The Praemium Imperiale styles itself as Japan’s royal answer to Norway’s Nobel Prize. It identifies — and doles out awards to — some of the world’s greatest artists in the categories not recognized by the Nobel Prize. These fields of artistic endeavor are Painting, Sculpture, Architecture, Music, and Theatre/Film.
Category: Critiques of Shared Values
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Kanye believe it? Can u? Kanye see him as Jesus Christ?
A life-size statue of Kanye West depicted as Jesus appears on Hollywood Boulevard. Does he deserve it?
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Bruno Isakovic in DENUDED | Photo by Barbara Velasco Ghisleri " data-medium-file="https://i1.wp.com/cultureofoneworld.org/wp-content/uploads/2016/09/denuded-bruno-isakovic-by-barbara-velasco-ghisleri.jpg?fit=759%2C500&ssl=1" data-large-file="https://i1.wp.com/cultureofoneworld.org/wp-content/uploads/2016/09/denuded-bruno-isakovic-by-barbara-velasco-ghisleri.jpg?fit=750%2C494&ssl=1" data-lazy-srcset=" https://i1.wp.com/cultureofoneworld.org/wp-content/uploads/2016/09/denuded-bruno-isakovic-by-barbara-velasco-ghisleri.jpg?zoom=2&resize=265%2C186&ssl=1 530w" data-lazy-sizes="(max-width: 265px) 100vw, 265px" srcset="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7"/> A NAKED TOUR DE FORCE | Bruno Isaković’s twisting elegance in DENUDED at LaMaMa ETC
Run. Go see it. Go to LaMaMa ETC now or before this coming Sunday. It is a success. Take in Bruno Isaković’s next version of DENUDED, a promising ensemble variation of this Croatian-born choreographer soloist turn, which had a U.S. premiere last night. He disrobes and lets us view his chest, his abs, his penis and his eyes.
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BOMB ME, KATE | Rare WWII Japanese torpedo bombers at Pearl Harbor
Japan’s Nakajima Torpedo Bomber caused most of the battleship damage during the attack on Pearl Harbor, Hawaii, December 7, 1941.
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Actors Jörg Pose and Katharina Behrens in Andreas Kreigenburg’s “From the Life of Marionettes” | Photo courtesy of Dramaten " data-medium-file="https://i1.wp.com/cultureofoneworld.org/wp-content/uploads/2015/09/das-nackte-elend-jc3b6rg-pose-und-katharina-behrens.jpg?fit=300%2C438&ssl=1" data-large-file="https://i1.wp.com/cultureofoneworld.org/wp-content/uploads/2015/09/das-nackte-elend-jc3b6rg-pose-und-katharina-behrens.jpg?fit=300%2C438&ssl=1" srcset="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7"/> MOVIES INTO THEATER | I can’t believe it’s not Ingmar Bergman’s film (part 2)
This is the second half of a 2-part essay. The brand name of Ingmar Bergman is now a system of signs that express other ideas.
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Swedish film director Ingmar Bergman is seen talking during a press conference in Stockholm in this May 9, 2023 file photo where he presented his latest TV-project “Faithless.” He was 89 years old when he died. | AP Photo by Gunnar Seijbold) " data-medium-file="https://i0.wp.com/cultureofoneworld.org/wp-content/uploads/2015/09/ingmar-bergman.jpg?fit=331%2C450&ssl=1" data-large-file="https://i0.wp.com/cultureofoneworld.org/wp-content/uploads/2015/09/ingmar-bergman.jpg?fit=331%2C450&ssl=1" srcset="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7"/> MOVIES INTO THEATER | I can’t believe it’s not Ingmar Bergman’s film (part 1)
So what happened to change the Bergmanian tide? Money and the swift canonization of a once reluctant Swedish dramatist-turned-film-icon are the quick answers.
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From the stage version of “Persona” by Ingmar Bergman | Photo by Jan Versweyveld " data-medium-file="https://i1.wp.com/cultureofoneworld.org/wp-content/uploads/2015/08/pe_pers_-_jan_versweyveld_02.jpg?fit=800%2C533&ssl=1" data-large-file="https://i1.wp.com/cultureofoneworld.org/wp-content/uploads/2015/08/pe_pers_-_jan_versweyveld_02.jpg?fit=750%2C500&ssl=1" data-lazy-srcset=" https://i1.wp.com/cultureofoneworld.org/wp-content/uploads/2015/08/pe_pers_-_jan_versweyveld_02.jpg?zoom=2&resize=265%2C186&ssl=1 530w, https://i1.wp.com/cultureofoneworld.org/wp-content/uploads/2015/08/pe_pers_-_jan_versweyveld_02.jpg?zoom=3&resize=265%2C186&ssl=1 795w" data-lazy-sizes="(max-width: 265px) 100vw, 265px" srcset="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7"/> WITHOUT BORDERS | Screw Ingmar Bergman’s films. Go see his screen texts on stage, Sept. 3 to 5
What’s the point of seeking to certify a heartbreaking work of stagecraft by comparing it to Bergman’s cinema aesthetics?
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Rodríguez Calero, “Transcendent”, 1999, Acrollage painting, 24 x 18 in. " data-medium-file="https://i0.wp.com/cultureofoneworld.org/wp-content/uploads/2015/08/rodriguez.jpg?fit=640%2C640&ssl=1" data-large-file="https://i0.wp.com/cultureofoneworld.org/wp-content/uploads/2015/08/rodriguez.jpg?fit=640%2C640&ssl=1" data-lazy-srcset=" https://i0.wp.com/cultureofoneworld.org/wp-content/uploads/2015/08/rodriguez.jpg?zoom=2&resize=265%2C186&ssl=1 530w" data-lazy-sizes="(max-width: 265px) 100vw, 265px" srcset="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7"/> NUYORICAN FIND | Caught in the glories of race in Rodriguez Calero’s urban paintings
I was so fascinated by the man in Calero’s “Transcendent” that I kept circling back to it. Is it a black man? Oh, wait. The painter is a Nuyorican. What gives?