It's perhaps the most reproduced piece of art ever created. It has adorned key chains and coffee mugs, and the cover of Time magazine. Andy Warhol used it, and now one of the four versions of The Scream, Edvard Munch's iconic work — the only one outside Norway — is coming up for auction at Sotheby's in New York. Sale estimates are as high as $80 million.
Conservative critic Jonah Goldberg says he's inspired to write when he gets annoyed. "Aggravation is a muse," he says. And after speaking on a number of college campuses, he grew aggravated enough to write a book. It's called The Tyranny of Cliches: How Liberals Cheat in the War of Ideas.
In <em>First Position</em>, dancer-turned-filmmaker Bess Kargman seeks to challenge stereotypes about ballet dancers. Kargman says she didn't fear the challenges of being a first-time director because her subjects' stories were so compelling.
Credit IFC Films
Gaya Bommer and Aran Bell in <em>First Position</em>. Aran, who is 11 in the film, began dance training at age 4.
Credit Bess Kargman / IFC Films
Joan Sebastian Zamora, 16, left his mountain village in Colombia for greater opportunities in America.<em></em>
First Position follows in the spirit of such competition documentaries as Spellbound and Mad Hot Ballroom, trackingseven young dancers as they prepare for the Youth America Grand Prix, a prestigious ballet contest.
The first competitor we meet is a mature 11-year-old named Aran Bell. His father is in the military. He likes to skateboard and jump on his pogo stick.
Aran began dancing when he was 4, and when he hits the stage, he turns and leaps with the poise and fire of a professional.
This week's cover of the New Yorker magazine is a witty drawing by artist Chris Ware of a playground full of young children and their watchful parents. One woman wheels her son in a stroller, only to see that all the other parents are men. The image is called "Mother's Day."
But for all the memorable New Yorker covers out there, an equally large number of covers didn't make it to the newsstand. They were not quite on the money — or were sometimes a little too coarsely on the money.