Randolph College’s Maier Museum Is Punished
AJBlog: Real Clear Arts | Published 2014-03-12
Economics of deaccessioning (a bit theoretical)
AJBlog: For What it’s Worth | Published 2014-03-12
Speak, memory
AJBlog: Performance Monkey | Published 2014-03-12
Making it as a Writer: MFA vs NYC
AJBlog: CultureCrash | Published 2014-03-12
Pierre Boulez video interview: ‘I am a composer. I still am a composer’
AJBlog: Slipped Disc | Published 2014-03-12
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Avoid, please, all metaphors of plays or films as “pinnacles” or “peaks”; treat with absolute scorn the word “definitive”; and if anyone uses the word “masterpiece,” they don’t know what they’re doing. The pursuit of perfection is a mug’s game.
“The distinction in creative labor, put simply, is that artists have autonomous control over the direction of their creative output, whereas members of the “creative industries” produce products on spec. While both trade the products of their labor for capital, the latter, professionalized class dwarfs the former in economic clout, and so is dramatically more lucrative and stable an avocation.”
“Music didn’t acquire the property of repetitiveness because it’s less sophisticated than speech, and the 347 times that iTunes says you have listened to your favourite album isn’t evidence of some pathological compulsion – it’s just a crucial part of how music works its magic.”
“There is this weird thing where having a little bit of resources is worse than having none. Or: having a few numbers of options is worse than having no options. It can be freeing to be at the very bottom.”
“Permitting photography led to constant tension between those who wanted a clear view for their camera and those who wished to look at the paintings. Many also insisted on photographing their companion or themselves in front of a picture. This led to numerous complaints from other visitors.”
“So now that we know that it’s possible to deliver books like magazines, to sell them like magazines, and to target them at clusters of readers like magazines, the big question looms: Do book enthusiasts actually want to engage with literature the way they engage with magazines? And can they afford to?”
“By going all-subscription now, the big networks would have a chance to define that future rather than becoming its victims.”
“This talented orchestra and Vänskä, who resigned as a show of support for his players, have almost come to represent a blue-collar crew who took on the elite in the city. But now with deadlines looming and the newfound attention the orchestra is receiving, there’s also a new pressure on the board to act.”
Blair Tindall’s memoir turned into an Amazon.com series. “Amazon Studios has settled on four series orders among the 10 pilots the company announced last month were under consideration, according to sources close to the deals.”
“So how come a show with no press support and a tiny marketing budget (we’ve had some tube posters) found an audience? The answer seems to be social media.”
“The THX Deep Note was played in front of 4,000 movie theater audiences a day, or around once every 20 seconds. Yet despite its distinctive crescendo, the THX Deep Note wasn’t actually composed so much as it was programmed, which makes it a fascinating success story of early computer audio design.”
“Seattle’s music scene is a critical part of our city’s cultural draw and the quality of life in our city,” said Mayor Ed Murray. “We want to better serve local music venues’ needs and the musicians that play there.”
“Plans by the European Union to raise a levy on the sale of iPads and tablets to help young musicians benefit from downloads have been blocked by the British government.”
“A whole new economy based not on manufacturing or even service provision, but on knowledge or more precisely creativity and innovation is slowly taking shape. What makes people creative and innovative however, is still being debated.”
They’re not actually made of paper (they’re aluminum and fiberglass), but they sure look like it. The seven pieces make up Alice Aycock’s Park Avenue Paper Chase, now going up in the median of Park Avenue in upper midtown Manhattan.
Dance Magazine checks in with former members of the Merce Cunningham Dance Company to see where life and career have taken them.
“The problem with North Korea journalism is that you can write almost anything and almost nobody knows if it’s bunk. Then you have North Korea fiction, where you can paint a very vivid reality and readers, I imagine, will want to believe that it’s 100 percent true.” Adam Johnson, author of the Pulitzer Prize-winning The Orphan Master’s Son, talks about how he dealt with the challenge.
With the London-based company about to begin a two-year global tour of Hamlet that they hope will include every nation on Earth, Amnesty International has given them a scolding for including Kim Jong Un’s domain on the itinerary. Mark Lawson considers the precedent – the long boycott of apartheid-era South Africa – and whether the situations are comparable.
English National Ballet artistic director Tamara Rojo and her three choreographers – Liam Scarlett, Russell Maliphant and Akram Khan – talk about creating their upcoming mixed bill, titled Lest We Forget.
It was the idea of Sylvester Stallone himself, after the disappointment of the fifth Rocky film in 1990. But nobody took that idea seriously for more than 20 years …
“Generally speaking, an analysis of animal behavior is not considered scientific unless the animal is assumed, at least tacitly, to be operating according to the same means/end calculations that one would apply to economic transactions.” David Graeber explains why. (Don’t blame Charles Darwin.)
Barbara Ehrenreich: “But I would say that the roots of our short-sightedness about play range far beyond economics, that they extend into all of Western science, and that what is at stake here is ultimately even deeper than play. For the last few hundred years, Western science has been on a mission to crush all forms of agency, which I mean in the philosophical sense as the capacity for action.”
Carolee Schneeman, “the avant-garde artist who bared her buttocks for Yoko Ono, filmed herself having sex when movies still couldn’t say the word ‘vagina’, and made art out of meat long before Lady Gaga, talks to Steve Rose.”
On the other hand, says the 75-year-old, “I think women of my age are still attractive. Men of my age aren’t.”
We Will Rock You, “which has been seen by more than 6.5 million people at the cavernous Dominion theatre, will close on 31 May 2014. It will have run for a total of 4,600 performances, with an annual average of 600,000 tickets sold.”
