1. Like many people, I much taken with @aoscott's piece on Woody Allen in the #metoo
era, but I have a few thoughts to add (as does @Jo_Livingstone!) https://www.nytimes.com/2018/01/31/movies/woody-allen.html …
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8. The formalist attempt to deny that the historical origins of art are relevant was a useful fiction (it allowed criticism to focus on technique, not gossip) but ultimately an untenable one.
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9. With the rise of second wave feminism in 1960s, it was impossible to ignore that works of art weren't pure creations outside of culture but products of a patriarchal history.
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10. The feminist revolt was against both romanticism and formalism. The romantic original genius was almost often a man (often covertly supported by a wife or mistress). And formalism turned eyes from that fact.
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11. One thing I liked about
@aoscott's piece was way it placed the Woody Allen question in both autobiographical and historical context evoking period in 1970s when Allen was a cultural hero.Show this thread -
12. The 1970s cult of Allen was doomed to give way even if we had never learned about his private life, because belief in the Godlike auteur is at odds with collaborative nature of film (and all cultural production).
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13.
@Jo_Livingstone & I have more thoughts on all this here (with cameo by@terryteachout & Ballanchine):https://newrepublic.com/article/146876/woody-allen-metoo-separation-art-artist …Show this thread
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Interesting, but overwrought. How about this: Artists aren’t perfect people, nor are authors, businessmen, generals, politicians, priests, professors, or even founding fathers. Why can’t people separate a person’s works from their flaws as human beings?
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Which made very little sense, given how much of modern art is explicitly about the life and the experience of the artist.
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