Halloween: the season of candy corn, pumpkins and culturally-insensitive costumes. Over the last few years, images of these costumes have spread through social media, sparking heated debates about cultural appropriation and how seemingly innocuous "fashion statements" can indeed hurt.
Would Leto have won, or even been nominated, had the character, created for the film and not based on a real person, been written as a man? It's impossible to know for sure, but the cries of bravery, likely wouldn't be here.
The confluence in New York this summer of two exhibitions by Pictures Artists, Jack Goldstein at The Jewish Museum and Gretchen Bender at The Kitchen, supplied the more theoretically-minded art cognoscenti an art historical quandary to ponder.
Elysium is the latest in a series of American productions that show how the Information Age has become the Age of Appropriation, one in which ideas and stories exist side by side for the borrowing, the taking, and ultimately, the mixing.
Derivative use ranges from the subtle (Cindy Sherman's "stills" echoing Hitchcock's movies) to deliberately heavy-handed (the near re-staging of Sherman's works by Alex Prager). So, what dictates proper use of someone's art?