Week
of March 11-17, 2002
1.
Special Interest
2. Dance
3. Media
4. Music
5. People
6. Publishing
7. Theatre
8. Visual Arts
9. Arts Issues
10. For Fun
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1. SPECIAL INTEREST
http://www.artsjournal.com/Arts%20beat.htm#specialinterest
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THE
DIFFICULTY OF RANDOM TRAGEDY (FOR ART): How to make art out of
tragedy? Much classic tragedy seems predetermined. But "what
kind of art can come from what appears to be blind chance? 'It's
much easier to write about tragic flaws - the idea that what makes
you great also brings you down. And much harder to write about the
opposite idea, which has marked the culture of the late 20th and
early 21st Centuries: The universe is a random series of events we
can't possibly understand, much less transform into art."
Chicago Tribune 03/17/02
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2. DANCE
http://www.artsjournal.com/Arts%20beat.htm#dance
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TOUGH
TIMES FOR TEXAS BALLET: The Fort Worth Dallas Ballet is in
trouble - dancers have been laid off, the season has been cut, and
it's not at all clear who will be the company's next artistic
director. Remaining dancers have staged a benefit to try to keep
the company going. Fort
Worth Star-Telegram 03/14/02
ALL
DANCE IS NOT (RE)CREATED EQUAL: "Awork created yesterday
is put onstage differently from one reconstructed from pictures
and written material. How a ballet is staged may affect what you
actually see. A repertory staple, performed continually, carries
its own authority; a reconstruction may not deliver total
authenticity but still satisfy as an approximation of a lost
work." The New York Times
03/17/02
MILWAUKEE
BALLET SHAKEUP: In a major restructuring, "Milwaukee
Ballet announced Tuesday that executive director Christine Harris
and artistic director Simon Dow will not renew their contracts
with the company. Harris and Dow are viewed as instrumental in
turning the once-struggling ballet company around. Harris joined
the company in 1997 and was key in eliminating the Ballet's heavy
debt burden and getting the company back on sound financial
footing. Ticket sales continue to increase each year and
subscriptions are up 13 percent over the year before."
Milwuakee Business Journal
03/13/02
SHOWTIME
FOR SHOES: Few things are as personal (or essential) to a
dancer as her shoes. "Ballet shoes are as individual as false
teeth. Even the humblest student is offered half sizes and four
width fittings (XXX, XX, X and the super-elegant "USA
narrow"). Professional dancers are pickier still and their
shoes will be made to their individual specifications. Tiny,
all-important differences in the height of the vamp, the length
and thickness of sole and insole, the width and hardness of the
block are all docketed on a little pink slip."
The Telegraph (UK) 03/14/02
DANCING
TO THE MUSIC: There are choreographers who don't care much
about music in their work. Then there's Mark Morris. Morris' work
is so wrapped up in music that at times it seems that he cares
more about sound than movement. Then again, the movement is so
intensely musical...(BTW, is Morris phasing himself out of
dancing?) The New Yorker 03/11/02
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3. MEDIA
http://www.artsjournal.com/Arts%20beat.htm#media
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SCREEN
SMOKES:
A report details tobacco companies' attempts to promote their
products in movies. "In the 1970s and '80s - Phillip Morris
alone is credited with 191 placements in films including Grease,
Die Hard, Field of Dreams and The Muppet Movie."
From a Phillip Morris marketing plan: "It is reasonable to
assume that films and personalities have more influence on
consumers than a static poster. ... If branded cigarette
advertising is to take full advantage of these images, it has to
do more than simply achieve package recognition - it has to feed
off and exploit the image source." Hartford
Courant 03/15/02
THE
OSCAR'S NICE, BUT... So there are three African-Americans
nominated for Oscars this year. A breakthrough, right? Not at all.
"There are a lot of people, mostly outside of Hollywood,
making a big deal out of whether this year's Oscar race is truly a
turning point for blacks or just a blip on the fluke meter. Do
nominations mean long-term gains for black artists, or come the
Monday after the Sunday of the awards show, will talented brothers
and sisters with Yale acting school degrees still be lining up for
bit parts in keepers like How High? Sure, some actors got a
nod, but where are the nominations for black directors, sound
recorders and craft servicemen?" Los
Angeles Times 03/17/02
- TOKEN
EFFORT OR A TURNING TIDE? Long criticized for its lack of
minority hiring, Hollywood is holding auditions. "While
hoping for the break all actors long for, the performers at
the minority showcases have become part of a larger game this
spring—recruits in the primary networks' first major quest
for minority talent, timed to coincide with the frenzied
casting season for series prototypes, or pilots. The showcases
were born out of a controversy, making them significant not
only to the minority actors who took the stage, but to the
entire television industry. Some industry executives maintain
that while they would like more minorities on comedies and
dramas, the talent pool is not large enough."
Los Angeles Times 03/17/02
GENERALIST
IN A WORLD OF SPECIALISTS: Canada's CBC is a major cultural
force in the country. But its audiences haven't grown for years.
Why? Maybe because the broadcaster has to be a little bit of
everything, while cable has fractured audiences with numerous
specialty channels. "Our experience at the CBC has confirmed
that, given the opportunity, large numbers of Canadians will turn
to high-quality, original Canadian programming. Our experience
also shows that Canadians will not accept cheap alternatives
simply because they are Canadian." Toronto
Star 03/15/02
WHAT'S
AN OSCAR WORTH?
Well, it's priceless, of course, a big boost to a career. But
everyone appearing on the Oscar TV broadcast - presenters and
performers alike - will go home with a goody bag worth £14,000 of
presents and vouchers. "The bag will contain a £1,000 watch,
and a £280 handbag from American designer CJ & Me."
BBC
03/15/02
"TERRIFIC!"
SENSATIONAL!" "I LOVED IT!": Last year Sony
made up a critic and newspaper to blurb glowing reviews of its
movies. Now the company is paying the state of Connecticut
"$326,000 for using fake reviews attributed to a local
newspaper in promoting its films. Sony also has agreed to stop
fabricating movie reviews, and to stop using ads in which Sony
employees pose as moviegoers praising films they have just
seen." Nando
Times (AP) 03/12/02
RADIO
JUST ISN'T FOR MUSIC FANS: Blame it on a vast corporate
conspiracy, a bad local program director, or anything you want,
but radio's small playlists and near-total unwillingness to play
anything not backed up with reams of audience research and paid
for by the big labels is unlikely to change anytime soon. So why
do stations do it this way? Well, because most listeners seem to
want nothing more than their favorite songs repeated over and
over, and have no taste for experimentation. And the folks who run
the stations admit that, if you're a true music fan, you're pretty
much out of luck. Pittsburgh
Post-Gazette 03/13/02
PAID
TO SMOKE:
"Tobacco companies, hoping that smoking scenes in Hollywood
movies would increase sales, worked diligently through the 1980's
and early 90's to get as much screen time for their brands as
possible, a British medical report says, and at least one company
went so far as to provide free cigarettes to actors and directors
who might therefore be more inclined to light up when the cameras
rolled." The
New York Times 03/12/02
- PAID
NOT TO RUN ADS?
Hollywood trade publications have refused to run ads for a
group mounting a campaign against the portrayal of smoking in
the movies. "At a time when smoking is banned in most
public places, tobacco use is everywhere in movies. You can
find stars smoking in three of the five films nominated for
best picture." Toronto
Star 03/12/02
A
RECORD CURL: The hottest movie in Canada this week? It's Men
with Brooms, a film about curling. "Launched on 207 screens
across the country, with a promotion budget in excess of
$1-million, the Robert Lantos-produced film placed third
nationally and topped Johnny Mnemonic (1995), the previous
English-language Canadian winner for opening-weekend
grosses." The
Globe & Mail (Canada) 03/12/02
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4.
MUSIC
http://www.artsjournal.com/Arts%20beat.htm#music
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
THE
INHERENT DRAMA OF MUSIC (HELPED A BIT): Chamber music has
generally been delivered in plain wrappers - small groups of
musicians dressed in black performing on a stage. After decades of
conventional performances, the Emerson String Quartet, arguably
the finest quartet currently performing, "has begun
confronting the idea that a concert is inherently a theatrical
experience" and has begun performing Shostakovich as part of
a visual/dramatic performance. Los
Angeles Times 03/17/02
PARALLEL
UNIVERSE? The president of the Recording Industry Association
of America speaks at the opening of this year's SXSW conference in
Austin. She "alternately sounded like the captain of the
Titanic asking, 'Iceberg? What iceberg?' and George Orwell's
double-speaking Big Brother stubbornly insisting, 'Black is
white.' She maintained that RIAA surveys prove that consumers do
not object to the average CD price pushing the $20 mark, and that
federal anti-trust laws are actually bad for consumers, since they
are slowing the record companies down from banding together to
institute technical 'improvements' that will stop us from making
duplicate copies of our own CDs. By far Rosen's most absurd
contention was that record companies create artists, not the other
way around." Chicago
Sun-Times 03/15/02
- CD's
HELD HOSTAGE: The Recording Industry is lobbying Congress
for mandatory anti-piracy technology for recordings. "It
would be outrageous that you can’t combat technology with
technology," Rosen said. "Let the music industry
deal with its consumers because it’s in our interest to make
products that people will buy." But "the deployment
of copy-protected CDs threatens to unilaterally eliminate
Americans’ fair use right to non-commercial audio home
recording. The fact that these copy-protected CDs will not
play on many legacy players already in the home and on CD
players today on the retail shelf, combined with the lack of
adequate labeling, will inevitably lead to confused,
frustrated and no doubt angry consumers."
Wired 03/15/02
- PRIVATE
DEAL: "The record companies and Hollywood are
scheming to drastically erode your freedom to use legally
purchased CDs and videos, and they are doing it behind your
back. The only parties represented in the debate are media and
technology companies, lawyers and politicians. Consumers
aren't invited." Wall
Street Journal 03/15/02
BUILDING
A BETTER COMPOSER: The hardest part about being a composer may
be that no one ever tells you how to do it. You write works for
dozens of instruments that you don't really know how to play, and
hope that everything works out. But a new seminar in Minneapolis
aims to change the sharp learning curve many composers face.
"The musical boot camp, unique in the United States, entailed
more than the usual orchestral run-throughs. It involved seminars
about copyrighting, licensing and public speaking; sessions about
how to write grant applications and deal with unions and
contracts, and workshops on how to write better for particular
instruments." Minneapolis Star
Tribune 03/14/02
DESPERATELY
SEEKING AN IDENTITY: Almost since its inception, New York's
City Opera has been the bastard stepchild of the Gotham opera
scene. Overshadowed by the Met, ignored or reviled by its Lincoln
Center masters, and confined to a ballet theater specifically
designed to muffle sound, the company recently saw its fortunes
turn with a massive gift towards the purchase or building of a new
home. But even with the cash infusion, City Opera constantly runs
the risk of seeming directionless, and must always struggle to be
noticed in a city overflowing with culture. New
York Observer 03/18/02
WHEN
CONTROVERSY DOESN'T SELL:
A controversial English National Opera production of Verdi's Masked
Ball that featured "male rape, transvestites, dwarves,
Elvis impersonators and a row of chorus singers using the toilet
without washing their hands" got lots of attention in the
press last month. But it was something of a flop with audiences.
The production sold few tickets. The
Guardian (UK) 03/09/02
THE
MISSING PAVAROTTI:
The Metropolitan Opera has announced next year's season, and
"for the first time since the 1969-70 season, the Italian
tenor is absent from the roster of singers scheduled to appear at
the United States' biggest opera company."
Yahoo!
(AP) 03/11/02
BUYING
BEETHOVEN'S NINTH:
The Royal Philharmonic Society is selling 250 manuscript scores
collected over 250 years. The collection includes the
manuscript of Beethoven's Ninth Symphony, and the British
Museum wants to buy it. Unable to come up with the money itself,
the library is mounting a public fundraising campaign. "The
library needs to raise £200,000 more to meet the £1 million
asking figure for the Royal Philharmonic Society's
collection." BBC
03/14/02
WHEN
MODERN MUSIC WORKS: Michael Tilson Thomas is highly regarded
as a champion of contemporary music. But there are genres of music
he doesn't perform. "If a music director doesn't feel the
spirit, why should he be compelled, out of a sense of obligation,
to yield to pressure - especially if he can offer an alternate and
more persuasive aesthetic? That Thomas has been permitted to
flourish in his own manner and to fashion the San Francisco
Symphony into a partner in his ventures has made audiences feel
like collaborators, too, even when the score on the conductor's
desk requires a kind of unlearning on the part of the
listener." San
Francisco Chronicle 03/10/02
WORDS
ABOUT MUSIC: Monster, a new Scottish Opera about Mary
Shelley and Frankenstein by Sally Beamish and Janice Galloway has
revived a longstanding debate about the relationship between words
and music in opera. "The libretto is elegant, the music
full of beauty and invention. Why, then, does the combination not
quite catch fire?" The
Observer (UK) 03/10/02
BROKEN
RECORD: There is no good news for the recording industry.
Sales are down, sound file piracy is rampant, a judge threatens to
overthrow the Napster decision, and even the artists are rebelling
against longstanding recording company deals.
San
Francisco Chronicle 03/10/02
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5. PEOPLE
http://www.artsjournal.com/Arts%20beat.htm#people
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108
YEARS OF MUSIC (OR WAS IT 109?):
Leo Ornstein was one of the most innovative American composers of
the 1920s - if you'd asked most music critics of the time, they
probably would have pegged him as America's brightest music
prospect. But by the 1930s he had disappeared from the music
scene. Doesn't mean he died though. In fact, he didn't die until a
few weeks ago, at the age of 108 or 109 (the year is in dispute). The
Economist) 03/14/02
A
LAVISH CAREER: At 79, director Franco Zeffirelli "is the
same age as Verdi at the premiere of Falstaff, his comic
farewell to the stage. The two have been in touch a great deal of
late." For decades, Zeffirelli's lavish productions have been
a Metropolitan Opera staple. Usually a hit with audiences, the
productions haven't been kindly treated by critics for some time.
A revival of Zeffirelli's Falstaff, which was his Met debut
in 1964, is an opportunity to reflect on what initially attracted
the opera world to him. The
New York Times 03/17/02
RIOPELLE
DIES: "Jean-Paul Riopelle, a great but impulsive artist
who even when famous would burn his paintings to heat his
apartment, died on Wednesday at his home on the Ile-aux-Grues in
the St. Lawrence River. He was 78." The
Globe & Mail (Toronto) 03/14/02
ACCIDENTAL
TOURIST: Monologuist Spalding Gray is supposed to be on tour
now reprising his Swimming to Cambodia piece. But he's been having
trouble concentrating after a nasty car accident in Ireland.
"It took an hour for the stupid ambulance to arrive. I ended
up in one of those horrible Irish country hospitals and they
wanted to leave me there in traction for six weeks." Chicago
Tribune 03/12/02
QUILTING
TO THE MUSIC: What do musicians do in the intermissions at the
opera? At Chicago Lyric Opera, they make quilts. "The
old-fashioned communal handiwork has been warmly embraced by the
31 women in the 75-member orchestra. Twenty-two of them have
painstakingly pieced together 24 individual squares and nearly
everyone else has sidled up to the frame to do a little
needlework." Chicago
Tribune 03/12/02
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6.
PUBLISHING
http://www.artsjournal.com/Arts%20beat.htm#publishing
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E-VICTORY:
An appeals judge has ruled against Random House in a suit the
publisher brought against an e-book publisher. RosettaBooks has
been publishing e-versions of books Random House had published as
far back as the 1960s. Rosetta says the original publishing
contracts only covered print versions and Random House didn't own
electronic rights. The US Appeals Court agrees. Random House vows
to continue the case. Wired 03/13/02
CUTTING
BACK BOOKS: In a cost-cutting move, the Philadelphia Inquirer
has cut its weekly books section from four pages to one.
"Sources close to the Inquirer say the book review section
was gutted in response to corporate parent Knight Ridder's demand
that the paper immediately reduce annual newsprint costs by
$500,000. Reportedly, the Inquirer responded with a counter-offer
to reduce newsprint costs by $350,000, which Knight Ridder agreed
to." Philadelphia
Weekly 03/13/02
THE
LATE MR SALINGER: The much anticipated publication of a
"new" novella by JD Salinger has been postponed
indefinitely. "The novella, Hapworth 16, 1924, was due
to be published in November and would have been the first
publication from Salinger in 40 years. The small Virginia
publisher that Salinger had chosen to release the novella,
Orchises Press, say that the book will eventually appear. But
there is no new date for publication. The story originally
appeared in magazine form in the New Yorker in 1965 and in the
1990s there were plans for a proper publication. An unkind early
review in the New York Times is seen as a possible reason for the
delay." The
Guardian (UK) 03/13/02
COPY-BUSTER:
Student plagiarism has been a thriving industry since the internet
made it possible to digitally crib ready-made essays. But new
software is becoming an effective cop. "After highlighting
instances of replication, or obvious paraphrasing (according to
Turnitin, some 30% of submitted papers are 'less than original'),
the computer running the software returns the annotated document
to the teacher who originally submitted it—leaving him with the
final decision on what is and is not permissible."
The
Economist 03/14/02
BIG
BAD TORONTO: Every country seems to have one - that city where
power and prestige live and where its inhabitants are envied and
disliked by the rest of the country. Toronto is Canada's.
"The myths about Toronto publishing and Toronto writers make
me laugh. We have all had massive six-figure advances, we all
drive Porsches, we all write silly, superficial, gossipy
literature, we all actually have no talent, we only get the
massive advances because we live in Toronto."
The Globe & Mail (Canada)
03/16/02
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7. THEATRE
http://www.artsjournal.com/Arts%20beat.htm#theatre
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SEARCH
FOR STRUCTURE:
Playwright Tony Kushner is "one of the very few dramatists
now writing whose works are contributions to literature as well as
to theater. (Stoppard is only a pretender to that crown.)" He
has "substance, eloquence, intelligence, and emotional
power." Still, after seeing Kushner's latest play Homebody/Kabul
twice, critic Robert Brustein wonders if Kushner has the sense of
formal structure to carry off a project like this. The
New Republic 03/11/02
DENVER
CENTER CUTS BACK NEW PLAYS: The Denver Center Theatre Company
says it will close its literary office and stop development of new
works because of endowment losses in the stock market. "On a
regular basis we get 1,000 plays a year, and we have to pay people
to read them. It is something we strongly believe in, but if it
comes to cutting that or the work we do for our audiences, we will
always go with our audience." Newsday
(AP) 03/09/02
PRICKLY
EXPERIMENTAL: At 27, the Wooster Group is one of America's
oldest experimental theatre companies. How to stay experimental
for so long? It's not easy. "Originally, the way people
joined the group was when someone committed in such a way that it
seemed inevitable. The truth is that we haven't really had anyone
who's asked to join in 15 to 20 years. You have to ask to
join." Woe to the critic who tries to probe too deep:
"You come from a place that's so alien to us, it's almost
like talking to someone from another planet. You don't have the
wildest idea about what we're doing. And yet, it's because you
don't have the wildest idea, that you're able to articulate it so
well." The
Telegraph (UK) 0316/02
A
HISTORY REPEATING: The Broadway revival of Arthur Miller's The
Crucible has people commenting "that the play is
'timely'. What do they mean exactly? That it's timeless. Currently
the play resonates in two directions: on the one hand, the
theocratic government under which the Puritan inhabitants of Salem
lived had a sexual morality as rigid, and a punishment as cruel,
as those of the Taliban; and on the other hand, the notion of a
society in which all dissent is construed as opposition is not
remote." The Guardian (UK)
03/16/02
AND
THEY ALL LIVED HAPPILY EVER...
All those stories and plays that end with loose ends unwrapped -
it's difficult not to wonder what happens to the characters after
the story has ended. Brian Friel has written a play to answer some
of those questions. "A character from one Chekhov play
meets a character from another, a real Moscow in the 1920s where
the three sisters' brother Andrey meets Uncle Vanya's niece Sonya.
The result, a short play lasting an hour and five minutes, is
called Afterplay." Financial
Times 03/15/02
DEMOCRACY
ONSTAGE: A theatre company in Bonn wants to use the former
East German parliament building for a performance of a work that
would put 600 of the city's residents in a reenactment of a
parliamentary session. But the current president of Germany's
parliament has protested the plan, saying that the performance
would "compromise the dignity and respect of the German
parliament." Frankfurter
Allgemeine Zeitung 03/12/02
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8.
VISUAL ARTS
http://www.artsjournal.com/Arts%20beat.htm#visualarts
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ATTACKING
FRENCH MUSEUMS: France's largest museums are in disarray after
a damning government audit of their operations. The museums have
been attacked for "poor visitor figures, understaffing and
underfunding." Museum administrators have fought back, and
government policy towards museums is under attack.
The Art Newspaper 03/09/02
IS
ART SCIENCE, IS SCIENCE ART?
Much attention is currently being paid to the relationship between
art and science. But "this obsession for showing that art -
particularly the visual arts - is similar to science in content
and the creative processes is bemusing. I detect in it an element
of social snobbery - artists are envious of scientists and
scientists want to be thought of as artists."
The
Observer (UK) 03/10/02
CREATIVITY
- SO GOOD IT HURTS: Performance art has a long tradition in
20th-century art. "Much 20th-century avant-garde art was
fuelled and punctuated by a series of theatrical happenings and
events. The Dadaists, Futurists and Surrealists were all fond of
these manifestations." Performance art of the 1960s and 70s
led to many artists trying to shock audiences by hurting
themselves. Why would anyone want to hurt themselves in the name
of "creativity"? The
Telegraph (UK) 03/17/02
LESS
THAN THE FUSS:
Mirroring Evil: Nazi Imagery/Recent Art, which opens
Sunday at New York's Jewish Museum, has provoked much controversy
before it even opens. But as often happens with notorious shows,
the art turns out to be lower wattage than the controversy. This
show "is dominated by the sort of dry, cool, Conceptual art
that a vocal part of the contemporary art world invariably
congratulates itself for finding endlessly fascinating. But it is
art that leaves much of the public feeling confused, excluded and
finally bored, if not pained and offended, which is of course the
point." The
New York Times 03/15/02
- CONFRONTING
THE MONSTERS: Why make art out of the symbols and images
of monsters? The question arises out of the opening at the
Jewish Museum of the show Mirroring Evil: Nazi
Imagery/Recent Art, the "notorious exhibition opening
today at the Jewish Museum, explores the use of National
Socialist imagery by 13 contemporary artists, all in their
30's and 40's." Difficult as the art is, "proximity
to the perpetrators," Mr. Kleeblatt, the son of refugees
from Hitler's Germany, said recently, "makes you rethink
who you are." The New York
Times 03/17/02
DECODING
MONA: A German art historian believes he has solved the
mystery of the Mona Lisa. "Until now, the most popular theory
had been that the enigmatic beauty was a young Florentine woman
named Monna Lisa, who married the well-known figure Francesco del
Giocondo in 1495 and came to be known as La Giaconda."
Instead, she was really "the Duchess of Forli and Imola, who
had been born the illegitimate Caterina Sforza."
Edmonton Journal 03/15/02
SFMOMA
GETS ITS MAN: "After a seven-month search, the San
Francisco Museum of Modern Art has named Neal Benezra as its
director. Mr. Benezra, who has been the deputy director and
curator of modern and contemporary art at the Art Institute of
Chicago, succeeds David A. Ross, who left the museum abruptly
after a whirlwind three years in which he spent $140 million
building the museum's collection of contemporary art." The
New York Times 03/14/02
CONTRAVENING
PARTS: The British government has 10 days to decide whether a
controversial exhibition of "175 body parts and 25 full
corpses to go on display at the Atlantis Gallery on March 23
contravene the Anatomy Act created after the 19th century Burke
and Hare bodysnatching scandal. But anatomist Gunther von Hagens
said last night that a government legal challenge would not stop
his Body Worlds exhibition opening in London next week. He
called on British art-lovers to donate their bodies to future
exhibits of corpses posed to look as if they are engaged in
'interesting' activities such as chess." The
Guardian (UK) 03/12/02
A
CLOUDY VISION: "In the realm of outlandish architectural
fantasies, a building made out of mist surely has to rank near the
top. But this bizarre-sounding concept, dubbed the Blur Building,
is no fantasy at all. It's under construction in Switzerland, and
is one of five architectural projects featured in Architecture
+ Water, a new exhibit at the Carnegie Museum of Art's Heinz
Architectural Center." The
Christian Science Monitor 03/14/02
LOOKING
FOR SMUGGLERS AMONG THE POSH SET: The European Fine Art Fair,
held annually in the Netherlands, is the largest of its kind in
the world, and collectors, connoisseurs, and casual art fans
gather in Maastricht each year to browse and buy. But this year,
the fair had some unexpected visitors - camera-wielding Italian
cops, to be precise - who are trying to determine if some of the
art on display was illegally exported from Italy. The
New York Times 03/13/02
HARVARD
GETS RELIGION: "Curators of Islamic art collections
around the country are reporting an increase in attendance in
their galleries, a growth they can only attribute to the current
political situation. Harvard is now in a far better position to
present Islamic culture than it had been, thanks to a major gift
of 120 works just donated to the university's Arthur M. Sackler
Museum by Stanford and Norma Jean Calderwood." Boston
Globe 03/13/02
REMEMBERING
THE WTC:
Two twin towers of light were activated in Lower Manhattan as a
memorial to the World Trade Center Monday. "Relatives of some
of the thousands killed stood and watched as 12-year-old Valerie
Webb activated 88 powerful searchlights arranged to simulate the
twin towers. Her father, Port Authority police officer Nathaniel
Webb, still hasn't been found in the ruins nearby."
Yahoo!
(AP) 03/11/02
- DESIGNERS
BEHIND THE LIGHT MEMORIAL:
"We set out to 'repair' and 'rebuild' the
skyline—but not in a way that would attempt to undo or
disguise the damage. Those buildings are gone now, and they
will never be rebuilt. Instead we would create a link between
ourselves and what was lost. In so doing, we believed, we
could also repair, in part, our city's identity and
ourselves." Slate
03/11/02
A
GAMBLE THAT DIDN'T PAY OFF:
A Texan art collector thought he was buying an original Van
Dyck portrait that had been identified as a Van Dyck copy worth £275,000.
But it turns out that the painting was indeed a copy and the £1.5
million the collector paid was too much. He sued the London dealer
who had advised him, but the court has ruled against him.
The
Guardian (UK) 03/11/02
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9.
ISSUES
http://www.artsjournal.com/Arts%20beat.htm#issues
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BRAIN
SCANNER: Scientists are studying the differences between the
brains of an artist and a scientist to see if characteristic
differences can be found. This week an artist and a scientist had
CT scans of their brains done in a London hospital. "Another
scientist dismissed the experiment as trivialising, and insisted
scientists and artists were so different it would make more sense
to compare rugby and billiards on the basis that both were played
with a ball." The Guardian (UK)
03/13/02
ARTS
DEAL COLLAPSES: A few weeks ago it looked like Toronto's arts
institutions were going to get a big windfall from Canada's
federal government in the form of $200 million in funding. But the
deal seems to have collapsed. "Things were clear. We were
just trying to dot the i's and cross the t's. The last thing we
were trying to iron out was the high-profile announcement we were
planning." Instead, says Ontario's culture minister, the feds
have folded. "We had a deal, but now it appears they're doing
a pirouette. They've made more sudden moves than Baryshnikov."
Toronto Star 03/15/02
CHALMERS
AWARDS SCRAPPED: A somewhat public dispute between the Ontario
Arts Council and philanthropist Joan Chalmers has resulted in the
outright cancellation of Canada's prestigious Chalmers Awards, to
the dismay of many in the arts world. In place of the awards, the
council will hand out fellowships and grants, but these will come
with neither the prestige nor the publicity that the awards
carried. The Globe & Mail
(Toronto) 03/14/02
IN
LETTERS:
John Brotman, director of the Ontario Arts Council, writes to
protest the conclusions of a
study and a report
on that study in Canada's National Post, that said public
money invested in the arts failed to make promised economic
returns to their communities: "A few years back, the Ontario
Arts Council (OAC) found that arts organizations in Ontario
returned 20 per cent more in provincial taxes than they received
in provincial government funding. Statistics Canada data estimates
that the economic impact of Ontario's arts and culture sector is
$19.1 billion or on a per capita basis that is more than $1,700 in
economic return for every Ontario resident."
ArtsJournal.com
PENNSYLVANIA
CUTS ARTS GRANTS: The state of Pennsylvania - facing a $600
million budget shortfall - has reduced its already-awarded grants
to arts organizations by 22 percent. "The news has sent many
arts managers - especially those at smaller organizations that
depend heavily on state money - scrambling to make cuts or find
alternative funding." Pittsburgh
Post-Gazette 03/11/02
WHAT
RIGHT COPYRIGHT? A case recently accepted by the US Supreme
Court challenges current copyright laws. "Many policymakers
(and even some intellectual policy mavens) view IP rights as a
one-way street - they assume that the more IP rights we grant, and
the broader and more durable we make those rights, the more
society will benefit through increased production of books, music,
movies, etc. The matter isn't even remotely that simple."
Here's what's at stake legally. FindLaw
03/05/02
BACK
TO CULTURE:
Attendance for New York arts groups after September 11 might have
been down for a short time, but people have returned to cultural
pursuits. "Outside the Museum of Modern Art lines are
extending down the block on many days, and attendance at the
Metropolitan Museum of Art is heavier on weekends than it was last
year at this time. The New York City Ballet is within a percentage
point of pre-September attendance projections for its
"Nutcracker" and winter repertory performances. And for
the week ended Sunday, Broadway set box office records for this
time of year with revenues up 18 percent and attendance up 6
percent over the same week last year." The
New York Times 03/12/02
DIFFERENCE
BETWEEN FRENCH AND ENGLISH: Are there differences in the ways
English and French Canadians consume culture? A new study says
yes: "If you are an English-speaker, you are more likely than
your French-speaking fellow Canadians to read books, go to the
theatre or to Broadway-style shows. If you are francophone, you
probably are a more assiduous patron of the symphony, opera and
festivals. Also, you watch more television, especially local
programs." The Globe & Mail
(Canada) 03/11/02
NOW
THAT IT'S OVER... Director Peter Sellars said yesterday that
he had been forced out as director of the recently concluded
Adelaide Festival. "Obviously it is embarrassing when you
bring one of the biggest international fish you have ever had in
your fish tank and treat them the way I was treated. I just hope
you never ever treat anyone this way again, it's not a good idea,
it's bad for international relations and it's a little bit
stupid." The
Age (Melbourne) 03/13/02
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10. FOR FUN
http://www.artsjournal.com/Arts%20beat.htm#forfun
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SPEEDING
TO THE BEAT:
An Israeli researcher says drivers who listen to fast music in
their cars may have "more than twice as many accidents as
those listening to slower tracks." The study demonstrated
that while listening to fast music "drivers took more risks,
such as jumping red lights, and had more accidents. When listening
to up-tempo pieces, they were twice as likely to jump a red light
as those who were not listening to music. And drivers had more
than twice as many accidents when they were listening to fast
tempos as when they listened to slow or medium-paced
numbers." New
Scientist 03/130/02
FIREBALL:
Edinburgh artist Marc Marnie fell behind on his taxes. So the
sheriff came and seized a collection of his photographs for
payment. But they were irreparably damaged after they were stored
in a damp basement, so now Marnie plans to "create a 30ft
wall of fire out of the photographs" and film the event.
"I’m trying to find a positive way of finishing the
exhibition, of getting closure so I can move on to other
things." The
Scotsman 03/13/02
WIRED
ARTIST: A Canadian artist has had microchips embedded in her
hands so she can explore relationships between technology and
identity. "I am expecting the merger between human and
machines to proceed whether we want it to or not. If I adopt it
and make it my own, I will have a better understanding of this
type of technology and the potential threats and benefits it
represents." Wired
03/11/02
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