Best of the Year Award

The fifth annual design competition recognized superior interior design projects and products in more than 70 categories. Cindy Allen, editor-in-chief of the magazine, described the achievement as “a perfect trifecta” of honors for Andre Kikoski Architect, whose 2010 distinctions for the Wright also include the James Beard Award for Outstanding Restaurant Design and the Gold Key Award for Excellence in Hospitality Design. Since opening in December 2009, the Wright, named for the Guggenheim’s famed architect Frank Lloyd Wright, has received numerous accolades for its innovative design. The 1,600-square-foot space features a curvilinear wall of walnut layered with illuminated fiber optics, a bar clad in innovative custom metalwork and topped with white Corian, and a sweeping banquette with blue leather seating. The modern American menu, which emphasizes seasonal, local, and sustainable ingredients, was created by David Bouley protégé Rodolfo Contreras. Reflecting the museum's modern and contemporary focus, renowned British artist Liam Gillick was commissioned for a site-specific work, titled The horizon produced by a factory once it had stopped producing views (2009). Conceived as a sculpture that can be expanded or contracted to fit any designated space, Gillick constructed a sequence of horizontal planks of powder-coated aluminum mounted to the walls and ceiling.

doesn’t have to go on.

Most of us, I suspect, like to think of artists as a breed apart, a cadre of idealists whose souls have been ennobled by long exposure to beauty. The truth, however, is that they are every bit as human as the rest of us, and that a certain number of them are self-centered opportunists who are perfectly willing to ignore evil so long as the evildoers leave them in peace to do their work. That was pretty much what many German musicians did when the Nazis came to power in 1933. Within a matter of days, Hitler and his henchmen started putting into place a policy of systematic persecution of German Jews.
“Because of the impression made on me by the actions of my Christian compatriots against German Jews…I find it necessary to break off my concert tour in Germany.” What makes this act so significant is that Mr. Busch was the only well-known non-Jewish German classical musician to emigrate from Germany solely as a matter of principle—and one of a bare handful of non-Jewish European musicians, including Arturo Toscanini and Pablo Casals, who resolved to stop performing there for the same reason.

Dreams and Facts

The influence of our wishes upon our beliefs is a matter of common knowledge and observation, yet the nature of this influence is very generally misconceived. It is customary to suppose that the bulk of our beliefs are derived from some rational ground, and that desire is only an occasional disturbing force. The exact opposite of this would be nearer the truth: the great mass of beliefs by which we are supported in our daily life is merely the bodying forth of desire, corrected here and there, at isolated points, by the rude shock of fact. Man is essentially a dreamer, wakened sometimes for a moment by some peculiarly obtrusive element in the outer world, but lapsing again quickly into the happy somnolence of imagination. Freud has shown how largely our dreams at night are the pictured fulfilment of our wishes; he has, with an equal measure of truth, said the same of day-dreams; and he might have included the day-dreams which we call beliefs. There are three ways by which this non-rational origin of our convictions can be demonstrated: there is the way of psycho-analysis, which, starting from an understanding of the insane and the hysterical, gradually makes it plain how little, in essence, these victims of malady differ from ordinary healthy people; then there is the way of the sceptical philosopher, showing how feeble is the rational evidence for even our most cherished beliefs; and finally there is the way of common observation of men. It is only the last of these three that I propose to consider.

chronicled in “isms”

A history of the humanities in the 20th century could be chronicled in “isms” — formalism, Freudianism, structuralism, postcolonialism — grand intellectual cathedrals from which assorted interpretations of literature, politics and culture spread. The next big idea in language, history and the arts? Data. Members of a new generation of digitally savvy humanists argue it is time to stop looking for inspiration in the next political or philosophical “ism” and start exploring how technology is changing our understanding of the liberal arts. This latest frontier is about method, they say, using powerful technologies and vast stores of digitized materials that previous humanities scholars did not have. These researchers are digitally mapping Civil War battlefields to understand what role topography played in victory, using databases of thousands of jam sessions to track how musical collaborations influenced jazz, searching through large numbers of scientific texts and books to track where concepts first appeared and how they spread, and combining animation, charts and primary documents about Thomas Jefferson’s travels to create new ways to teach history.