We feature the popularized story version of the French fairy tale ‘La Belle et La Bête’ (Beauty and the Beast), which became a classic 1946 Jean Cocteau film accompanied by composer Philip Glass’s mesmerizing 1994 score.
This is the first post in a series where I present the case for Geo-Fauvism, a growing movement of wild earth inspiration in art, literature, music and design. Taking off from the early 20th Century French art “Fauvists” or “Wild Beasts,” these cross-disciplinary creations respond to and react against the collapse of global environmental systems, the destruction of indigenous earth-based societies, and a narrowing of cultural opportunities in the mainstream corporatized media. Geo-Fauvists create to reconnect with the wild and heal humanity’s rift with the landscape, building a new community based on integration with the ecosystem.
“Art is never chaste,” said Pablo Picasso. “Art is dangerous.” One of the 20th century’s greatest painters was born in Málaga, Spain, but Jonathan Jones argues he came into his own amid the sleaze and bohemianism of Paris – the only city that could have matched his peerless imagination.
Paul Gauguin, the bourgeois-turned-bohemian artist who left France for Tahiti, reveals a darker, almost menacing mythological vision, in contrast to his exploitative picture-postcard fantasy-native Polynesian paintings for which he is known. The exhibition continues at MoMA in New York until June.
Arnie Gunderson of Fairewinds interviews Amory Lovins, preeminent environmental thinker and co-founder of the Rocky Mountain Institute. With forty years of energy policy experience, Amory Lovins has dedicated himself to the idea that our energy future does not have to look like our energy past. Listen in as Arnie and Amory discuss transitioning towards a clean energy economy in the US and around the world.
Urban farmers and gardeners around the world transform abandoned lots into edible landscapes, improving human and ecological health as well as creating beautiful places. Richard Ingersoll surveys a myriad of concepts and projects from around Europe and the United States.
In 1934, Henry Miller, then aged forty-two and living in Paris, published his first book. In 1961, finally distributed in his native land the book promptly became a best-seller and a cause célèbre. By now, the “controversies” dominate his legacy, including issues of censorship, obscenity, misogyny and anti-Semitism, clouding the import of Henry Miller’s words. “Tropic of Cancer” broke literary ground, mixing novelistic forms with autobiography, social criticism, philosophical reflection, and surrealist free association.