For a variety of reasons -- including the fact that I am very interested in the damaged status of representational painting after World War II -- I posted the image on my Facebook status and asked a question: Can a painting so tainted by history ever be seen with fresh eyes again?
This, sadly, has been one of those weeks. A week where, despite all of the tributes to the life and legacy of that great freedom fighter, Nelson Mandela, abject bigotry raised its ugly head more times than we wish to enumerate.
Nothing says SEXY better than a poster of a scantily clad woman in Nazi garb standing outside of what appears to be a Photoshopped concentration camp. That is the world of Tila Tequila on the web today.
Before the war, Erich Lederer was a charming Vienna ladies man, a pillar of bohemian society who angled to meet Josephine Baker as Austrian church leaders were deeming her unfit for polite company--and told his family they had an unforgettable romance.
In the big world beyond the vastly expensive Beltway sandbox of vicious political ping pong and hyper-partisan gamesmanship, China's official press agency is using the debacle to call for "a de-Americanized world."
Chanoch Ze'evi's documentary, Hitler's Children, tracks down survivors of the top command of Adolf Hitler's Third Reich. What they've made of the world is unique from person to person and raises questions in the viewer, as well.
Due to one of those odd coincidences, theater at the moment seems to be about chairs. Rowan Atkinson sits in a relatively comfy one throughout the flawless revival of Simon Gray's Quartermaine's Terms, at Wyndham's.