Sunday links

Sunday links

Among a host of good writers who blog regularly about cinema (David Bordwell and Jonathan Rosenbaum are two obvious names) The New Yorker‘s Richard Brody is one of my favourites. And this week he posted a short piece, Redeeming criticism, that we would all do well to recall whenever we write about any cultural object. Prompted by the responses in the States to Clint Eastwood’s new movie J. Edgar (above) and by a great Los Angeles Review of Books essay by Jonathan Lethem, My disappointment critic (read this too), Brody teases out what criticism should do: ‘Criticism is, at best, contacting the spark, the idea, the inspiration, the creative moment, the inner life from which the work arises, followed by working outward to see how the work became that which it is—in effect, re-living the artist’s creative process.’ Below, more links to pieces that caught my eye this week.

Peter Campbell: London Review of Books editor Mary-Kay Wilmers pays tribute to the late Peter Campbell, illustrator, designer and critic (for my sadness at his death, see ‘That prince of editors’).

William Shakespeare, Gangster: an engaging piece by Mike Dash at about Will’s likely involvement in ‘the low-life rackets of Southwark’.

Shakespeare and Verdi in the theater: Garry Wills for the New York Review of Books on the two masters – ‘Verdi, across time and language barriers, obviously felt a great affinity with the dramatic ideals of his Elizabethan predecessor.’

On to the next stage: I’m hugely looking forward to Deborah Warner’s staging of Eugene Onegin for ENO – and here’s an interview with the director by Peter Aspden for the Financial Times.

Pacific Standard Time – historic publications now online: this is a blog post from the Los Angeles County Museum of Art about their addition of new titles to their exemplary Reading Room facility for accessing electronic versions of historic catalogues online; to coincide with the Pacific Standard Time exhibitions (see my post Virtual gallery going), they have released a new set of books about the art and architecture of Southern California

The Bolshoi’s latest act: fascinating New York Review of Books blog by Simon Morrison about the politics of the re-opening of the Bolshoi Theatre in Moscow – ‘The Bolshoi is now clearly [Russia's] preferred brand, the Kremlin’s designer label.’

Grey panic: T. J. Clark on Richter (and Boulez) for London Review of Books – the most demanding, but also the best, criticism you’ll read this week.

Film: The Bioscope muses productively on film, the death of… (and on Tacita Dean at Tate Modern, the Lomokino Movie Maker and more).

The London River Park: really good Observer article by Rowan Moore about the rise of ‘publoid’ spaces.

How will we read – James Daunt: the man at the helm of Waterstone’s speaks to The Bookseller about the future of books – ‘I think the paper book will continue to hold its own in some sectors. However, compared with today, our reading will transfer to a much greater degree to the digital medium.’

Brian Clark on transmedia business models: the first of a five-part post (all now online) from Henry Jenkins’ blog, Confessions of an aca-fan; the totality is an excellent introduction to ways to the possible ways in which the creative forms of the future will be funded and sustained.

Wired releases images via Creative Commons, but reopens a debate on what ‘noncommercial’ means’: I got to this really interesting piece by Joshua Benton for Nieman Journalism Lab via Mia’s post at Open Objects, On releasing museum data and the importance of licences; perhaps the discussions os use and re-use of data and images will seem a bit specialist for some, but there are important issues at stake here.

ABC-IP and work on audio archiving research: this is tech-y too, but also important – a BBC Research and Development blog post from Dominic Tinley about the increasingly effective use of metadata in archiving; take a look too at Andrew Caspari’s BBC Radio blog post, An archive for the future.

Museums on Instagram: nice visual post of pics from that’s also a reminder of why more museums should share the attitudes towards photography of the San Francisco Museum of Modern Art and the Brooklyn Museum.