Spaghetti Tacos: Silly Enough for Young Eaters [via The New York Times]
A visual gag on a Nickelodeon show has spawned a new trend, the trendspotting New York Times reports: spaghetti tacos. Syracuse University pop culture professor Robert Thompson provides some expert commentary: “This combination seems to be an inevitability, sort of like chocolate and peanut butter running into each other on that Reese’s commercial. The amazement should be only that it took ‘iCarly’ to bring it into our melting pot of a culture… Spaghetti tacos has made it possible to eat spaghetti in your car. It’s a very important technological development. You don’t even need a plate.”
Spaghetti Tacos “Expert,” Prof. Robert Thompson, Has Now Been Interviewed by 78 Different NYT Reporters [via NYT Picker]
Perhaps Professor Thompson is overextending himself, the NYTimes Picker says. “But maybe Stapinski’s reportage isn’t so remarkable, after all. In fact, she’s only continuing a longstanding NYT tradition in quoting Thompson — and has become the 78th NYT reporter to do so, in 150 separate stories over the span of almost two decades. We counted! Only last month, Thompson was quoted in four television-related NYT stories over a ten-day period: an advertising column by Abby Ellin, a sports story by Pete Thamel, and pieces by two regularly Thompson-dependent television reporters, Richard Sandomir and Bill Carter.”
Parisian flat containing €2.1 million painting lay untouched for 70 years [via The Daily Telegraph]
Apparently it had been a while since the neighbors had seen Marthe de Florian at her Paris flat, but no one had any idea it had been seven decades. De Florian had left Paris for southern France before World War II and never returned, leaving behind “a treasure trove of turn-of-the-century objects including a painting by the 19th century Italian artist Giovanni Boldini.” When she died at the age of 91, though, her possessions had to be inventoried, leading authorities to unseal the flat. Predictably, they also found a great deal of dust and cobwebs.
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“Why are so many people in their 20s taking so long to grow up?”
So begins the 8,000-word novella on today’s New York Times magazine cover. Why indeed? This question is over rather paramount importance to me — a 22-year-old liberal arts college graduate, unemployed, living with my parents and looking for a job in a collapsing industry (finance — just kidding! I mean an actually collapsing industry: journalism). There’s already been a good deal of indignation in the blogosphere, likely penned in large part by such un-grown-up twentysomethings.
Twentysomething malaise. Courtesy of the New York Times.
The problem lies in a deviation from the “traditional” growing-up schedule: school, career, family, retire. Mmm… a lifetime of monumental decisions boiled down to a handy four-step guide. But now, “young people remain untethered to romantic partners or to permanent homes, going back to school for lack of better options, traveling, avoiding commitments, competing ferociously for unpaid internships or temporary (and often grueling) Teach for America jobs, forestalling the beginning of adult life.”
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One of Abdi's sculptures from his final "Work of Art" show. Courtesy BravoTV.com.
The New York Times this morning has a review of Bravo’s “Work of Art: The Next Great Artist” winner Abdi Farah’s show at the Brooklyn Museum. It sounds rather disappointing in its scope — “it fills a glorified broom closet,” Karen Rosenberg writes. She continues:
Mr. Farah’s cast resin sculptures of fallen men have energy and a kind of grace. They have solid references, too, from Eric Fischl to Hank Willis Thomas (whose photographic series “Unbranded” has been installed nearby). But the basketball shorts and sneakers they wear are a conceptual crutch. They imply that the artist doesn’t trust his own ability to make gesture convey meaning.
The paintings are less impressive, tortured expressionist self-portraits with an obvious debt to Photoshop image filters.
That’s pretty much all Rosenberg has to say regarding Abdi’s show itself; the remainder of her review critiques “Work of Art” as a show.
Rosenberg’s thoughts about his scultures are spot-on. The figures are striking, even on the 2-dimensional medium of television. I can’t help but wonder, however, if the sportswear coverings are simple excuses to avoid sculpting feet and genitalia. Abdi sculpted the hands well — and, as seen on the “Work of Art” finale, even managed to reattach them satisfactorily after accidentally chipping them off during unpacking. It seems unlikely that he was avoiding the feet aesthetic. Instead, it seems the sportswear is a holdover from Abdi’s strong pop-slash-superhero leanings. I know, the artistes cry; commercialism besmirching a pure medium! Deal with it.
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