candy, according to Captify search data shared with Axios…
– source
The estimable Ernie Smith weighs in on the mawkish mock maize as part of a meditation on Butterfingers…
… In the process of my research into the fragility of Butterfinger bars, I ran across an interesting fact about trying to recreate Butterfingers in your own kitchen that I didn’t think fit into the above narrative, but is worth diving into separately. Simply put, one of the most popular ways to make homemade Butterfingers involves using candy corn. It apparently does a good job of recreating the flavor of a Butterfinger, if not the exact texture.
The nice thing about candy corn, in the context of this recipe, is that it includes most of the main ingredients of the toffee part of butterfingers. That makes it possible to greatly simplify the recipe for people who want to make Butterfingers at home. (Plus, the orange-and-yellow parts of candy corn make for a decent food-coloring match to the innards of Nestlé-era Butterfingers, even if the cornflakes, key to the texture, aren’t part of the recipe.)
Now, finding out that candy corn can be used as a key ingredient in a Butterfinger recipe is sort of like finding out that your favorite dessert is made of candle wax. (Fun fact: Despite its generic-seeming nature, it’s mostly sold by a single manufacturer, Brach’s.)
But there’s a method to the madness.
See, when broken down, candy corn is made of fondant and confectioner’s glaze. Another way of putting it: A piece of candy corn is essentially the candy form of the chalky icing used on wedding cakes, which is then covered in waxy insect secretions. Awesome.
Find that last part kind of gross? Well, you should stop eating Milk Duds, Whoppers, Raisinets, and jelly beans, because they all use it. You’ve been eating food-grade shellac all your life and didn’t even know it.
So, let’s spend a minute talking about shellac: The fact that so many candies use this is actually a significant problem for the globalization of candy. In India, for example, it’s likely to leave out entire classes of consumers, as shellac isn’t considered vegetarian. Periodically, as noted in this 2009 Scientific American piece, we’ve looked for alternatives to confectioner’s glaze, but given that it remains a surprisingly large industry to this day—a recent Business Insider video put the sector’s value at $167 million. (Ironically, shellac was discovered in India, and remains the largest manufacturer of the material.)
If you’re OK with all that, making your own Butterfingers at home is apparently way easier if you use melted candy corns as a base. Just note that shellac isn’t usually part of the ingredient list..
– source
Apposite: “Stephen Follows on the horror movie boom.”
* Tim Burton
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As we dish out the delights, we might recall that it was on this date in 2003 that a thousand Halloween costumes were inspired– Wicked premiered on Broadway. A musical with music and lyrics by Stephen Schwartz and a book by Winnie Holzman, it is a loose adaptation of the 1995 Gregory Maguire novel Wicked: The Life and Times of the Wicked Witch of the West, which in turn is based on L. Frank Baum‘s 1900 novel The Wonderful Wizard of Oz and its 1939 film adaptation.
The show was nominated for ten Tony Awards in 2004, including Best Musical, Book, Orchestrations, Original Score, Choreography, Costume Design, Lighting Design, Scenic Design, with two nominations for Best Actress – for Idina Menzel and Kristin Chenoweth. Menzel won the Best Actress award, and the show also won the Award for Best Scenic Design and Best Costume Design (notably losing Best Book, Original Score and ultimately Best Musical to Avenue Q). The same year, the show also won 6 Drama Desk Awards out of 11 nominations, including Outstanding Musical, Book, Director, and Costume Design.
“It always seems impossible until it is done”*…
Adam Tooze unpacks a recent report from the clean energy think tank Ember— one that heralded a profoundly important historical turning point…
Electrification is key to the new energy system that is being built around the world. Electricity generation is one process we do know how to decarbonize. With concerted action, net neutrality is within reach in electric power generation for OECD countries by the 2030s and for the whole world by 2045. Furthermore, as Ember points out, electrification will replace “fossil fuel burning that currently takes place in car and bus engines, boilers, furnaces and other applications.”
Green electrification is the key to the future. And in 2023, according to Ember’s report, almost the entirety of new power demand was covered by growth in renewables, above all solar. Though there was growth in demand for electricity around the world, fossil fuel generation barely increased. Growth in solar and wind alone were sufficient to cover 82 percent of new electricity demand.
This is not new in rich countries. In the OECD demand growth for electricity is not strong or is even negative and renewable investment has been ongoing for two decades. The sensation is that this is now happening at the global level where the growth in demand for electric power is relentless.
In 2024 Ember expects the trend to be even more pronounced. This year, for the first time there will be substantial growth in global demand for electricity, whilst fossil fuel generation will likely fall…
… There is an obfuscation involved in talking about “the global” when, in fact, there is one country that dominates the entire dynamic of the energy transition: China.
As Ember’s data show: “China remained the main engine of global electricity demand growth. China’s rapid growth (+606 TWh, +6.9%) was just 21 TWh lower than the net global increase. India’s growth (+99 TWh, +5.4%) was the next largest contributor.”
Until the 2010s China fed its voracious demand for new power with coal-fired power stations. The energy transition in the advanced economies was never going to be sufficient to offset this. Of course, the renewable energy transition in the West was also painfully slow. But even if the USA and the EU had taken more drastic action, China’s growth was simply too large and too dirty. The fact that we are now reaching a turning point in the balance between fossil and clean power generation is due to a turning point in China: a huge surge in renewable energy investment.
In 2023 China alone accounted for more than half of the new global additions in wind and solar…
Measured in terms of power consumed China’s electrification of road transport is 3.5 times larger than that of the entire rest of the world. That is the EV revolution that the West is so worried about….
It is also the largest heat pump market in the world with more installations per year than any other country. Electrolysers, used mostly in demonstration plants by chemical and petrochemical companies, have also grown faster in China than the rest of the world. As a result, China accounted for 50% of global electrolyser capacity in 2023…
But as Ember notes, this process of applying electricity to new uses, is only at the beginning.
“Even in China, electrification is still in its infancy. Only a fifth of China’s electricity demand growth in 2023 (124 TWh of 606 TWh) was from the three electrification technologies, but this share will rise in time. These technologies added 1.4% to China’s electricity demand in 2023, up from 1.1% in 2022. Meanwhile in the rest of the world, electrification added 0.25% to electricity demand in 2022 and 0.28% in 2023. As China further accelerates the deployment of key electrification technologies and the world continues to catch up, the contribution of electrification will expand even further.“
At COP28 in 2023 many countries around the world committed to tripling global renewable electricity capacity by 2030. This has the potential to almost halve power sector emissions by 2030, as coal-fired power generation will be replaced first. Furthermore, it will provide enough new electricity to replace drive forward the electrification of transport, home and industrial heating with a 32 percent increase in electricity demand.
Having shattered all previous experience of renewable power rollout, China’s huge surge in solar now actually puts us within striking distance of achieving a net zero path, driven by green electric power…
What we are witnessing is the most rapid take-up of a significant energy technology in history.
The response of Western politicians? Protectionism. Of course there are complex motives. They need to build coalitions to sustain the energy transition. They are worried about the CCP regime in China. They want to escape extreme dependence on imported sources of energy (though of course in the renewable space it is capital equipment not energy they are importing). But the more basic question is simply this. Are Western government and societies willing to prioritize the energy transition if it is not their drama, not their success story? Or, if the PV panels and the electric vehicles are from China, do other interests take priority?
In the European case one can see a compromise based on a balance between domestic and Chinese-sourced energy transition solutions. As Martin Sandbu has remarked there is at least the possibility of a grand bargain. In the case of the United States it seems increasingly clear that the energy transition as such is a second order concern, and geopolitical confrontation and the struggle to form domestic coalitions take precedence. That is depressing. And it matters. But, as Ember’s data make clear, it is far from being a decisive obstacle. The global energy transition will go on anyway…
“The beginning of a new era: How the ‘global’ energy transition is happening in China,” from @adam_tooze and @EmberClimate. Eminently worth reading in full (both Tooze’s summary and the Ember report).
Apposite (and divergent, though not opposite, from Tooze): “The climate case for Biden’s new China tariffs,” from @timmcdonnell in @semafor.
And this: “We might be closer to changing course on climate change than we realized,” from @voxdotcom.
* Nelson Mandela
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As we find solace where we can, we might spare a thought for Joseph Wood Krutch; he died on this date in 1970. An author, critic, and naturalist, he began his career in New York City, where he was a professor at Columbia and theater critic for The Nation, and where he wrote The Modern Temper (challenging the then-fashionable notions of scientific progress and optimism), biographies of Samuel Johnson and Henry David Thoreau, and (inspired by Thoreau) The Twelve Seasons, Krutch’s first nature book.
In 1952, on doctor’s orders, Krutch left the East for Tucson and the Sonoran Desert, where he began writing about ecology, the southwestern desert environment, and the natural history of the Grand Canyon. He won renown as a naturalist, nature writer, and an early conservationist for works like The Voice of the Desert and The Desert Year, arguing that human beings must move beyond purely human centered conceptions of “conservation” and learn to value nature for its own sake.
“We use the term risk all too casually, and the term uncertainty all too rarely”*…
How private-equity giants are overhauling the financial system, and its potential impact on pensions…
A decade or so ago private equity was a niche corner of finance; today it is a vast enterprise in its own right. Having grabbed business and prestige from banks, private-equity firms manage $12trn of assets globally, are worth more than $500bn on America’s stockmarket and have their pick of Wall Street’s top talent. Whereas America’s listed banks are worth little more than they were before the pandemic, its listed private-equity firms are worth about twice as much. The biggest, Blackstone, is more valuable than either Goldman Sachs or Morgan Stanley—and has the confidence of a winner. “It’s the alternatives era,” proclaimed the company’s ebullient Taylor Swift-themed festive video in December. “We buy assets then we make ’em better.”
This is not, though, the business that has recently boomed for them. Traditional private equity—using lots of debt to buy companies, improving them, and selling or listing them—has been lifeless. High interest rates have cast doubt on the value of privately held companies and reduced investors’ willingness to provide new funds. It does not seem to matter. Core private-equity activity is now just one part of the industry’s terrain, which includes infrastructure, property and loans made directly to companies, all under the broad label of “private assets”. Here the empire-building continues. Most recently, as we report this week, the industry is swallowing up life insurers.
All of the three kings of private equity—Apollo, Blackstone and KKR—have bought insurers or taken minority stakes in them in exchange for managing their assets. Smaller firms are following suit. The insurers are not portfolio investments, destined to be sold for a profit. Instead they are prized for their vast balance-sheets, which are a new source of funding.
Judged by the fundamentals, the strategy makes sense. Insurance firms invest over long periods to fund payouts, including annuities sold to pensioners. They have traditionally bought lots of government and corporate bonds that are traded on public markets. Firms like Apollo can instead knowledgeably move their portfolios into the higher-yielding private investments in which they specialise. A higher rate of return should mean a better deal for customers. And because insurers’ liabilities stretch years into the future, the finance they provide is patient. In banking, long-term loans are funded with lots of instantly accessible deposits; with private assets and insurance, the duration of the assets matches the duration of the liabilities.
Yet the strategy brings risks—and not just to the firms. Pension promises matter to society. Implicitly or explicitly, the taxpayer backstops insurance to some degree, and regulators enforce minimum capital requirements so that insurers can withstand losses. Yet judging the safety-buffers of a firm stuffed with illiquid private assets is hard, because its losses are not apparent from movements in financial markets. And in a crisis insurance policyholders may sometimes flee as they seek to get out some of their money even if that entails a financial penalty. Last year an Italian insurer suffered just such a bank-run-like meltdown…
Funding pension providers with private equity: “The risks to global finance from private equity’s insurance binge” (gift article) from @TheEconomist.
And lest we think that publicly-funded defined benefit pensions are less risky, see “Akin to Fraud” by Mary Willliams Walsh, an account of the sorry state of the public pension fund in New Hampshire (the state with the second-oldest population in the nation).
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As we rethink retirement, we might recall that it was on this date in 1728 that John Gay‘s The Beggar’s Opera premiered. A “ballad opera” (a satirical work with lyrics set to vernacular music), it was a huge hit– it has been called “the most popular play of the eighteenth century“– a watershed in Augustan drama.
The original idea of the opera came from Jonathan Swift, who wrote to Alexander Pope in 1716 asking “…what think you, of a Newgate pastoral among the thieves and whores there?” Their friend, Gay, decided that it would be a satire rather than a pastoral opera.
In 1928, Bertolt Brecht (working from a translation into German by Elisabeth Hauptmann) adapted the work into Die Dreigroschenoper (The Threepenny Opera) in 1928, sticking closely to the original plot and characters but with a new libretto, and mostly new music by Kurt Weill.
“The avant-garde always has a bad time of it.”*…
Whither the innovative, the experimental, the challenging in our arts and culture? The Drift explores…
It’s commonplace to note that sociopolitical upheaval and artistic experimentation often flourish side by side. But today — despite an alleged “polycrisis” — new modes of cultural production don’t seem to be emerging. Three years after the start of the Covid-19 pandemic and the subsequent George Floyd rebellion, the arts seem stagnant and stubbornly centralized: franchise fare dominates at the box office; literary output is hampered by monopolized publishers; even the obsession with so-called nepo babies suggests a cultural bloodline without disruption. The internet, meanwhile, tends to both homogenize art and silo audiences by algorithm. We’ve begun to wonder if we’re overlooking experimental movements, or if they’re going extinct.
For Issue Ten, we asked artists and thinkers across disciplines — novelists, sculptors, composers, dancers, critics — to reflect on the current state of the avant-garde. What’s to blame for the lack of a coherent movement? If the avant-garde is dead, what killed it — and what’s been lost along the way? In politics, nothing seems to surprise us anymore. In art, can we still be shocked? Should we?…
An example, from the contribution by Liza Batkin (@LizaBatkin), a writer, attorney, and former dancer…
When dancers refer to the avant-garde, they tend, counterintuitively, to mean something old: experimental artists in the 1960s and 1970s in New York, who worked largely out of lofts and Judson Memorial Church. Modern dance, by that point, had moved beyond ballet’s pointe shoes, tilted heads, and sweet violins, but the avant-gardists went further. Yvonne Rainer wrote a manifesto in 1965 that rejected spectacle and virtuosity. Trisha Brown strung unremarkable motions together into what she called “accumulations.” A lot of the work, like Lucinda Childs’s “Dance,” a mesmerizing collaboration with Philip Glass and Sol LeWitt, was slouchy, cool, and organic. It didn’t express emotion or match its music, and no one smiled.
Avant-garde dance had gone so far past ballet that it may have seemed it could go no further. But then it aged into the establishment. When “Dance” was restaged at the Joyce Theater in 2021, the performers were so virtuosic that they strained to recreate Childs’s nonchalance, and a show of Trisha Brown’s works on Rockaway Beach last summer, against sparkling blue water, could hardly be seen through the crowd. Choreography invented a half century ago — thrown limbs that propel the body, controlled movements that break into swinging, relaxed ones — is now vernacular.
Even as it borrows from the past, today’s dance has found new rules to break…
What Happened to the Avant-Garde? “Publicists, Manifesto Pushers, Propagandists,” the current issue of @thedrift_mag.
* Anton Chekhov
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As we explore the edge, we might send envelope-pushing birthday greetings to László Moholy-Nagy; he was born on this date in 1895. An artists and educator, his pioneering work in painting, drawing, photography, collage, sculpture, film, theater, and writing, was, in the words of art critic Peter Schjeldahl, “relentlessly experimental” and was hugely influential in the European avant-garde. His artworks were included in the infamous 1937 “Degenerate art” exhibition held by Nazi Germany in Munich.
Moholy-Nagy taught, in the 1920s, in the Bauhaus school. In 1937, fleeing the Nazis, he emigrated to Chicago, where he founded the School of Design in Chicago, which survives today as part of the Illinois Institute of Technology, and which art historian Elizabeth Siegel called “his overarching work of art.”
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