Week
of May 27-June 2, 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
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ADRIFT
IN A SEA OF AESTHETIC (ANASTHETIC?): "In these years
post-turn-of-the-century, we're awash in so much choice in
entertainment, so much competition for our attention, that we risk
losing a sense of our basic selves. Art exists, partly, to
articulate identity. Greek drama reinforced that society's basic
myths. Medieval Gothic architecture expressed, in towering
grandeur, the superstitions and heavenly dreams of that world.
Through much of the 20th Century, painters, dramatists, novelists
and filmmakers borrowed from and mirrored one another, and an
eager consumer could take solace in sampling a little bit of all
of them." Chicago
Tribune 06/02/02
TO
CATCH A THIEF: William Simon Jacques is one of the great book
thieves in history. Since 1990 he stole hundreds of rare books
from some of Britain's great libraries. "The total value of
the books Jacques stole is around £1.1 million. Many were damaged
in an attempt to disguise their origins. Whole collections within
those libraries have been devastated. Hundreds of the books have
still not been recovered." Here's how he was caught.
The Observer (UK) 05/26/02
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2. DANCE
http://www.artsjournal.com/Arts%20beat.htm#dance
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FRANKFURT
KILLS DANCE: In what it hopes will be a money-saving move, the
city of Frankfurt has decided to close down Ballett Frankfurt, the
city's acclaimed contemporary dance company. The company is led by
choreographer William Forsythe and has earned an international
reputation. Says Forsythe: "Ballett Frankfurt has the highest
income rate in relation to public subsidy of any cultural
institution in Germany. We have a 96 per cent attendance rate at
our performances, and I have earned this city 40 million marks
[about £12 million] with my touring. What single other person has
contributed that kind of money to the city?"
The Telegraph (UK) 05/30/02
REINVENTING
THE ENGLISH NATIONAL: Why is the English National Ballet's
Matz Skoog trying to reinvent the company? Why not? "Ever
since it was founded in 1950 (as Festival Ballet), it has played
second fiddle to the Royal Ballet. Not only does it receive a
fraction of the latter's funding - £5m from the Arts Council as
opposed to well over £9m - it has less access to the best dance
talent." The Guardian (UK)
05/30/02
THE
BOLSHOI'S MARKET FORCES: For much of its 200+ year history,
the Bolshoi has set its budgets based on artistic need rather than
theatre economics. This meant ticket prices could be low. Now
things are different, and the Bolshoi has implemented a new ticket
pricing scheme that more properly reflects the marketplace for its
efforts. "This new ticket-sales system increased ticket
revenue by 82 percent in its first month. Further price increases,
made possible by a new distribution system with many sales points,
should push up ticket revenue to $10 million—almost three times
higher than last year’s figures—in the 2001–02 season."
McKinsey Quarterly (registration
required) 06/02
BALLET
VS OTHER: The School of American Ballet (SAB) at Lincoln
Center and the La Guardia High School of Music & Art and
Performing Arts across the street both enroll the city's best
dance students. But their styles are entirely different.
"While their styles differ, the two schools have long had an
amiable relationship. SAB is strictly a dance academy; students
there must go elsewhere for high school courses. La Guardia, a
public institution with a reputation for strong academics, has
been a popular choice. But the dust has barely settled on a
controversy that raises questions about the perpetuation of racism
and elitism in the dance world, and the power of the private
sector over public education." Village
Voice 05/28/02
MEASURING
SUCCESS: Australia's Chunky Move dance company is exploring
success and failure. So it sent out a survey to people around the
country "asking them to indicate their favourite and least
preferred dance movements - flexed feet, you may like to know, did
not score well outside Tasmania - music, costumes and
choreographic style. On the basis of a statistical breakdown of
the survey results, [choreographer Gideon] Obarzanek has created
Australia's most and least wanted dance work."
The Age (Melbourne) 05/28/02
SCOTTISH
BALLET CHOOSES NEW LEADER: The beleaguered Scottish Ballet has
named a new artistic director - Ashley Page, the choreographer and
former principal dancer with the Royal Ballet. The company has
been rocked since announcing it was ousting its former director
and reinventing as a contemporary dance troupe.
The Scotsman 05/30/02
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3. MEDIA
http://www.artsjournal.com/Arts%20beat.htm#media
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THE
END OF FILM? There are many practical reasons to like digital
filmmaking. And many are predicting the end of film, as more
theatres begin projecting digital movies. But not so fast -
"it appears that we're in for a long coexistence, since most
cinematographers are not about to abandon shooting on film and
digital projection is still in its infancy."
Los Angeles Times 05/27/02
"REALITY"
IS RELATIVE: The problem with the spectacular digital effects
in movies? The real people in the scenes look fake. So they're
taken out and replaced with computer graphics. "Interaction
is much more believable when digital characters are interacting
with digital effects. In the future, to get work actors will need
to be trained how to act and interact when no-one is there."
Sydney Morning Herald 05/28/02
MINORITY
REPORT: After being criticized for their record on including
minorities in their programming, American TV network executives
say they're doing better. "Executives at ABC, NBC, CBS and
Fox last week pointed out how most of the new dramas and comedies
coming this fall feature at least one minority character, and
several new ensemble dramas feature minorities - primarily African
Americans - in key roles. Minority groups disagree. "We were
looking for growth, and there isn't any. We have concerns to the
extent that there are no central or lead minority characters on
the new shows. Yes, there are blacks and Latinos on some of the
shows, but the numbers on Asians and Native Americans are
dismal." Los
Angeles Times 05/27/02
A
RECORD MOVIE YEAR? It's been a great winter and spring for the
movie box office, with revenues way ahead of last year. And
"with Spider-Man and the new Star Wars as
lead-ins to a huge summer film lineup, the season is shaping up to
break last year's domestic revenue record of $3.06 billion from
Memorial Day weekend through Labor Day." Nando
Times (AP) 05/26/02
MAYBE
IT RUNS ITSELF? The Australian Broadcasting Company has had a
rocky year as it's struggled to find a new managing director,
after former top boss Jonathan Shier left. But it turns out the TV
network has had one of its most successful periods ever in the
ratings, with a substantial boost in viewership recorded in the
latest ratings period. The Age
(Melbourne) 05/27/02
OUR
VIDEO FUTURE: "Despite the recession, a prolonged
technology slump and Sept. 11, sales of video game hardware,
software and accessories increased 43 percent last year, to a
record $9.4 billion. A number of industry executives and analysts
say that the current economic wave is rooted in both the cycle for
new generations of video game players and the demographic shifts
that have taken game playing out of the realm of cult status and
into the mainstream." The
New York Times 05/23/02
CLEAR
CHANNEL'S BLURRY FUTURE: No company is more powerful in the
world of American radio than Clear Channel Communications. The
company owns more radio stations in more markets than any other
company, and is more or less responsible for the generic,
predictable, nationally repetitive formats that consultants say
are guaranteed to pull in listeners. So why is Clear Channel
losing money hand over fist? Washington
Post 05/29/02
THE
DEATH OF INDEPENDENT FILM? "Making movies is not the same
as it used to be. The golden era of '80s and early-'90s American
independents, in which directors like Jim Jarmusch, John Sayles,
and Good Machine-nurtured auteurs such as Hartley, Lee, and Todd
Haynes flourished, is no longer possible. Where there once was
funding for innovative newcomers through foreign financing and the
burgeoning video market, overseas funders are now scarce, video
sales are down, and there is an increased reliance on foolproof
bets. And like the burst of the dotcom bubble, the very success of
the independent film has led to its gradual decline, with studio
systems co-opting some of the brightest new talents (David O.
Russell, Christopher Nolan) and the challenging economics of the
film business excluding so many others."
Village Voice 05/28/02
THE
ACTION COMIC BOOK MOVIE: Why are they so popular with movie
studios? "Above all, these movies are bankable. The audiences
are pre-booked. Whatever the critics say, brand loyalty will
assure the all-important first weekend take. They'll go to ACBM2
because they went to ACBM1. And if the critics say 'don't go',
they'll walk right over the critics on the way to the best
seats." The
Guardian (UK) 05/31/02
WORST
CANNES EVER? This year's Cannes Festival was as overhyped as a
filmfest can get, and the howling of the critics could be heard
worldwide as a result. But was this year's installment of the
world's most prestigious film festival really its worst effort, as
some have charged? Not likely. "Though the hype continued
unabated, the naysaying of the first week proved to be an
overreaction. While lacking in masterpieces of the epic variety,
the second half of Cannes showed what film is all about--devious
experimentation, political films of the moment, and severe art
films with little commercial viability in sight." City
Pages (Minneapolis/Saint Paul) 05/29/02
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4.
MUSIC
http://www.artsjournal.com/Arts%20beat.htm#music
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MUSICIAN,
INC, PART I: "Concert ticket prices are skyrocketing –
especially for bands born in the anti-materialist '60s. Concert
ticket prices have shot up 54 percent in the last five years,
compared with only 24 percent for movie, sports and theater
tickets. The Rolling Stones are charging a jaw-dropping $350 for
the best seats to their U.S. tour; the top tickets on Paul
McCartney's just-ended tour sold for $250. And as prices rise, so
does tension between disgruntled music fans who cry
"sellout" and the musicians who say they're just going
by supply and demand – that if they don't charge these prices,
scalpers will." Dallas
Morning News 06/02/02
- MUSICIAN,
INC, PART II: More and more big-name musicians are
choosing not to sign (or re-sign) with large music labels,
instead recording and producing on their own labels. "It
just goes to show you that we basically traded in a larger
machine for a more well-tooled machine. It's like all small
businesses. You do more specific targeting and cut out
waste." Chicago
Tribune 06/02/02
DIGITAL
PROMOTION: Eminem's new album shipped early because the music
was already available over the internet in pirate digital copies.
Indeed, music from the album was so widely traded on the net, that
Eminem's recording company feared sales of the album in stores
would be way off. But the album has debuted at No. 1 in record
time, adding to the argument that file-swapping on the internet
promotes sales of recordings, not discourages them.
Nando Times (AP) 05/30/02
COPIES
HELP NOT HURT: "The big record companies' complaints
about your new CD burner and file-sharing services like Napster,
Kazaa and Music City are hogwash. The big record companies have
built their case on what seems a logical premise. They contend
that if you can download the new Ashanti song for free from the
Internet or borrow your friend's copy of the new Bonnie Raitt CD
in order to burn one for yourself, then they've lost a sale. No
doubt some music fans behave this way. But not most. That's the
point of a study by Jupiter Research, a leading Internet and new
technology research firm. Jupiter found that people who use
file-sharing networks to obtain free music or who make homemade
CDs are likely to maintain or increase their spending on
music." Boston
Herald 05/31/02
EXPLOITING
THE YOUNG? The 60 music students from the Royal Academy of
Music who agreed to play for free in an orchestra to accompany Sir
Elton John, Sir Paul McCartney and Tom Jones at a £4 million
charity concert in Buckingham Palace gardens next week, are being
exploited says the British musicians union. "People will be
making money out of this event, whether it is record distributors,
dealers or publishers. Clearly this concert is a great opportunity
to showcase young talent, but we argue young talent should be
treated equally." The
Guardian (UK) 05/29/02
CUTTING
OUT THE MIDDLEMAN: The most frustrating part of buying a
stringed instrument for any musician is navigating the deceptive
and self-serving world of dealers who can set prices with
impunity, and often charge buyers three to four times what they
paid for a given instrument. But a new culture of online
instrument auctions is gathering momentum, and, given time, it may
well change the way all but the wealthiest musicians shop for the
tools of their trade. Andante 05/30/02
CROSSING
OVER TO WHAT? Classical crossover music is a hot category
these days, but why? "Is crossover - the name given a
recording by a classical artist venturing into a non-classical
area of music and aimed mainly at non-classical record buyers - a
healthy means of bridging the gap between the classical and
non-classical markets, or a crass ploy to kick new life into
sagging sales? Is it creating new audiences for classical music,
or merely fueling the demand for more crossover? In today's
anxious, Internet-battered market, nobody has any definitive
answers." Chicago
Tribune 06/02/02
SIZE
MATTERS: How do you get to Carnegie Hall? Uh, rent it out,
actually, just as dozens of small groups and high schools do every
year, their modest performances sandwiched between the world's
greatest classical ensembles. The rental concerts generally draw
small crowds, but a group of New Jersey school kids are
anticipating quite a crowd for their Brahms German Requiem
this week. The interest can be chalked up to the scale of the
thing: the orchestra will contain 150 musicians, and the choir,
which will spill over into the seating area, will number 250. Philadelphia
Inquirer 05/30/02
SPOLETO
USA IN THE BLACK: "When the Spoleto Festival USA
announced last summer that it intended to raise $25 million for
programming, an endowment, and restoring a building, it also said
it already had raised $18 million. Now the annual Charleston,
S.C., arts festival, which opened Friday and will end June 9, is
in its 26th year with $23 million collected or promised. That is
not the kind of news people expect from a festival that has
struggled with money from its first year." Philadelphia
Inquirer (Knight Ridder) 05/29/02
RISE
AND FALL: It's the 50th anniversary of the singles charts for
records. "But it's hard to pretend that it isn't now dealing
with an irreparably tarnished institution. A once richly varied
and hard-fought battleground on which rival talents would engage
in titanic struggles for weeks on end to attain that coveted No 1
slot, the pop-singles chart has degenerated into a dismal
procession of formulaic releases, each recklessly catapulted to
the top – and then to hell – with equal dispatch."
The Independent (UK) 05/27/02
WEBCASTING
FOR FUN AND NO PROFIT: Music was supposed to be fun, so we
were always told. But with the radio and recording industries now
so corporate-driven as to make most stations and releases
indistinguishable, webcasting was developed as a way to get
exposure for music never heard on today's ultrasanitized Top 20
countdowns and generic music video channels. So why all the
brouhaha over webcasting royalties? It seems that the corporate
music monolith isn't enjoying the competition. Chicago
Tribune 05/29/02
CUTTING
INTO FRANKFURT: The city of Frankfurt has a quota of
performances it expects from its opera company in return for city
funding. So along comes a budget crunch and the city cuts millions
out of the company's subsidies. What kind of sense does this make?
It barely saves money, since canceling productions still means
that contracted performers have to be paid. "Perhaps only a
psychoanalyst can understand the soul of Frankfurt. Why does
everything always have to go wrong? Once, people would have called
it a curse. Today, we speak of a virus: the short-sightedness of
always cutting the budget by sacrificing art and culture." Frankfurter
Allgemeine Zeitung 05/26/02
SURVIVOR:
The St. Petersburg Philharmonic has long been one of Russia's
cultural jewels. But since the USSR went away, money for culture
has been tight. From nearly unlimited budgets harnessed to the
orchestra's product, the orchestra has in recent years had
difficulty just paying its musicians. "But aid is coming in.
American friends of the orchestra have given money for new
instruments, and an oil magnate whom [music director Yuri]
Temirkanov knows has donated enough cash to double the orchestral
wages." The
Telegraph (UK) 05/27/02
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5. PEOPLE
http://www.artsjournal.com/Arts%20beat.htm#people
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PORTRAIT
OF A PHILANTHROPIST: Jean-Marie Messier is the charismatic
head of Vivendi Universal, the world's second largest media
company. In France he is a controversial figure, but in New York,
where he moved eight months ago, he's become immersed in the
city's cultural life, joining prestigious boards of major cultural
institutions. "Mr. Messier's smooth entree into New York is
one of the clearest examples of how an outsider with financial
resources, status and connections can penetrate the city's inner
circle of culture and philanthropy, even as his corporate
leadership comes under severe attack." The
New York Times 05/28/02
BROWN
STEPS DOWN: J Carter Brown, former head of the National
Gallery of Art in Washington, for 23 years, "a trustee at
Brown University, chairman of the jury for the Pritzker Prize, the
prestigious architecture award, and a member of the Committee for
the Preservation of the White House, among other positions,"
has resigned from "the many arts, education and historic
preservation boards on which he serves," because of severe
bad health. Washington Post 05/31/02
FRAUGHT
WITH FREUD: Lucien Freud is widely considered Britain's best
living painter. Next month he'll get a major retrospective of his
work in London. "As many of his sitters have found, having
Lucian Freud recreate you in paint is not an unrelieved joy. Jerry
Hall's portrait turned her into an amorphous lump of pregnant
fleshy blubber. The Queen's portrait, unveiled last December,
provoked a tirade of abuse for its unflattering delineation of a
blue-chinned nightclub bouncer in a fright wig and a filthy
temper." The
Independent (UK) 05/30/02
"ROMANIAN
CULTURE IS TWICE IN MOURNING": A former principal dancer
with the Romanian Opera House commited suicide after her partner
died last weekend. "Irinel Liciu, 74, took an overdose of
sleeping pills after the death of celebrated Romanian poet Stefan
Augustin Doinas, 80. They had been married for more than 42
years." Nando
Times (AP) 05/28/02
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6.
PUBLISHING
http://www.artsjournal.com/Arts%20beat.htm#publishing
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A
FEW NEW STATISTICS ON READING: A new Scottish study reports
that people spend an average of only 11 minutes a day reading
novels. "Fiction has now been overtaken by newspapers as the
most popular reading material, research by the Orange Prize for
Fiction has claimed. It also said 40 per cent of the population do
not read books at all. Researchers said that people spend only six
hours a week reading, compared with three hours a day watching
television." The
Scotsman 05/27/02
INFERIORITY
COMPLEX? British writers have been protesting the decision to
open up the Booker Prize to include American writers. Writers from
the Commonwealth need something of their own, they say, and the
Americans would dominate the competition. But such arguments
"tell us more about a certain British cultural inferiority
complex than about the nation's literature. The notion that
American writers exist in another league is fatuous, cringing. The
protestation of British inadequacy, said Robert McCrum, literary
editor of the newspaper the Observer, is 'quasi-philistine,
provincial and rather embarrassing'." San
Francisco Chronicle 05/28/02
IN
PRAISE OF PAPER: Paperbacks used to be the publishing
industry's "B" team. But "sales of paperbacks have
outpaced those of hardcovers over the past several years, growing
steadily even when hardback purchases have dipped. Anchor and
Vintage, the two paperback-only imprints of Random House, have
seen their sales volume increase more than 500 percent since the
early 1990s. The surge has been driven partly by the boom in
'superstores' - chains like Border's or Barnes & Noble - but
but also by big independent outlets." The
Star-Tribune (Minneapolis) 06/02/02
WALSER
CONDEMNED/DEFENDED: Critics are condemning Martin Walser's new
book as anti-semitic. "The book is about a wounded author's
supposed murder of a high-profile Jewish book reviewer, obviously
modeled on the prominent critic Marcel Reich-Ranicki."
Walser's publisher has "rejected the suggestion that it is an
obvious roman à clef," saying that "comparing
literature to reality has nothing to do with literary criticism,
only with malice." Frankfurter
Allgemeine Zeitung 05/30/02
JUMPING
ON JONATHAN: Jonathan Foer's debut book has become a literary
sensation. But is the hype all because of his age (25) and the
astounding advance ($400,000) he got? "A backlash was
inevitable: the bookselling website Amazon is full of vicious
comments saying Foer's success owed little to talent and much to
his youth and excellent connections (his brother is an editor for
the New Republic magazine, his creative writing teachers were
literary luminaries Joyce Carol Oates and Russell Banks, both of
whom provided fulsome quotes for the blurb). The publishing
industry was accused of over-hyping Foer, at the expense of
others." The
Telegraph (UK) 05/31/02
BRINGING
JOYCE BACK TO IRELAND: Ireland's National Library has bought a
collection of 500 papers by novelist James Joyce. "The rare
collection, believed to be the largest of its kind - includes
unseen drafts of the classic book Ulysses."
BBC 05/30/02
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7. THEATRE
http://www.artsjournal.com/Arts%20beat.htm#theatre
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THE
GOAT/MILLIE TAKE TOP TONYS: Go figure - Thoroughly
Modern Millie wins Best Musical at Sunday night's Tony Awards,
but "the critically acclaimed but offbeat Urinetown: The
Musical won for direction, score and book of a musical."
So the ingredients for Urinetown were better, but Millie
still made the better salad? The New
York Times 06/03/02
BROADWAY
DOWN: After a decade of solid gains, Broadway saw a decline in
business for the season just ended. "The total taken for the
entire season stood at $642.5m (£438m), $22.9m less than in the
previous year. The year 2000-1, by contrast, had seen a big yearly
increase of 10.4%. The number of people buying tickets dropped
almost one million to 10.9 million, below the 11 million mark for
the first time since 1995-96." BBC
05/30/02
BROADWAY
- WHO AM I? "These days ... Broadway's most conspicuous
malady seems to be less its economic vulnerability — though that
certainly remains a concern — than a severe personality
disorder. Seeking to stay healthy in an age ruled by technology
and mass-produced images, the mainstream New York theater has
never seemed so desperately eager to please or less sure of how to
do so." The
New York Times 06/02/02
REVIVAL
FEVER: "Yes, we're living in the 21st Century. But if you
look at this season's Broadway marquees - or at the nominations
for tonight's 56th annual Tony Awards - you'll see Broadway
remains obsessed with reviving old shows, turning movies into
musicals and beefing up its box office by trading on a movie
star's appeal. Whatever happened to new plays and playwrights?
Challenging work? Actors committed to the stage?"
Miami Herald 06/02/02
POWERED
BY COKE: London's West End theatres are alive with references
to cocaine. "With so many coke references in front of you in
the theatre, you begin to wonder just what's going on backstage.
For centuries, acting - like journalism - was one of the great
drinking professions. Actors and alcohol have traditionally gone
together like Burton and Taylor. Yet the eclipse of the
stage-drunk by the stage-junkie suggests something has
changed." The Telegraph (UK)
05/30/02
REGIONAL
THEATRE IN DECLINE: What happened to America's regional
theatre movement? It all started so promisingly... Robert Brustein
says its gone "downhill slowly but steadily, fueled by the
disintegration of public finances for serious art, by dependence
on the tastes of an indiscriminate subscription base, by an
incursion of commercial fare into regional theaters, by the loss
of a basic understanding that nonprofit theater was meant to be
different than commercial theater. Over the years,
nonprofit-theater executives began acting more and more like
commercial producers, bringing to their communities not so much
Shakespeare, Chekhov and Ibsen - not to mention new generations of
playwrights - but the best of Broadway and off-Broadway." Hartford
Courant 06/02/02
LONDON'S
AMERICAN ACCENT: American plays and performers have invaded
London's West End, dominating this summer's offerings. "It's
hard to generalize about the reasons for this, but in a London too
often forced to rely on revivals, there is a great hunger for
energetic new writing. The spicy, stinging dialogue of so many
contemporary American plays appeals to the British, as does the
size and scope that the nation's drama appears to have reacquired
since it emerged from the back porch in the 1980's and early
1990's." The
New York Times 06/02/02
STRATFORD'S
GOLDEN YEAR: Canada's Stratford Theatre Festival redefined
what theatre could be outside of the world's urban centers, and
this year, it turns fifty. The sleepy farming town in western
Ontario has become Canada's answer to Cannes, and the golden
anniversary is making headlines across the country. Edmonton
Journal 05/29/02
- IT
COULD'VE BEEN FLASHIER: Stratford's 50th anniversary is
the type of national event that should have been celebrated
with champagne corks popping, crowds of delirious fans, and
plenty of self-congratulation. "Instead, Monday's bash
had all the glamour and excitement of a community centre
fundraiser. The mood was feel-good in a peculiarly restrained,
understated lords-and-ladies-of-Upper-Canada-on-their-best-behaviour
kind of way." Toronto Star
05/29/02
AN
ODE TO CHICAGO: Chicago has more than 200 theatre companies.
This year's Tony award nominations were dominated by productions
which had their start in Chicago. "Theater in Chicago has
reached critical mass after growing steadily in size and quality
since the 1980's. The Tony nominations are only the latest
indication of how important this city has become as a feeder of
plays not just to New York but also to other cities and
countries." The
New York Times 05/28/02
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8.
VISUAL ARTS
http://www.artsjournal.com/Arts%20beat.htm#visualarts
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
PRICELESS?
IT'S JUST A WORD: Recent high prices for paintings gets one
reporter thinking about how the value for great works of art is
set. "If 'priceless' is a real concept to a museum curator,
it's just a word - and a false one at that - in the calculating
marketplace, where everything has a price." What would be the
real-world price of some of the Art Institute of Chicago's most
famous pictures? Chicago
Sun-Times 06/02/02
NO
SMALL MATTER: Smithsonian chief Lawrence Small has roiled the
institution like none before him. "Since Small's arrival,
markers of an institution in turmoil have popped up almost
monthly: Directors of six museums submitted their resignations.
Congress had to step in to save pioneering scientific research. A
benefactor withdrew $38 million after her ideas were ridiculed by
staffers. And more than 200 academics protested the
"commercialization" of the Smithsonian--even faulting
its decision to award the cafeteria contract at the National Air
and Space Museum to McDonald's." Los
Angeles Times 06/02/02
ART
OF THE MEETING: Documenta is the once-every-five-years
assemblage of contemporary art. "Documenta is not this year's
only group show, but Kassel is definitely Rendezvous 2002 for
museum directors, curators, dealers, gallery owners and
collectors. They will be there because everyone will be
there." The
New York Times 06/02/02
TURNER
SHORTLIST ANNOUNCED: The list of four finalists for Britain's
controversial Turner Prize has been released. Last year, the £20,000
prize was won by Martin Creed for an empty gallery space with a
flickering light. The Turner is designed to spark interest in and
conversation about contemporary art, and it always manages to do
so, even if much of the talk is criticism of the winning work. A
sampling of the nominees' work can
be found here. BBC 05/30/02
- THIS
YEAR'S LOW-OCTANE TURNER: The Tate's Turner Prize is
calculated to be controversial - how better to draw attention
to contemporary art? "This year, however, the judges have
selected four rather cerebral, unflashy artists who are
unlikely to create tabloid headlines. Of course, they are
quite unknown to anyone outside the small world of
contemporary art, and not one is a painter: once again, in a
nation that celebrates Hockney and Freud among working
artists, the judges have somehow been unable to uncover in the
past year one decent show by a painter under the age of
50." Financial
Times 05/31/02
TATE
MODERN'S OVERDUE ANNOUNCEMENT: Vicente Todoli's appointment as
the new director of Tate Modern this week caught many by surprise.
Not that Todoli's not up for the job. It's just that "the job
has been open so long, since founding director Lars Nittve left a
year ago to head the national museum in his native Sweden, that
there was some speculation that the Tate might even manage without
a director." The Guardian (UK)
05/30/02
DON'T
LET MUSEUMS OFF THE HOOK: In Britain, artists are protesting
the way the government values art. But at least one critic
believes museums and galleries are complicit in the problem.
"In my view, the main problem facing these valuable national
institutions is not so much their lack of money as their distorted
priorities. At present these collections are not giving the
pleasure and inspiration that they could. This is because their
traditional functions of presenting and interpreting great works
of art are undervalued in today's cultural policy circles."
The Independent (UK) 05/28/02
SECURITY
HOLE: What does the theft of hundreds of works of art from
small European museums by a lone thief say about the museums'
security measures? Most museums protect themselves against gangs
and sophisticated thieves, not lone visitors who walk in and
steal. "In a way, small museums are better protected at night
than in the day. The buildings are usually well secured, but the
objects themselves are often very poorly secured, or not at
all." The
New York Times 05/29/02
POLITICS
OVERSHADOWS ART: A London curator was asked last year to put
together a show on human rights during the Israel Festival in
Jerusalem. "I chose to focus on those artists whose work had
addressed identity, place and issues of displacement in other
parts of the world. They, I thought, could provide models that
might resonate here." He chose international artists - no
Israelis, no Palestinians. But by the time the show was ready to
open recently, one by one the artists had withdrawn. "Each
artist offered one excuse or another. For some it was simply fear
of suicide bombers. Most of the excuses were rooted in politics,
or possibly ideology covering for anxiety. It is hard to argue a
defense when feelings run so deep." London
Evening Standard 05/28/02
ROME
AWAKES: After decades of architectural slumber in which
contemporary architects bypassed the city of Rome, the Italian
capital has finally begun building again, and with first-class
international architects. "Not all Romans welcome this new
renaissance. Some decry what they call the "Los Angelization
of Rome". Wired 05/27/02
SAO
PAULO - ART OF DISCORD: Physically, the São Paulo Biennial is
"the largest celebration of art in the world, exceeding even
its better-known counterpart in Venice. But organizing such a show
has always been a process fraught with controversy and adversity,
and the 25th biennial has proven no exception." The
controversy began long before this year's edition opened, and only
intensified after the exhibitions went up. The
New York Times 05/27/02
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
9.
ISSUES
http://www.artsjournal.com/Arts%20beat.htm#issues
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
COURT
- LIBRARY FILTERING ILLEGAL: A US federal court has ruled that
a law forcing public libraries to install filtering software on
computers available to the public is unconstitutional. The filters
are meant to screen out pornographic websites, and the law
required libraries to use the software or see their federal
funding stopped. Librarians had opposed the law. The "court
unanimously said that a federal law designed to encourage the use
of filtering software violated library patrons' rights to access
legitimate, non-pornographic websites." Wired
05/31/02
THAT
GIANT SUCKING SOUND? Dallas is raising $250 million to build a
new performing arts center. "But not everyone on the local
performing arts scene considers it a friendly giant. For some,
it's a voracious juggernaut set to gobble up most of the city's
limited cultural money and attention. And its leftovers are
unlikely to be enough to go around. Supporters of the center, and
representatives of some of the smaller arts groups, argue that the
attention focused on the performing arts center is a boon to the
cultural scene as a whole." Dallas
Morning News 06/02/02
TOO
MUCH AMERICA? American TV shows are all over British
television, American plays clutter London's West End, and American
movies clog the cinemas. Way too much America, writes Michael
Billington. "Whole weeks now go by in which, as a critic, I
see nothing but American product and I learn far more about life
in Manhattan or the midwest than Manchester or Midlothian. But
that is merely a symbol of a far wider phenomenon in which our
cultural and political agenda is increasingly set by the world's
one surviving superpower. You think I exaggerate?"
The Guardian (UK) 05/30/02
SPENDING
DOUBLED IN A DECADE: According to data from the National
Association of State Arts Agencies, state appropriations for the
arts doubled between 1993 and 2002. Spending rose from $211
million in 1993 and peaked in 2001 at $447 million before
declining to $419 million last year. "However, appropriation
declines of $21 million in California and $5 million in New York
account for nearly all of this decrease. When they are removed
from total appropriations, the aggregate remains flat at zero
percent change." The total should decline dramatically next
year as numerous states have proposed cutting arts budgets in
recent weeks. National Association of
State Arts Agencies 05/02
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
10. FOR FUN
http://www.artsjournal.com/Arts%20beat.htm#forfun
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
FROM
WILL AND GRACE TO GERMAN TV: Where do old LA sitcom
writers go when they can't get work in Hollywood anymore? To
Germany. "This is, evidently, one of the unexpected
byproducts of a global electronic village: You can be 53-year-old
Lenny Ripps or 58-year-old Ed Scharlach or 58-year-old Paula Roth,
and still matter, creatively, by entertaining German television
viewers." Los
Angeles Times 06/02/02
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