Walden Art Club hosts its spring art show this weekend - Sudbury News

Dame Judi Dench has long made her feelings clear about Cats, the doomed 2019 adaptation of the Andrew Lloyd Webber musical. In an interview the year after release, she said she had so far declined to watch the movie – in which she played wise moggy Old Deuteronomy – and described the orange fur coat she had to wear as looking like “five foxes fucking on my back”. In her forthcoming memoir, Is It Too Late to Make a Run for It? Dench reflects further on her involvement in the movie, which was universally panned and whose director, Tom Hooper, has not made a film since. “Oh God, I can’t bear it,” she writes in the book, “and [Lloyd Webber] had waited so long for it to be made. What a waste of all that goodwill and talent. “I understand the critics were rather hostile to the film. I never saw the final cut so I can’t judge. All I’ll say is nobody sets out to give a poor performance or make a bad film.

Plus, a new Shakespeare play, Beatlemania in Aix-en-Provence, and other art world matters.

Little-known photographer John Baer captured everyday life before putting down his camera in 1954. His son discovered the images decades later after his death, and John Baer: The Extraordinary Ordinary / A Memoir in Photographs, 1945–1954 marks their first public releaseLunch Hour, Bryant Park Photograph: John BaerTue 20 Oct 2026 12.00 BSTLouise Twice, 34th Street, ManhattanJohn Baer received his first camera, a 1938 Model II, from a German soldier. He traveled with it from Manhattan to Brooklyn to Westchester county. Boys with Guns, BarcelonaIn January 1942, when Baer was serving as the managing editor of the campus newspaper at Pennsylvania State University, he was drafted to fight in the second world war. Soldiers on a French Train Years later, in 1945, he took Soldiers on a French train, photographing soldiers during the first stage of their journey home. Couple in Washington Square Park In 1948, Baer and his wife, Louise, moved from Europe to New York City, where they rented a fifth-floor walk-up at 215 Second Avenue in the East Village. Shoeshine man, Third Avenue and 42nd Street, ManhattanBaer often captured scenes of New York City from his fire escape. O!

the french designer brings his eccentric imagination to a historic building in montparnasse, filling its interiors with hand-painted frescoes, mythological references, bespoke furniture, and a swimming pool. Iñaki Laguardia October 20, 2026 6 min prefer designboom on googleVINCENT DARRÉ BRINGS FANTASY TO PARIS’ LE MAGNIFIQUE HOTELFrench designer Vincent Darré has brought his theatrical imagination to Hôtel Le Magnifique, a hotel on Rue de la Gaîté in Paris’ 14th arrondissement. Located in a neighborhood historically associated with theaters, cabarets, and the artistic life of Montparnasse, the project transforms hospitality into an immersive experience shaped by fantasy, mythology, and the performing arts. The building itself carries an unusual history, having originally housed Les Mille Colonnes, a renowned theater dating back to the early 19th century. Its historic façade now introduces a series of interiors where decorative elements, unexpected colors, and references to Parisian cultural heritage unfold throughout the hotel. The project was initiated in 2024 by hotelier Jacques Blanc, who envisioned a property that would depart from conventional hospitality design.

As we found our seats, a druidic figure wearing a string of vapes as a necklace sat on stage swathed in white fabric and smoke, emitting close-miked mouth noises amid a rising chorus of percussive hisses and rattles. Then dancing flashlights, reverb and thunderous drum rolls. Later came monologues delivered with quiet, skin-crawling sincerity or pounded out as a kind of manic rap and comically dysfunctional text chats projected on the backcloth. Not to mention the dance breaks. There was an angular, hyper-controlled trio fluent in the language of modern ballet and a hands-on-hips traditional number as faux-folk lyrics scrolled in gothic script and a hefty synthetic beat throbbed below. The first collaboration between Jennifer Walshe and Philip Venables – two of the most distinctive creators in music theatre today – The Alonetimes was never likely to adhere to the conventional playbook of opera. The programme for its UK premiere describes the work as “a fragmented archaeology of personal stories”.

'It’s a marriage made in heaven,' one dealer said. The post Art Meets Couture in a Dazzling Valentino and Ewa Juszkiewicz Exhibition appeared first on Artnet News .