Week
of April 15-21, 2002
1.
Special Interest
2. Dance
3. Media
4. Music
5. People
6. Publishing
7. Theatre
8. Visual Arts
9. Arts Issues
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1. SPECIAL INTEREST
http://www.artsjournal.com/Arts%20beat.htm#specialinterest
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CRAPPY
BUSINESS: The lords of TV and movies can rarely be called
artists. Instead of art, business rules decisions about what gets
produced and what doesn't. So how do the moguls do at business?
Tod Gitlin's new book concludes that "generally, they don't
have very good reasons for doing what they do. And then, of course,
if something succeeds, there's a retroactive, backpatting and
genius-anointing operation. But that's the culture of the television-entertainment
industry. Sometimes they'll get lucky and strike Survivor
for a while." Salon
04/14/02
MUSIC
AS "DAY-PART": Why does classical music radio programming
often sound so canned? How do they decide what music to play?
It's certainly not like programming a concert. Instead, programmers
are looking for a "sound" in an exercise known as "day-parting."
Washington's WGMS has a "database containing descriptions
of the music in the station's 10,000-CD library. Selections in
the database are categorized according to a couple of dozen adjectives
that the station has come up with to define each composition's
'mood and energy level'—among them 'boisterous,' 'pleasant,' 'tranquil,'
and 'lively'." The Atlantic 03/02
SOME
COLUMNS JUST BEG FOR ANGRY LETTERS: "It has been noted
that the performing arts are the ones most suffering from the
age divide. The audience for conventional theatre is dying and
not being replaced. This does not trouble me much, as most theatre
is simply dumb. It does not mean that art is dying... I do not
know who would be better equipped to appreciate plays: old people,
with their far longer attention span and patience for the static,
or young people, who can actually hear. The ideal audience may
not exist." The Globe & Mail
(Toronto) 04/21/02
THE
SCIENCE OF THE AVANT GARDE: A professor of economics has applied
statistical methods to the analysis of avant-garde painting - "treating
aesthetic innovations as, in effect, a function of the labor market
among bohemians." But though he has written a book on his
findings, and submitted papers to leading journals devoted to
the scholarly study of art and aesthetics, it seems no one in
the art world is interested. Chronicle
of Higher Education 04/15/02
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2. DANCE
http://www.artsjournal.com/Arts%20beat.htm#dance
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
STEALING
THE ASSETS: "To many, Ron Protas is the most hated man
in dance: a controlling and abusive manipulator intent on destroying
the legendary Martha Graham Center of Contemporary Dance... Protas
was dumped as the center's artistic director in May 2000 after
years of losing money and butting heads with its members, including
one incident in which he allegedly tied up a dancer 'to teach
her fear.' But he's now attempting to wrestle away the one Graham
asset he doesn't have in his possession: the dances themselves."
New York Post 04/21/02
THE
BILLY ELLIOT EFFECT: For the first time in its 76 year history,
the Royal Ballet has admitted more boys as students than girls.
The company attributes it to the movie Billy Elliot, which
was released two years ago. The
Telegraph (UK) 04/14/02
LIFE
OUTSIDE BIG DANCE: Why would established male dancers leave
London's Royal Ballet for a small uncertain company? In their
early 30s, each could see their careers playing out. "It
would have been so easy 'to play the game and stay in the company
for a long time, winding down from Princes into character roles...
and collecting your pension'. But none of them was prepared to
sit out that kind of life. Like most dancers in big companies
they often had to wait long periods between good roles and had
to dance some choreography that bored or offended them in between.
'The more successful I was, the more bored I became. I was just
repeating myself'." The
Guardian (UK) 04/17/02
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3. MEDIA
http://www.artsjournal.com/Arts%20beat.htm#media
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
BECAUSE
PROPPING UP THEIR DOLLAR WOULD BE TOO COSTLY: The Screen Actors'
Guild (SAG) has announced a new plan to enforce union contracts
outside the boundaries of the U.S. The move is aimed squarely
at curbing the tendency of Hollywood studios to trim costs by
making movies in Canada, and SAG's Canadian counterpart is not
thrilled. Nando Times (AP) 04/18/02
CANCON
TAKEN TO EXTREMES? "The most praised Canadian play in
the Stratford Festival's 50-year history has been refused a Canadian
TV production investment because its central character is Queen
Elizabeth I, a non-Canadian, and the events do not take place
in Canada. Hamstrung by a stringent rule affecting completely
Canadian-content productions, the Canadian Television Fund...
has refused an application from Toronto's Rhombus Media for a
crucial 20 per cent investment to film Elizabeth Rex for
CBC and Bravo. Toronto Star 04/19/02
WHAT,
ME WORRY? Michael Powell (yes, Colin's kid) is chairman of
America's Federal Communications Commission. He sees no problems
with the rapid consolidation of media in the hands of a few mega-corporations.
''I mean, I can watch everything from a thoughtful piece on history
on the History Channel to Fear Factor. I think we're in
a period right now where we're seeing the very best that television
has produced, and the very worst.'' Boston
Globe 04/17/02
CANNES
JURY ANNOUNCED: The Cannes Film Festival has announced the
jury for this year's festival - five directors and three actresses,
including American actress Sharon Stone. The
Age (Melbourne) 04/18/02
FAMILY
VALUES: G-rated family films are suddenly hot in Hollywood.
"Studios have already decided that they're going to make
more G, PG and PG-13 films, said a market researcher for the major
studios who didn't want to be named. Often criticized in conservative
political and cultural quarters for ignoring family values, studios
are now vying for hard-to-find quality material with gentle themes
and universal appeal." Toronto
Star 04/16/02
NPR
PROGRAM CHANGES EXPLAINED: National Public Radio's major reorganization
of its programming has many worried about how NPR will cover culture.
"People say NPR is going into pop culture. But we should
cover popular culture in the same smart way as when we cover news
events." San
Francisco Chronicle 04/16/02
HOGGING
CREDIT: It seems everyone in Hollywood is unhappy about the
way credits for movies are allocated. "All you have to do
is go to the movies and look at the proliferation of producer
credits, and you can recognize that there's a problem. (There
is) a trend, which I think we are in the process of reversing,
toward the devaluing or undervaluing of the producer and his role,
because if you can give that credit to anyone, the implication
is that it doesn't mean anything." Backstage
04/14/02
DIGITAL
SCRAMBLE: The demand for digital projection in movie theatres
is growing. And fast. Trouble is, the companies that make the
$130,000 projectors can keep up with the orders. And with the
next installment of the digitally produced Star Wars coming out
soon, there's a scramble to get the best equipment.
Wired
04/15/02
POOH
RIGHT BACK AT YOU: A New York Post reporter says she was fired
by the newspaper "at the behest of Disney, after writing
stories about the Mouse House's long-running Winnie the Pooh litigation."
Now she's filed a $10 million suit against the newspaper and Disney.
Yahoo! (Variety) 04/15/02
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4.
MUSIC
http://www.artsjournal.com/Arts%20beat.htm#music
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
BYE
BYE DUTOIT: The Montreal Symphony has finally accepted Charles
Dutoit's resignation from the orchestra and says it will begin
a search for his successor. "The announcement came the day
after the musicians voted on a resolution to invite Dutoit back.
The results of that vote were not revealed and there was no indication
that they would be. It was also unclear at the time of the vote
whether the resolution would have any effect on Dutoit."
Andante 04/18/02
INTERESTED,
BUT NOT THAT INTERESTED: A new study by the sponsored by the
John S. and James L. Knight Foundation finds that, while nearly
a third of American adults profess to be "interested"
in classical music enough to listen to it regularly, only 5% go
to live concerts. The study does not say how many of the "interested"
adults were doing their regular listening while standing in an
elevator. Andante 04/21/02
BIG
TIME JAZZ: Female jazz singers are hot right now. Recording
companies are scouring clubs to find the Next Big Thing, and sales
are going well. Why? Diana Krall. Her breakout success selling
albums has singers and producers dreaming big. And suddely there's
a crop of new voices. Los
Angeles Times 04/14/02
ROME
GETS A MEGA-HALL... "Rome on Sunday will inaugurate the
largest concert hall complex in Europe - three separate theaters
centered around an open-air arena designed by famed architect
Renzo Piano. The $140 million project, one of the largest undertaken
in Rome since World War II, will give the Eternal City its first
major-league auditorium. It will be used to showcase chamber music,
opera, contemporary music, theater, ballet, and symphonic performances."
Nando Times (AP) 04/20/02
- ...WITH
MEGA-PROBLEMS: No one would deny that it's about time Rome
got a decent concert hall. But the new Music Park has been a
typically Italian fiasco from beginning to end: a controversial
(some would say bizarre) design, a series of cost overruns,
and lack of any sort of urgency to finish the thing have resulted
in an embarrassing disaster of an opener, in which almost none
of the complex will be completed. The
Times of London 04/19/02
DUMB
TIL YOU'RE NUMB: Why are fewer people listening to classical
music on the radio? "The big problem is that music has been
progressively dumbed down over the years, and not just at WNYC.
Talk about music has replaced music itself, or the music is guitar
sonatas and easy-listening favorites, background noise that drives
away serious devotees. The public can judge quality. If you cheapen
a product enough, eventually no one will want it. It is no surprise
people have stopped tuning in." The
New York Times 04/17/02
THE
GOLDEN AGE OF OPERA? "In all of Canada, back in the 1930s,
there wasn't a single permanent [opera] company regularly peddling
Giacomo Puccini and Richard Wagner. And in the United States,
the situation wasn't a great deal better. Today? Opera America...
embraces 117 professional companies in 45 states and 19 more in
five provinces, and those companies are not the only ones currently
active." Toronto Star 04/20/02
BAD
MUSIC OR PIRACY? Worldwide recorded music sales were down
five percent in 2001. "Plagued by pirate websites and growing
use of technology which allows music lovers to burn tracks on
to CDs, legitimate sales fell across the world's biggest markets
including America, Germany and Japan. Experts believe the growth
of internet download sites has been such that one in every three
recordings sold around the world is now illegal, costing the industry
£2.9bn a year." Oddly enough, the only countries to see a
rise in sales were England and France. The
Independent (UK) 04/17/02
'POOR
ME' DOESN'T WASH: Is the music recording business suffering?
"Imagine a business where they cut the number of products
released; raised the prices of their products to more than 20
bucks a pop; had a significant number of their distributors go
out of business; reduced the amount of marketing money spent to
promote each product; saw major promotional money and discounts
from the two years of dot-com mania disappear; and saw complete
turnover and management problems at one of their biggest providers,
EMI. Yet in spite of all of these things, [the industry] sold
more CDs and for more total dollars than the previous year. I
would tell you that is a business that has had a great year. The
RIAA has tried to paint the picture that the industry is suffering
because of file sharing. It's not. There is more evidence that
it has benefited from it." Phoenix
New Times 04/13/02
RECORD
PRODUCERS TO BLAME FOR DOWNTURN? Recording industry execs
blame last year's five percent decline in sales on digital file
trading. "But critics of the recording industry say that
by treating their consumers as thieves - oftentimes before any
legitimate business alternative was offered - millions of people
have turned their backs on the music industry. They have voted
with their computers - flocking to technologies that allow them
to download music whenever they want, move it into any portable
device, and share it with their friends." Wired
04/17/02
ORCHESTRAS
(FINALLY) DISCOVER THE INTERNET: It's been nearly a decade
since online information became a crucial aspect of American life,
which means it ought to be just about time for American orchestras
(always the land tortoises of marketing in the arts world) to
discover that they might be able to use the internet to their
advantage. The Chicago Symphony Orchestra "retooled its Web
site in August 2000, in part to boost its online ticket sales.
Since then orchestra officials said the group quadrupled its online
ticket sales... Other U.S. orchestras are reporting similar gains."
Chicago Tribune 04/21/02
MUSIC
BY LAPTOP: "In a larger sense, nearly all of the music
you hear today, both recorded and live, is electronic. This doesn't
necessarily mean that it's digital - many studio engineers and
artists remain fervently attached to analog hardware, with its
arguably greater warmth and richness. But the computer is inextricably
woven into all stages of the modern recording process: Even acoustic
music such as string quartets and bluegrass is spliced and diced
with all-purpose mixing software like Pro Tools and Logic. The
wandering tones of mediocre (but marketable) singers are routinely
treated with pitch-correcting programs like Antares Auto-Tune.
And no one balks at drum machines anymore."
Wired 04/15/02
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5. PEOPLE
http://www.artsjournal.com/Arts%20beat.htm#people
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
MASUR
ATTACKS HIS NY CRITICS: Outgoing New York Philharmonic music
director Kurt Masur unloads on his New York critics in an interview
in Le Monde. "He said that he had been unfairly called 'a
Communist, an anti-Semite, a dictator'."
Andante (Le Monde) 04/15/02
TAUBMAN
MIGHT GET AWAY WITH IT? Former Sotheby's chairman Alfred Taubman
could face a "maximum three-year term and a fine of at least
$1.6 million to $8 million for leading a six-year antitrust conspiracy
with Sotheby's rival, Christie's" that cost sellers as much
as $43 million in overcharges. But the US Probation has recommended
Taubman serve no prison time. The
New York Times 04/19/02
KNIGHT
PLAYWRIGHT: Alan Ayckbourn is one of England's most popular
playwrights. He's "an odd mix. He plays the relaxed, easy-going
egalitarian but, at the same time, he is clearly keen on his K
(Though people singularly fail to cope with it. The milkman said:
'Congratulations on your knighthood, Mr Ayckbourn') and I reckon
his six honorary degrees and two honorary fellowships are important
to his sense of self-esteem." The
Telegraph (UK) 04/18/02
TRAILBLAZER:
Marin Alsop has probably accomplished more than any other female
conductor. "How big a role I've played in [blazing a trail
for other women] I'm not certain," Alsop says. "But
I'm always very happy when young women [today] who are interested
in the field think [being a woman is] a nonissue." Christian
Science Monitor 04/19/02
A
LEGACY OF HIT-AND-MISS? Norman Foster is to Britain what Frank
Lloyd Wright was to the U.S. - a beloved creator of buildings,
an icon of architectural prowess. But time opens as many wounds
as it heals, and success attracts critics like death attracts
flies, the upshot being that as Foster approaches the last years
of his career, his legacy is far from assured. The
Guardian (UK) 04/20/02
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6.
PUBLISHING
http://www.artsjournal.com/Arts%20beat.htm#publishing
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KINGS
OF U.S. FICTION:
Which author sold the most books in the US last year? Good try
if you answered John Grisham; he led the list the previous
seven years. No, the "top-selling work of hardback fiction
in the US last year was written by the Reverend Tim LaHaye and
Jerry B. Jenkins. Desecration, the ninth volume in the
series Left Behind, sold 2,969,458 copies, nearly a million
ahead of Grisham. If the literati of New York look down on Grisham,
the other two are too low even to register on their radar screens.
The
Age (Melbourne) 04/15/02
WHO
MAKES BOOKS EXPENSIVE? Why do book prices get higher with
every passing year? Is it the publishers' fault, as Barnes &
Noble chairman Leonard Riggio has been saying to all and any who
will listen? Nonsense, say the publishers. Just look who gets
the biggest percentage of every sale... MobyLives
04/15/02
STUDENTS
DON'T READ CANADIAN: Canada's writers may be winning all sorts
of awards, but Canadian students aren't reading the home-grown
books. A new study says that the average Canadian student reads
five Canadian books by the time of graduation.
The Globe & Mail (Canada)
04/17/02
WHAT
SHOULD LIBRARIES BE IN THE DIGITAL AGE? With so much information
flowing through the internet, what should the role of libraries
which are the traditional repositories of information, be? "Digital
technology has split the confluence of medium and content hitherto
known as the book. While information's infrastructure is public
domain, information itself is a private commodity. Intermediaries
such as booksellers and librarians have now become superfluous
in certain areas of the information market. This is especially
true in the realm of scientific, medical and technical literature,
which by trying to combine two incompatible functions is both
expensive and inefficient." Frankfurter
Allgemeine Zeitung 04/16/02
REALITY
PROGRAMMING, CANADIAN STYLE: Celebrities go on CBC radio to
try to convince people that the book they are talking about should
be the book the entire country reads. At the end of each round,
people vote one book "off the island." An interesting
way to pick a book for the entire country to read? "What
I have trouble with, first of all, is the underlying notion that
the only way listeners will participate in Canada Reads is if
famous personalities - well, at least 'world-famous coast to coast'
- tell us what to read. It isn't possible to find a single novel
that captures the imagination of an entire country."
The Globe & Mail (Canada)
04/16/02
SUBJECT
TO REVIEW: What makes an author great, or a novel a classic?
Although we may not want to admit it, literary greatness is just
as subjective as the success of whichever bubble gum pop act is
making teenage girls shriek on MTV this week. "Literature,
which some may like to conceive of as an immutable set of timeless
verities, solid as granite and fixed as the stars, instead is
every bit as fragile as any other human creation." Chicago
Tribune 04/21/02
YOU
CAN'T GO HOME AGAIN: "Every lifetime reader has sweet
memories of books read in adolescence that were totally captivating,
that changed his or her outlook on life, that opened new worlds.
The question is: do we dare revisit these books 20 or 30 years
later? It can be like seeing your first love after all these years,
and now she has a sullen look and you realize it was always there
and how could you have missed it?" Toronto
Star 04/20/02
ART
OF PACKAGING LITERATURE: "Building an author's career,
particularly a writer of literary fiction, is a brick-upon-brick
process, and tending to that structure is what the business is
about." So "why are first literary novels — the hardest
sell in book publishing — afforded the more expensive hardcover
start? Because so many book reviewers are snobbish about things
literary and get nervous about reviewing even trade paperbacks,
a format they tend not to take seriously. (Forget mass-market
paperback entirely when it comes to reviewing.)" The
New York Times 04/18/02
BUCKS
FOR STAR WRITERS: Is it fair that big movie stars can earn
tens of millions of dollars out of a film's budget? Must be, or
the studios wouldn't do it. Now the same thing is happening to
books, where enormous advances are being gambled on authors. "Increasingly,
the big publishers are becoming like financing and distributing
houses. They're like the major film studios in Hollywood. It's
like opening a film at 300 theatres if Tom Cruise is starring
in it. Everybody evaluates risk differently, but they're betting
on a pretty sure thing." National
Post 04/11/02
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7. THEATRE
http://www.artsjournal.com/Arts%20beat.htm#theatre
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WHATEVER
- IT SELLS TICKETS: "Nudity in theater can wear many
different masks. It can be revolutionary or regressive, powerful
or pointless. It can be comic, erotic, heroic, subversive, insightful
or just plain god-awful. It may be as old as the art of theater
itself, a vestigial remnant of ancient tribal rituals designed
to sublimate or stoke primitive passions." Or it may be a
shameless attempt to draw a crowd desperate to see Kathleen Turner
in the buff. Los Angeles Times 04/21/02
CRADLE
OF TALENT: London's Bush Theatre is turning 30, and its list
of alumni talent is formidable. "For three decades and more
than 350 productions, this tiny powerhouse of British theatre
(100 seats, all of them uncomfortable) on unsalubrious Shepherd's
Bush Green in west London, has developed so much nascent talent
that, by rights, it should be called the National Theatre."
The Telegraph (UK) 04/18/02
ARE
BRITISH THEATRES RACIST? A new report suggests it. "Of
2,009 staff jobs in English theatre only 80 were held by black
or Asian workers at the most recent count. Only 16 out of 463
board members were black or Asian. A survey of 19 organisations
in a range of art forms in 1998 found that 6% of staff were black
and Asian, but that more than half of those worked in catering
or front-of-house areas. Ethnic minorities are variously estimated
to form 10 to 15% of the population as a whole."
The Guardian (UK) 04/17/02
WHY
THE PRODUCERS FIRED HENRY GOODMAN: Goodman is a good
actor. So why did he get canned from a great role in Broadway's
The Producers? Perhaps because Nathan Lane made the part
so well. "Lane is fat, lovable, vastly camp and totally harmless
- an American cross between Elton John and Frankie Howerd. Goodman
could hardly be more different. As London audiences who saw his
recent Olivier-winning Shylock will recall, he oozes danger, cruelty
and anger. Lane's humour is comfortingly white and cuddly; Goodman's
is disconcertingly black and biting." Casting is, as they
say, an inexact science. The
Telegraph (UK) 04/17/02
NOW
THAT'S DEVOTION: When one thinks of the world's great theatre
centers, one might be forgiven for overlooking Albania. But the
tiny European country's National Theater sells out nearly every
show, despite the poverty of its public and a building so dilapidated
that hardy audience members carry umbrellas to deflect the rainwater
that leaks through the ceiling. The government would love to fix
up the National, but no one knows where the money would come from.
Minneapolis Star Tribune (AP) 04/18/02
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8.
VISUAL ARTS
http://www.artsjournal.com/Arts%20beat.htm#visualarts
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
FIGHTIN'
WORDS: "The head of London's National Gallery is slowly
'killing off' the institution, according Julian Spalding, a former
director of Glasgow's museums. Mr Spalding said [National director]
Neil MacGregor has done a deal with Tate boss Sir Nicholas Serota
so the National does not show work dated after 1900." BBC
04/19/02
SOTHEBY'S,
CHRISTIE'S FACE ANTITRUST ACTION: The European Commission
is charging the world's two largest art auction houses with collusion
and anticompetitive practices. Sotheby's and Christie's are said
to have formed a 'cartel' nearly a decade ago. The charges come
on the heels of former Sotheby's chairman Alfred Taubman's conviction
on price-fixing charges in the U.S. BBC
04/19/01
- TAUBMAN
MIGHT GET AWAY WITH IT? Former Sotheby's chairman Alfred
Taubman could face a "maximum three-year term and a fine
of at least $1.6 million to $8 million for leading a six-year
antitrust conspiracy with Sotheby's rival, Christie's"
that cost sellers as much as $43 million in overcharges. But
the US Probation has recommended Taubman serve no prison time.
The New York Times 04/19/02
THE
PROBLEM WITH ROBERT HUGHES: It looked for a time earlier this
year that critic Robert Hughes would direct this the visual arts
component of this year's Venice Biennale. So why didn't it happen?
" 'Because of a series of complex problems with Hughes, the
Biennale would not even have got underway,' says the director
of the Biennale. 'He's a specialist in gratuitous polemics. He
insulted the Italian Government. He said Australia should be allowed
to sink into the sea'." The Age
(Melbourne) 04/19/02
HOW
ABOUT A HARLEY AD AT GUGGENHEIM VEGAS? As automakers seek
to attract an upscale demographic to their more expensive models,
advertisers have found a secret weapon to making the cars look
even more impressive on TV: architecture. Prominent buildings
around the country are popping up in adds for Porsche, Audi, and
Infiniti, to the delight of those in charge of the buildings.
Not only do the ads afford much-desired exposure, but there's
a tidy profit margin for the use of the facilities as well.
Chicago Tribune 04/21/02
FEAR
OF THE FUTURE? What has happened to the idea of revolutionary
art? "Among the unexpected silences of today, the most significant
to me is the lack of sustained interest in ideal, perfected, or
revolutionary states of being. Where are the social utopias, the
celebrations of a transformed consciousness, the visions of renewal
and rebirth? Given the new millennium and the extraordinary scientific
advances of this time, it seems strange that so few contemporary
artists have a hopeful or otherworldly gleam in their eyes. Today,
the future is typically regarded with dread." New
York Magazine 04/15/02
REINVENTING
THE PRADO: Madrid's Prado is one of the world's great museums.
But it has fallen into great disrepair. Now the museum's new director
has plans to modernize and overhaul how the museum is run and
how its art is shown. "Although it is Spain's most visited
museum, and home to works by Goya, Velazquez and El Greco, less
than 10% of its 15,000 works of art is actually on display."
BBC 04/15/02
MENIL
LOSES DIRECTOR: "For the second time in three years,
the Menil Collection has lost a director and named an interim
chief to manage the museum and help find a replacement."
Houston Chronicle 04/12/02
THE
CONSTRUCTION THAT NEVER ENDS: Miami's Bass Museum has been
closed for renovations for four years. "The Bass' renovation
was expected to take just 18 months when it began in February
1998, and now the museum's extended closure is producing operating
deficits. This year's $500,000 shortfall was covered with cash
reserves, but those reserves could be exhausted by September.
Among the reasons why the Bass' opening has been delayed are shoddy
construction and administrative lapses. Miami
Herald 04/16/02
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9.
ISSUES
http://www.artsjournal.com/Arts%20beat.htm#issues
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
WHAT
RIGHT COPYRIGHT? Is the US copyright law overly protective?
Some critics not only believe that it is, but that "property
talk limits our imagination—it is severely limited when influential
figures such as Jack Valenti use the word theft eight or nine
times in a given speech, because it is impossible to argue for
theft." Valenti replies that "copyright is at the core
of this country's creativity. If it diminishes, or is exiled,
or is shrunk, everyone who belongs to the creative guilds, or
is trying to get into the movie business, or is in television,
is putting their future to hazard." Village
Voice 04/17/02
ARTS
REBOUND IN OZ: After a down year in 2000, Australian arts
consumption went up dramatically in 2001. "Cinema remained
clearly the most popular arts entertainment with eight out of
10 people continuing to take in at least one movie each year,
and patrons increasing the frequency of their cinema outings from
10 to 11 trips a year. Live bands were the second most popular
choice with attendance ratings jumping to 51 per cent. Public
art galleries attendances rose to 50 per cent of the population
and live theatre jumped 7 percentage points to 48 per cent."
The Age (Melbourne) 04/19/02
MEASURING
THE HUMANITIES: "How can we articulate in compelling
ways the continued importance of the humanities to our national
life? A fundamental part of the problem, we quickly discovered,
is that it is almost impossible to find reliable and up-to-date
data on many aspects of the humanities - in contrast to the sciences,
which have long been the subject of, and had access to, a broad
collection of quantitative information." So a new project
has been created - "the Humanities Indicators, a set of empirical
databases about such subjects as the education of students in
humanistic disciplines; the growth of traditional departments
and new fields; the employment of humanists both within and beyond
academe; and the availability of financing for the humanities."
Chronicle of Higher Education 04/15/02
GETTING
CLOSE TO GROUND ZERO: Numerous arts companies have expressed
interest in becoming part of a cultural center proposed for Lower
Manhattan near Ground Zero. "What is clear is that Ground
Zero has captured the imagination of many in the arts and culture
business." But it is also making it harder for arts groups
with other projects in the city to get attention.
Andante
(Crain's New York Business) 04/14/02
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