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Inflation in the United States has unquestionably cooled after hitting 40-year highs last year. Other key inflation gauges, the more comprehensive Personal Consumption Expenditures price index and the wholesale-focused Producer Price Index, have moderated as well. A spike in gas prices and other components such as persistently high shelter costs have kept inflation elevated. The locally owned Walnut Group restaurant company closed its venerable Mediterranean Restaurant (fondly called The Med), the French bistro Brasserie Ten Ten and the newer Italian entrant Via Perla. Courtesy Tim Romano PhotographyAlthough Brasserie Ten Ten had a nearly two-decade run before its closure, it was like starting a brand new restaurant, Hessel said.
Persons: Marlon Pando, White Lotus, Tony Hessel, he’s, Jerome Powell, Brandon Bell, , , Lydia Boussour, United States —, Pando, , Price, Frederic J . Brown, Mark Zandi, Chase Castor, hadn’t, Holly Wade, Peggy Romano, Romano, Brasserie, Tim Romano, Hessel, ” Hessel, you’ve, it’s Organizations: Minneapolis CNN —, Disney, Mexican Grill, White, Getty, Moody’s, National Federation of Independent, Washington Post, NFIB Research, shocker, Walnut Group, Via Perla Locations: Minneapolis, New Jersey, Boulder , Colorado, United States, Mexican, Austin , Texas, Alhambra , California, AFP, Marion , Kansas, , Walnut
A New Survey Erases Male Artists From the Western Canon
  + stars: | 2023-05-02 | by ( Tiana Reid | ) www.nytimes.com   time to read: +2 min
But although her index of names succeeds in providing some answer to the question posed in Linda Nochlin’s trailblazing 1971 essay “Why Have There Been No Great Women Artists?,” Hessel does less than Nochlin did, 50 years ago, to unsettle the terms of the question itself. Can inserting women into the art-historical canon interrupt the system of canonization itself? Why does Hessel rely on the same methods of archival organization — linear history, market-based tastes, distinct genre boundaries — that played a part in producing women’s very exclusion? How instead might the fact of women’s presence disrupt the presuppositions of art’s place in the world? An especially moving chapter, “The Body in Sculpture,” initiates an answer.
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