1 a Day in New York Alain Elkann It Had Been a Few Days Since I Was
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2018 – Volume 6, Number
THE POPULAR CULTURE STUDIES JOURNAL VOLUME 6 NUMBER 2 & 3 2018 Editor NORMA JONES Liquid Flicks Media, Inc./IXMachine Managing Editor JULIA LARGENT McPherson College Assistant Editor GARRET L. CASTLEBERRY Mid-America Christian University Copy Editor KEVIN CALCAMP Queens University of Charlotte Reviews Editor MALYNNDA JOHNSON Indiana State University Assistant Reviews Editor JESSICA BENHAM University of Pittsburgh Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture- studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2018 Midwest Popular and American Culture Association. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 Cover credit: Cover Artwork: “Bump in the Night” by Brent Jones © 2018 Courtesy of Pixabay/Kellepics EDITORIAL ADVISORY BOARD ANTHONY ADAH PAUL BOOTH Minnesota State University, Moorhead DePaul University GARY BURNS ANNE M. CANAVAN Northern Illinois University Salt Lake Community College BRIAN COGAN ASHLEY M. DONNELLY Molloy College Ball State University LEIGH H. EDWARDS KATIE FREDICKS Florida State University Rutgers University ART HERBIG ANDREW F. HERRMANN Indiana University - Purdue University, Fort Wayne East Tennessee State University JESSE KAVADLO KATHLEEN A. KENNEDY Maryville University of St. Louis Missouri State University SARAH MCFARLAND TAYLOR KIT MEDJESKY Northwestern University University of Findlay CARLOS D. MORRISON SALVADOR MURGUIA Alabama State University Akita International -
Western Europe
Western Europe Great Britain National Affairs A STRANGE DICHOTOMY marked the year. While the country enjoyed continued prosperity and stability, the government—especially Prime Minister Tony Blair—incurred increasing unpopularity, albeit not to a degree that would threaten Labour's continuance in office. The sustained growth of the economy and low interest rates softened the impact of tax increases on disposable income, although opinion polls did register discontent, particularly over local taxation. Chancellor of the Exchequer Gordon Brown's pre-budget report in December indicated that receipts were lower than anticipated while costs associated with the Iraq war had pushed spending above expectations. Nevertheless, Brown adhered to his "golden rule" that over the economic cycle the government should borrow only to invest. Employment reached a record high of 28.1 million, and the number of people applying for unemployment benefits dropped steadily, reaching 917,800 in November, 7,900 lower than a year before. High employment raised the threat of wage inflation. The burden of interest payments on the growing public debt raised similar concerns. In July, interest rates were cut a quarter-percent to 3.50 percent to stim- ulate the economy, but in December this was reversed for the first time in almost four years; rates went back up to 3.75 percent so as to coun- teract the danger of rises in house prices and personal debt. Politically, satisfaction with the government continued to decline from its peak of about 55 percent just after 9/11 to about 25 percent in De- cember 2003. The results of local elections held in May registered the po- litical fallout: Labour lost a combined 800 seats, and the Conservatives, winning the largest share of the vote, gained about 500. -
Man in the News: John Elkann” Written by Paul Betts on Financial Times, April 23Rd 2010
Abstracts of the article “Man in the News: John Elkann” Written by Paul Betts On Financial Times, April 23rd 2010 “This week’s appointment of the 34-year-old John Elkann as chairman of Fiat, the automotive group founded in 1899 by his great-great-grandfather Giovanni Agnelli, is on the face of it only the latest chapter in the Agnelli story.” (...) “At the tender age of 22, he was appointed to the Fiat board while continuing to study for his engineering degree at the Turin polytechnic. He was sent to work incognito in a Fiat headlight manufacturing plant in Birmingham in the UK, lodging with a local family who had no clue who he was and spending his evenings eating dinners in front of the television. He then worked, incognito again, on a Fiat assembly line in Poland, and later in General Electric’s audit department in the US under the wing of Jack Welch, the former GE chairman and chief executive, who was a friend of his grandfather Gianni and a Fiat board member.” (...) “For Italy has traditionally been a country that likes change as long as nothing changes. Mr Elkann and Mr Marchionne are ignoring the caveat. Mr Elkann has already streamlined the family assets into one listed company, Exor, and is now prepared to dilute control of its historic car business if this means he will end up with a smaller stake in a bigger and more viable business. He has also agreed to split the company in two, something his grandfather would never have even considered. -
WASH YOUR HANDS by Alain Elkann 30 April to May 19 2020 30 April
WASH YOUR HANDS By Alain Elkann 30 April to May 19 2020 30 April 2020 He hadn’t been writing in his diary because the days felt dull and grey. The day before, he’d learnt that Germano Celant had died of coronavirus, and that wasn’t encouraging news. When he tried to sleep at night, he found himself in the solitude of his own thoughts. So many people had died, he felt like the world would be different. He dreamt about his life before and wondered what he would do. The borders were closed, and this made him feel claustrophobic. It was dangerous to return to England, to London, where he had his home, his friends, his work, and his everyday life. He couldn’t go to France, Switzerland, the United States, or Jerusalem. The flow of his life, his usual circuit, had been interrupted, and he didn’t even know if he could go to Milan or his house in Moncalieri. Italy was a beautiful country and he often though that it had everything he’d want to see and visit. His friend Nicholas had asked him to Siena for a few days. But it wasn’t possible because he couldn’t justify it as a need to reunite with family or a return home. In his night-time thoughts, his life was like a thread, a string of disjointed episodes. He remembered moments, jobs, cities, women, and his children at different ages. He remembered being in Cortina in August and having breakfast with two friends when Jaki called to tell him that his grandchild had been born, a baby boy who would be called Leone. -
Italian Jewish Authors and Their “Lessico Familiare” Published on Iitaly.Org (
Italian Jewish Authors and their “Lessico Familiare” Published on iItaly.org (http://www.iitaly.org) Italian Jewish Authors and their “Lessico Familiare” Benedetta Grasso (June 25, 2011) Alain Elkann, Italian novelist, intellectual, and journalist, gave an inspiring lecture at the Jewish Museum in NY, on June 23rd 2011 analyzing the most important Italian Jewish authors and embarking on a cultural “mission” to spread awareness about what’s a defining movement in Italy. The event was organized by the Italian Cultural Institute in New York Page 1 of 4 Italian Jewish Authors and their “Lessico Familiare” Published on iItaly.org (http://www.iitaly.org) There are authors that come in groups. They might know each other really well and collaborate during their lifetime, they might breathe the same culture and historical ideas or they might share a similar style, motifs and themes. Sometimes they might even be unaware of what brings them together while they are alive but later they are associated to a cultural movement. In the U.S. when you talk about Jewish American Literature and its most prominent authors (Henry Roth, Saul Bellow, J. D. Salinger, Norman Mailer, Chaim Potok, and Philip Roth, Jonathan Safran Foer, Nicole Krauss) or better when you simply mention Jewish artists in general (directors like Woody Allen or Spielberg) you may find that they are very different among each other yet they all fall under the same umbrella. People know that they are universally acclaimed artists, that they are Americans but they also know that they are Jewish and that this, in a small or in a big way, plays a role in their career. -
Repressed Memory and Traumatic History in Alberto Moravia's 'The
Repressed memory and traumatic history in Alberto Moravia’s 'The Woman of Rome' Book or Report Section Accepted Version Leavitt, C. (2018) Repressed memory and traumatic history in Alberto Moravia’s 'The Woman of Rome'. In: Sambuco, P. (ed.) Transmissions of Memory: Echoes, Traumas and Nostalgia in Post-World War II Italian Culture. Rowman and LittleField, New Jersey, USA, pp. 39-54. ISBN 9781683931430 Available at http://centaur.reading.ac.uk/74248/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Publisher: Rowman and LittleField All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Chapter 2 Repressed Memory and Traumatic History in Alberto Moravia’s The Woman of Rome Charles L. Leavitt IV Alberto Moravia traced the origin of The Woman of Rome (La Romana, 1948) to a memory. Although he started to write the novel in late 1946, that is to say, he located the project’s true beginning a decade earlier, in 1936, in a fateful encounter on the streets of Rome. “I found myself in Largo Tritone with Leo Longanesi, after a typically boring evening in Rome, and all of a sudden I saw a woman who seemed to be a streetwalker,” he recounted to his biographer, Alain Elkann. -
Fiat's Young Boss Steers a Tough Course
FIAT BEHIND THE WHEEL: Fiat Chairman John Elkann drives a Fiat 8V at the start of the “1000 Miglia” International classic car rally in Brescia. REUTERS/PAOLO BONA John Elkann has to decide between Italian passion and corporate pragmatism Fiat’s young boss steers a tough course BY JENNIFER CLARK TURIN, NOVEMBER 9, 2012 SPECIAL REPORT 1 FIAT STEERING A NEW COURSE henever Sergio Marchionne, chief executive of carmakers WFiat and Chrysler, appears in public, television crews jostle to beam his words around the globe. Amid the push and shove it’s easy to miss the tall, curly- headed young man who often looks on from the sidelines. He’s John Elkann. And he’s Mar- chionne’s boss. The 36-year-old scion of Italy’s powerful Agnelli clan became vice chairman of Fiat – founded and still controlled by his fam- ily – just under a decade ago, and chairman in 2010. For years, his was the saga of a shy, awkward young heir thrust prematurely into corporate leadership by family tragedy. No more. Now Elkann is taking the key role in an- swering the question that faces his family’s firm: Is what’s good for Italy really good for Fiat anymore? The question evokes the famous statement - “I thought that what was good for America was good for General Motors and vice versa” – by Charles “Engine Charlie” Wilson, then the president of GM, 60 years ago. Nobody is calling Elkann “Engine John- nie.” But many thought Fiat had outgrown Italy in 2009 when it snapped up a control- ling stake in Chrysler and left Elkann to wrestle with the politically potent question of how closely the family firm, long the sym- bol of corporate Italy, should remain tied to the troubled economy of its home country. -
Fiat, Chrysler, and the Power of a Dynasty
ffirs.indd ii 05/11/11 2:05 PM Mondo Agnelli ffirs.indd i 05/11/11 2:05 PM ffirs.indd ii 05/11/11 2:05 PM Mondo Agnelli Fiat, Chrysler, and the Power of a Dynasty Jennifer Clark John Wiley & Sons, Inc. ffirs.indd iii 05/11/11 2:05 PM Copyright © 2012 by Jennifer Clark. All rights reserved. Published by John Wiley & Sons, Inc., Hoboken, New Jersey. Published simultaneously in Canada. Llanto por Ignacio Sánchez Mejías (Lament for Ignacio Sánchez Mejías) by Federico García Lorca copyright © Herederos de Federico García Lorca, from Obras Completas (Galaxia/Gutenberg, 1996 edition). English Translation by Galway Kinnell copyright © Galway Kinnell and Herederos de Federico García Lorca. All rights reserved. For information regarding rights and permissions of all of Lorca’s works in Spanish or in English, please contact [email protected] or William Peter Kosmas, Esq., 8 Franklin Square, London W14 9UU, England. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, (978) 750 – 8400, fax (978) 646 – 8600, or on the Web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748 – 6011, fax (201) 748 – 6008, or online at www.wiley.com/go/permissions. -
Before the Mirror Contents
MICHELANGELO PISTOLETTO BEFORE THE MIRROR CONTENTS Michelangelo and Dante (English translation) CARLO FALCIANI 7 Plates 15 Michelangelo Pistoletto – Biography 71 Works. Exhibition history and bibliography 75 Michelangelo e Dante (original text) CARLO FALCIANI 89 MICHELANGELO AND DANTE CARLO FALCIANI CARLO FALCIANI graduated from the University of Florence with a thesis on Rosso Fiorentino. As Michelangelo Pistoletto spoke to me of our own time and of the far-off days when he used a research fellow of Villa i Tatti, Harvard University’s Center for Italian Renaissance Studies, he to devote his energies to painting, using words that were calm but firm, in the kind of out- developed a project on the Gallery of Fontainebleau, while as a research fellow of the Center for line form that only memories can shape. He made it clear to me at once that he has no Advanced Study in the Visual Arts at the National Gallery in Washington, he pursued a research books, that he has never read a book and that he trusts only oral culture, word of mouth; project on Bronzino. but then, in his day that culture did not simply carry fleeting words, it also had deep and ancient roots. As he spoke, there emerged from the depths of my boyhood memories the He has published a monographic study on Rosso Fiorentino and a catalogue entitled Pontor- th afternoons I would spend with a relation of my mother, a shepherd who knew Dante’s mo, Drawings in the Uffizi, both with Leo Olschki, alongside numerous essays on 16 century Floren- Inferno by heart, and with my aunt, who would tells us tales with a moral to them which I tine, Venetian and French painting which have featured in both Italian and international journals. -
Sterling Ruby
Sterling Ruby Bibliographie / Bibliography Bücher und Kataloge (Auswahl) / Selected books and catalogues 2019 Gartenfeld, Alex / Respini, Eva: Sterling Ruby, Munich, DE: Prestel Verlag; Miami, FL: Institute of Contemporary Art; Boston, MA: Institute of Contemporary Art. Morse, Jed: Sterling Ruby: Sculpture, Esslingen, DE: Cantz. Nakanishi, Hiroyuki / Ikeda, Ayumi / Stephens, Christopher: Abstraction: Aspects of Contemporary Art, Osaka, JP: The National Museum of Art. Porter, Jenelle: Sterling Ruby: ACTS + TABLES, New York, NY: Gagosian. Respini, Eva, et al.: Huma Bhabha: They Live., New Haven, CT: Yale University Press; Boston, MA: Institute of Contemporary Art. Dior: From Paris to the World, Dallas, TX: Dallas Museum of Art. La Source, Paris, FR: David Desrimais Editeur, Fondation Carmignac. REFLECTIONS Seoul, KR: Gana Art Center. 2018 Berardini, Andrew: Sterling Ruby: HEARTS + CLUBS, Brussels, BE: Pierre Marie Giraud. Betsky, Aaron: Jim Olson: Building, Nature, Art, London, UK: Thames & Hudson. Böhm, Elisabeth, et al.: Proof of Life, Bremen, DE: Weserburg Museum für moderne Kunst. Britt, Tyler: Sterling Ruby: DRFTRS, Brussels, BE: Xavier Hufkens. Fleming, Jeff / Peña, Theodore / Clark, Garth: Sterling Ruby: Ceramics, Des Moines, IA: Des Moines Art Center. Ruby, Sterling: Sterling Ruby: VERT, Tokyo, JP: Taka Ishii Gallery. Ruby, Sterling: Sterling Ruby: WIDW, Brussels, BE: Xavier Hufkens. Simons, Raf / Ruby, Sterling, et al.: Beyond the Collaboration, Berlin, DE: Sternberg Press; Cambridge, MA: Havard University, Graduate School of Design. Sinding, Adam Katz: This is Not A F*cking Street Style Book, Kempen, DE: TeNeues Publishing Group. Zana, Charles / Vignal, Marion: Charles Zana: The Art of Interiors, New York, NY: Rizzoli. 2017 Acevedo, Melanie, et al.: The Authentics, New York, NY: Clarkson Potter. -
6005846712.Pdf
ffirs.indd ii 05/11/11 2:05 PM Mondo Agnelli ffirs.indd i 05/11/11 2:05 PM ffirs.indd ii 05/11/11 2:05 PM Mondo Agnelli Fiat, Chrysler, and the Power of a Dynasty Jennifer Clark John Wiley & Sons, Inc. ffirs.indd iii 05/11/11 2:05 PM Copyright © 2012 by Jennifer Clark. All rights reserved. Published by John Wiley & Sons, Inc., Hoboken, New Jersey. Published simultaneously in Canada. Llanto por Ignacio Sánchez Mejías (Lament for Ignacio Sánchez Mejías) by Federico García Lorca copyright © Herederos de Federico García Lorca, from Obras Completas (Galaxia/Gutenberg, 1996 edition). English Translation by Galway Kinnell copyright © Galway Kinnell and Herederos de Federico García Lorca. All rights reserved. For information regarding rights and permissions of all of Lorca’s works in Spanish or in English, please contact [email protected] or William Peter Kosmas, Esq., 8 Franklin Square, London W14 9UU, England. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, (978) 750 – 8400, fax (978) 646 – 8600, or on the Web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748 – 6011, fax (201) 748 – 6008, or online at www.wiley.com/go/permissions. -
Cecily Brown’
Elkann, Alain. ‘Cecily Brown’. Alain Elkann Interviews., Online. 24 February 2019. Cecily Brown WE DIDN’T MEAN TO GO TO SEA. Cecily Brown is a British painter who was born in London in 1969 and completed her education in England with a BA in Fine Arts at the Slade School of Art. Her style displays the influence of a variety of painters, from Francisco de Goya, Willem de Kooning, Francis Bacon and Joan Mitchell, to Old Masters like Rubens and Poussin, yet her works also present a distinctly female viewpoint. Cecily lives and works in New York City. How would you describe your working day? In short, I drop off my child at school, I walk the dog, and I try and get to the studio as early as possible. It’s very different from my life before a child where I would start whenever I felt like it and work until late. I live about ten minutes from the studio and these days it is more or less 9 to 6. During those hours I try and squeeze in everything else. I go to the gym and run errands first, but once I start work I try to work through without interruptions. Solitude can be important for an artist. Are you alone in your studio? I am here three days alone and I have people helping two days, or sometimes the other way round. They are in the other part of the room doing more administrative things, not painting. I don’t have any assistants who help on my work, but I am very particular about who I allow into my studio, into my space.