Wandering Eye: Tim Ryan goes to Los Angeles with a hatchet, Marcel Duchamp's Buenos Aires, and more

It sounds like outgoing Baltimore Sun publisher Tim Ryan is heading to his new job at the Los Angeles Times carrying a hatchet. A new report on journalism industry site Poynter says large cuts are expected at the Times, with as many as 80 jobs on the line. Reporters will be offered buyouts, and if that doesn't save enough cash, layoffs are next. There reportedly were differences in strategy between recently dismissed publisher Austin Beutner and Tribune CEO Jack Griffin. According to Poynter, Beutner wanted to "reinvest in a variety of editorial experiments and use potential personnel savings for those projects." Here's another interesting tidbit: Tribune Publishing, which owns The Sun and City Paper in addition to the Times, rejected an offer to buy the paper from Beutner and a group of investors. "Beutner believed the best path for the paper was going private," the story reads. "But, from the larger company's perspective, that would mean sharply diminishing the size of Tribune Publishing. It would thus mean that a lot of current corporate executive positions — some quite cushy — would disappear as Griffin's domain would shrink considerably." Fun times here on Calvert Street. (Brandon Weigel)

 

Kate Crane figures her father Eddy's business partner killed him in 1987—or had him killed—down in their Curtis Bay truck chop shop. Officially, he's just "missing." Here’' a piece in Ozy about how she's been trying to figure it all out. It's pretty gripping. She was 12 on the day he did not come home from work. She's been terrified ever since. When she meets the daughter of the man she's sure is responsible for her father's death—a man she called "Uncle Augie"—you wonder what's going to happen. (Edward Ericson Jr.)

 

Marcel Duchamp fled New York for Buenos Aires in 1918, an attempt to extricate himself from pre-World War I tensions in the U.S. Cioran McGrath, in a great essay for 3:AM Magazine, unpacks Duchamp's voyage, and tries to figure out what caused Duchamp's ennui once he got to Buenos Aires, and why the artist called the city "just a big provincial town full of rich people with absolutely no taste, and everything bought in Europe." McGrath offers that Duchamp's disappointment by the city's modernity was "an early reaction to what we would now recognise as globalisation." Citing Duchamp's readymades, however, which include the famous 'Fountain,' McGrath says: "If it is safe to assume he was well accustomed to the dubious nature of authenticity in the age of mass production before his trip to Buenos Aires, then his Argentine fantasy of escape seems all the more incoherent." McGrath also points out that Duchamp's boredom essentially came from a place of privilege, and makes this point using the poet César Vallejo's exile from Peru to Paris. "Perhaps Duchamp's Latin American gap year," McGrath writes, "was not so different to that of a naive backpacker, heading south in search of revolution and alternative lifestyles, only to return with a Che Guevara t-shirt and lesser dreams." (Rebekah Kirkman) 

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