[I love to design, I call himself a designer, I talk about design all the time, I got my freaking MFA — but still, this is actually, really, kinda sorta completely true. So much so that it’s actually hilarious, that’s how true it is. Your opinion will most likely differ. -Ed]
“Your instinct in reading [The Vice Guide To Everything] may be to harp on the crass gender-normativity of that last sentence [under the ‘Tough Guys’ heading] — suppress it for a moment and consider the one before it, which uses a Hammurabi-ish syllogism to draw what is actually well-defined ethical boundary. I happen to agree with the equivalencies the author sets forth, but even if you don’t, it’s framed in the terms of community ethics — you, the potential nose-breaker, are most exemplary in your behavior when your id-fueled morals are secondary to the communal concerns as they are codified; which is a good way to think about these things (instead, say, of lashing out with some jingoistically indulgent “moral” iddy response).”—Alexander Böhn on Quora
“Some observers respond that blockbuster shows are all broadly appealing: “Monet and Cézanne are as easy to like as Allora & Calzadilla.” I’d respond that Monet and Cézanne are not at all easy to like, and that they complicate your life, in the best way. Allora & Calzadilla, et al., go down smooth and just make your life simpler, in the worst way. It’s a vacuous vicious circle, ostensible populism masquerading as collectivity. All of it says that too many museums now equate happy crowds with quality and experimentation. These shows serve the museums, curators, and trustees. They no longer serve art. In fact, this sensationalism implies that many museums have now fallen behind art.”—
“The best advice I could possibly give you, and forgive me if this seems glib, is to work. Work. Work. Work. Every day. At the same time every day. For as long as you can take it every day, work, work, work. Understand? Talent is for shit. I’ve taught school for nearly thirty years and never met a student who did not have some talent. It is as common as house dust or kudzu vine in Alabama and is just about as valuable. Nothing is as valuable as the habit of work, and work has to become a habit.”—Barry Moser via The Ersatz Secondary-Sex Characteristic
Joan Didion rips apart Woody Allen’s ‘Manhattan’ and ‘Annie Hall’ and just Woody Allen in general.
“Woody Allen often tells interviewers that his original title for Annie Hall was “Anhedonia,” which is a psychoanalytic term meaning the inability to experience pleasure. Wanting to call a picture “Anhedonia” is “cute,” and implies that the auteur and his audience share a superiority to those jocks who need to ask what it means. Superior people suffer. “My emptiness set in a year ago,” Diane Keaton is made to say in Interiors. “What do I care if a handful of my poems are read after I’m dead…is that supposed to be some compensation?” (The notion of compensation for dying is novel.)”