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What They Left Behind: Creative Works by the Recently Departed What They Left Behind: ‘Spotlight,’ Urban Abstraction and Sculpture
(4 months later)
A mind-altering poem. A song that stays with you forever. Movies that shook your belly or blew your mind. Recipes that rearranged your taste buds.A mind-altering poem. A song that stays with you forever. Movies that shook your belly or blew your mind. Recipes that rearranged your taste buds.
Obituaries in The New York Times often give account of the creations left behind by their subjects, and reading about these works can be an exercise in discovery, or at least a reminder of them.Obituaries in The New York Times often give account of the creations left behind by their subjects, and reading about these works can be an exercise in discovery, or at least a reminder of them.
Here is a sampling from recent days.Here is a sampling from recent days.
The photographer Michael Wolf found a muse in Hong Kong, especially in its buildings. He often photographed them without sky or ground in the frame, creating minutely etched, almost abstract images, sprinkled with touches of humanity, like hanging laundry or a silhouette of a teddy bear in a window. He also portrayed factory workers, ordinary objects in alleys and the faces of beleaguered commuters.The photographer Michael Wolf found a muse in Hong Kong, especially in its buildings. He often photographed them without sky or ground in the frame, creating minutely etched, almost abstract images, sprinkled with touches of humanity, like hanging laundry or a silhouette of a teddy bear in a window. He also portrayed factory workers, ordinary objects in alleys and the faces of beleaguered commuters.
It won an Academy Award for best picture in 2016, highlighting the work of a team of journalists from The Boston Globe investigating the sexual abuse of minors by Roman Catholic priests. The movie, “Spotlight,” is one of the great newsroom pictures of recent years, and one of its producers was Steve Golin.It won an Academy Award for best picture in 2016, highlighting the work of a team of journalists from The Boston Globe investigating the sexual abuse of minors by Roman Catholic priests. The movie, “Spotlight,” is one of the great newsroom pictures of recent years, and one of its producers was Steve Golin.
New York’s essence is partly founded on the continual demolition and construction of buildings. To the artist Mavis Pusey, that process had a tempo that shaped her abstract paintings. She followed that beat throughout her career, undaunted by expectations that black artists should engage with social issues, not abstraction, and by a lack of wider recognition, of a kind that white male abstract artists of her generation were accorded.New York’s essence is partly founded on the continual demolition and construction of buildings. To the artist Mavis Pusey, that process had a tempo that shaped her abstract paintings. She followed that beat throughout her career, undaunted by expectations that black artists should engage with social issues, not abstraction, and by a lack of wider recognition, of a kind that white male abstract artists of her generation were accorded.
Marilyn Mason played organ recitals around the world while spending 67 years teaching the king of instruments at the University of Michigan. Naturally, for an organist, she was a master of the Baroque era, and played the entire works of Bach as a cycle on three occasions. But she was also a champion of newer music for her instrument. She made her mark in that repertoire with a 1951 recording of Arnold Schoenberg’s Variations on a Recitative (Op. 40).Marilyn Mason played organ recitals around the world while spending 67 years teaching the king of instruments at the University of Michigan. Naturally, for an organist, she was a master of the Baroque era, and played the entire works of Bach as a cycle on three occasions. But she was also a champion of newer music for her instrument. She made her mark in that repertoire with a 1951 recording of Arnold Schoenberg’s Variations on a Recitative (Op. 40).
Les Murray, Australia’s informal poet laureate and a versifier from the bush whose intellect ranged far and wide, wrote nearly 30 volumes of poems. His explored his depression, the tragic death of his mother, Australia’s natural world and — short pants. In one of his better-known poems, he sang an ode to shorts that is as much a celebration of language and the human comedy. An excerpt from “The Dream of Wearing Shorts Forever:”Les Murray, Australia’s informal poet laureate and a versifier from the bush whose intellect ranged far and wide, wrote nearly 30 volumes of poems. His explored his depression, the tragic death of his mother, Australia’s natural world and — short pants. In one of his better-known poems, he sang an ode to shorts that is as much a celebration of language and the human comedy. An excerpt from “The Dream of Wearing Shorts Forever:”
Unlike public nakedness, which in WesternersUnlike public nakedness, which in Westerners
is deeply circumstantial, relaxed as exam time,is deeply circumstantial, relaxed as exam time,
artless and equal as the corsetry of a hussar regiment,artless and equal as the corsetry of a hussar regiment,
——
shorts and their plain like are an angelic nudity,shorts and their plain like are an angelic nudity,
spirituality with pockets!spirituality with pockets!
A double updraft as you drop from branch to pool.A double updraft as you drop from branch to pool.
Heather Harper, the Northern Irish-born soprano, excelled early in her career in lighter repertory and became associated with the music of Benjamin Britten. Later, she took on heavier roles, like Elsa in Wagner’s “Lohengrin” and the title role in “Arabella,” by Richard Strauss. Here, she is the Countess in Mozart’s “Marriage of Figaro,” singing of grief over lost love in the aria “Porgi, amor.”Heather Harper, the Northern Irish-born soprano, excelled early in her career in lighter repertory and became associated with the music of Benjamin Britten. Later, she took on heavier roles, like Elsa in Wagner’s “Lohengrin” and the title role in “Arabella,” by Richard Strauss. Here, she is the Countess in Mozart’s “Marriage of Figaro,” singing of grief over lost love in the aria “Porgi, amor.”
The Iranian artist Monir Shahroudy Farmanfarmaian drew on two very different worlds for her geometric compositions: New York’s avant-garde and the architecture of the Islamic world. She melded them together most effectively in mirror-encrusted creations, producing a refracted vision of reality.The Iranian artist Monir Shahroudy Farmanfarmaian drew on two very different worlds for her geometric compositions: New York’s avant-garde and the architecture of the Islamic world. She melded them together most effectively in mirror-encrusted creations, producing a refracted vision of reality.