We ♥ this lady.
"A work of art doesn’t have to be explained. If you do not have any feeling about this, I cannot explain it to you. If this doesn’t touch you, I have failed." —Louise Bourgeois
Looking back at Louise Bourgeois's Helping Hands (1993–96), relocated from Chicago’s Jane Addams Memorial Park to Chicago Women’s Park in 2011, and featured in Art21’s 2001 Identity episode.
WATCH: Louise Bourgeois in Identity [available in the U.S. only] | Additional videos
IMAGES: Production stills from the Art in the Twenty-First Century Season 1 episode, Identity, 2001. © Art21, Inc. 2001.
"every time you
tell your daughter
you yell at her
out of love
you teach her to confuse
anger with kindness
which seems like a good idea
till she grows up to
trust men who hurt her
cause they look so much
Twenty-five years ago, on April 15, 1989, Chinese students were mourning the death of a reformist leader. But what began as mourning evolved into mass protests demanding democracy. Demonstrators remained in Beijing’s Tiananmen Square, day after day, until their protests were brutally suppressed by the Chinese army — on June 4. Hundreds died; to this day, no one knows how many.
NPR’s Louisa Lim explores those events, the forgotten deaths and the Chinese government’s rewriting of the official narrative in a new book, The People’s Republic of Amnesia. Her story includes an investigation into a forgotten crackdown in the southwestern city of Chengdu — which, to this day, has never been reported.
Tang Deying holds her determination in the stubborn set of her jaw. This diminutive, disheveled, elderly woman shuffling into the room in her pink plastic flip-flops is one of the few living links to the crackdown in Chengdu during the summer of 1989.
When martial law troops opened fire on civilians in Beijing on June 4, 1989, the violence was beamed immediately into living rooms around the world. Yet it has taken a quarter-century for details to emerge of the deadly events in Chengdu that cost Tang’s 17-year-old son his life.
For 25 years, a single aim has driven Tang’s existence: seeking restitution and accountability for the death of her son, Zhou Guocong, who was fatally beaten in police custody after disappearing in the 1989 Chengdu crackdown.
"Right is right. Wrong is wrong," she told me firmly
See the rest of the story here.
Images courtesy Louisa Lim and Kim Nygaard
Fresh Air’s TV critic David Bianculli reviews the new series Fargo, based on the 1996 Coen Brothers cult classic. Here’s what he says:
When the news arrives that FX has a new series called Fargo, the expectation is that it will be either a sequel to, or expansion of, that 18-year-old movie. And certainly, the previews have done nothing to discourage that.
But no. The TV version of Fargo tells a completely different story, with completely different characters. Only the snow remains the same. Yet based on the first four episodes, this new Fargo is a worthy companion piece to the film. The Coen brothers are on board as two of the executive producers, so they clearly approve – though that’s pretty much the extent of their involvement. Instead, FX’s Fargo is written and concocted by Noah Hawley, whose previous credits include working on Bones, and not much else. This is his step up to the major leagues – and in his first at-bat in the bigs, he swings hard, and hits a home run.
His Fargo – this first season, anyway – is envisioned as a stand-alone 10-part story. If it continues to a Season 2, it will be with a completely different plot, characters, and cast. That’s the way True Detective launched itself this season on HBO, and you know how brilliantly that turned out. By designing TV shows this way – longer and deeper than a feature film but not running for years – networks can get A-list movie talent to commit, and writers can craft stories with the end in sight from the start.
FX’s Fargo benefits from that, greatly.
Hear the full review HERE.
image via FX