Week
of August 5-11, 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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LET
ME ENTERTAIN YOU: "In the future, when anthropologists
study the last 100 years, they may refer to it as the
Entertainment Era, a time when distraction and diversion reigned
supreme. Never before has Homo sapiens consumed such a vast array
of cultural products or chased down vicarious experiences with
such zealous abandon. The need to escape has never been so
inescapable. Is this wired into our brains? Is it a consequence of
cultural evolution? Is it a reaction to the demands of modern
life?" Toronto Star 08/04/02
THAT
WAS BEAUTIFUL: "What is beauty in art and how do we
receive and comprehend it? How does it register in a culture that
has grown increasingly ironic and skeptical about the images and
visions it creates? We tend to believe that the things we find
beautiful - a piece of music, a mountain landscape at dawn, Tiger
Woods' golf swing - have an intrinsic worth, an inner, if
unmeasurable, verity. We also reserve a pretty healthy measure of
distance, a wary, irony-laced mistrust of things that seem too
ravishing on the surface." San
Francisco Chronicle 08/06/02
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2. DANCE
http://www.artsjournal.com/Arts%20beat.htm#dance
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UNHAPPY
ROYAL DANCERS: Dancers in the London's Royal Ballet are
unhappy with director Ross Stretton, who just completed his first
season with the company. "The performers' principal gripe
concerns Stretton's casting decisions, which are said to have left
dancers uncertain whether they would be performing in productions
until the last minute, and the public attending performances not
featuring the advertised cast." Dancers have considered
taking a no-confidence vote in Stretton's regime. The
Guardian (UK) 08/10/02
- DISAPPOINTING
FIRST YEAR: Ross Stretton has just finished his first year
as director of London's National Ballet. How'd he do?
"Yes, ballet is a hazardous job and every company gets
its share of injuries, but the Royal Ballet right now seems
worse than most. Possible causes are choice of repertoire,
overworking dancers through casting policies, and the quality
(or lack of it) in teaching – all of which must end up on
the director's plate. Not a wonderful end for Ross Stretton's
first year in charge." The
Independent (UK) 08/05/02
DANCING
WITHOUT A NET: "Nowhere in the nation is there anything
like Boulder's Aerial Dance Festival. It is unique. It is
cutting-edge. And during the next few days, students will converge
on Boulder to study with the greats of this emerging art form...
What, exactly, is aerial dance?" Think low-flying trapeze
work, combined with elements of modern and classical dance. Weird?
You betcha. Dangerous? Sure. But hey, it's art. Denver
Post 08/07/02
SCOTTISH
BALLET'S NEW COURSE: Ashley Page is about to take over as
director of the troubled Scottish Ballet. The company's directors
have declared the company will be remade into a modern company.
Page says that will mean expanding the company. He also says that
"under his directorship the ballet would be performing an
'eclectic' mix of work, which may require the addition of another
10 contemporary-skilled dancers to the company." The
Herald (Glasgow) 08/04/02
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3. MEDIA
http://www.artsjournal.com/Arts%20beat.htm#media
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
OSCAR
IN NEW YORK? "The Academy of Motion Picture Arts and
Sciences and a group of New York leaders have been talking about
moving part of next year's Academy Awards show to New York City to
help the city recover from the Sept. 11 terror attacks." Nando
Times (AP) 08/10/02
TOP
FILMS OF ALL TIME: Every ten years the British Film Institute
asks leading international critics and directors to rank the best
movies ever. Citizen Kane tops this year's list. "The most
recently made film to reach the directors' top 10 was Martin
Scorsese's Raging Bull, released in 1980." Nando
Times (AP) 08/10/02
- MOVIES
- NO LONGER THE COMMON LANGUAGE: For much of the last
half-century one common cultural reference point has been the
movies. As much as "we loved the films, we treasured the
thought that 'everyone' knew them. More or less in those
decades, everyone did go to the movies. In America, in the 20s
and 30s, say, 60-70% of the people went to the movies once a
week. Today, it's no more than 15%." Movies aren't the
cultural binder they once were. The
Guardian (UK) 08/10/02
STUMBLING
GIANT? Clear Channel owns some 1200 radio stations in the US
in 300 markets. It controls a good chunk of the country's concert
business too. But lately the company has been doing so well.
"Clear Channel - well known for its hardball tactics - has
been hit with numerous antitrust lawsuits, petitions to the
Federal Communications Commission and pending legislation on
Capitol Hill." Salon 08/07/02
- GIANT
KILLER? Clear Channel might be America's biggest radio
company, but there are signs the company might be in trouble.
Its stock price has dived. Congress is making noises about
reining in radio ownership. "Meanwhile, plaintiffs are
filing lawsuits while critics raise questions about company
finances and alleged payola schemes." Wired
08/07/02
BOW
TO THE MACHINE: Machinima - a contraction of machine and
cinema - is the newest and cheapest thing in film-making.
"The new form was made possible by computer game
manufacturers, which began releasing some of their codes to enable
players to customise characters and backgrounds." Sydney
Morning Herald 08/08/02
KILLER-B's:
What's with all the B-movie plots for this summer's biggest
blockbuster movies? Crop Circles? Radioactive spiders? Aliens? "The
concept of B-movies was a product of cinema’s boom time in the
1950s. Smaller non-studio producers wanted to make a fast buck by
tapping into the audience’s primal fears with sensationalist
(but cheap) film-making." Now they've moved into the
mainstream. The Times (UK) 08/08/02
NARROW
DEFINITION OF WOMEN: "We all know that women fall madly
in love even when they're not raving beauties — or sweet young
things. And that these days many are staying vigorously active,
leading fulfilling professional lives, and having physical
adventures and sexual escapades well into their senior years. Yet
head to the mall to take in the latest Hollywood studio films, and
you get a much narrower vision of womanhood." Seattle
Times 08/04/02
OUR
DIGITAL MOVIE FUTURE: "Digital video is one of the most
controversial issues in Hollywood. Film purists like critic Roger
Ebert decry the muddy and streaky images that often afflict
lower-end video features - while proponents like George Lucas hail
high-end digital video (DV) as the wave of the future that will
democratize filmmaking, allowing artistic freedom and permit even
established directors to make risky films." New
York Post 08/05/02
GETTING
THE MESSAGE UP FRONT: Few advertisers just want to buy
30-second spots on TV shows anymore. Product placement is big
business, and some of America's most successful TV shows and
movies have worked products into their storylines. "If
someone's drinking a can of soda, it can be Coca-Cola. But
downstream in syndication, if Pepsi wants to sponsor the show, it
can (digitally) become a can of Pepsi." Dallas
Morning News 08/05/02
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4.
MUSIC
http://www.artsjournal.com/Arts%20beat.htm#music
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
GOING
FOR A YOUNGER AUDIENCE: Edinburgh Festival director Brian
McMaster has observed that concerts that sell out in advance
attract mostly an older audience. Why? Because many younger
ticket-buyers buy tickets at the last minute. And they buy cheaper
tickets. So this summer's Edinburgh Festival offers a late night
series with top performers - Alfred Brendel, Andras Schiff and the
Hilliard Ensemble - and all tickets are priced at £5. "What
I hope they will do is come to something that they wouldn't
otherwise come to, because it's so cheap. I always tell them, come
and hear John Adams, or whatever - something that they'd normally
stay away from. If we can widen people's tastes, that's equally
important." The Telegraph (UK)
08/09/02
THE
SENSATIONAL PRINCESS DI: An opera for TV about Princess Di has
"perhaps unsurprisingly, already proved controversial.
Earlier in the year, a headline in the Daily Mail barked: 'Sick
opera to mark five years since Diana's death.' (The paper was
referring to an episode in the piece where Ryan, who is obsessed
with the princess, employs a prostitute to dress up as her, then
strips her and performs a bizarre ritual over her naked body.) 'It
would be sad if people got the impression it was a sensational
piece and therefore didn't watch it'." The
Guardian (UK) 08/09/02
ORCHESTRAS
- TOO INGROWN TO THRIVE? The Chicago Symphony only recently admitted
its first African American member. But the rest of the orchestra
world is no better at diversity. But the problem isn't simply
racism (or sexism). "When all is said and done, there is a
problem, and it lies in the very nature of the symphonic
orchestra, an organism that was formed at the onset of industrial
revolution and has resolutely resisted egalitarianism, electronics
and multicultural values. The symphony orchestra simply bypassed
the 20th century. If it wants to survive the 21st, it will need to
reform from the heart - not by admitting a token outsider or
staging a free concert for the poor, but by opening itself to the
spirit of the times and engaging with the things that really
matter." London Evening Standard
08/06/02
BILLIONAIRE
FIGHT! BILLIONAIRE FIGHT! The world's largest media company is
being sued by one of the world's largest recording companies in
the continuing fight to insure that record companies are paid for
every tiny little snippet of music ever played, performed, or
broadcast anywhere in the universe. The details honestly aren't
that crucial, but it's EMI doing the suing and AOL Time Warner
playing against type as the plucky underdog being sued. At issue
are a couple of in-house ads running on Time Warner cable
networks. BBC 08/08/02
BATTLE
FOR THE SOUL OF THE MUSIC BIZ: "Record and radio insiders
report that several major record companies have quietly introduced
new payment schemes for the influential middlemen known as
independent promoters, or indies, who peddle songs to radio.
Concerned about the runaway costs of indie promotion, which by
some estimates costs the music industry more than $150 million
annually, label executives say they're determined to return some
fiscal sanity to a process that to most outsiders does not appear
sane." Salon 08/07/02
TOKYO
TRIES FOR A COMEBACK: The Tokyo String Quartet has not been
the same since the departure of first violinist Peter Oundjian in
1995. Internal squabbles, lukewarm reviews, and general fatigue
have contributed to the quartet's difficulties in the fickle and
fast-changing world of chamber music. But the Tokyo has a new
first violinist who is generating buzz, in large part for his
inexperience in the international arena, and rumor has it that the
Tokyo may be on its way back into the upper echelons of string
quartets. The Globe & Mail
(Toronto) 08/07/02
LIVE
ON TAPE... A "live" recording of Simon Rattle's
performance last fall of Schoenberg's two-hour cantata, Gurrelieder
with the Berlin Philharmonic turns out not to be so live after
all. After the performance, one of the singers was removed from
the recording and replaced with another in the studio. Why? It's a
marketing thing, but is it honest? Is it artistically defensible? The
New York Times 08/04/02
LEARNING
ABOUT PUNK: "After a quarter century, and a zeitgeist
shift or two, the phenomenon of punk has entered the twilight zone
between popular culture and social history. The subject of
documentaries on MTV and VH-1 (and at least one deluxe
coffee-table book), the early punk scene has also drawn the
attention of scholars trying to understand its significance as
"cultural practice." But don't assume that this is some
new surge of nostalgia, with footnotes as camouflage. Punk and
academe have a long history together." Chronicle
of Higher Education 08/02/02
WRONG
ACCOUNT: "The contract filed by the record company at the
time of a recording session is an important document, because it
lists all the musicians on a session and serves as a record of how
often a musician played, which determines his or her pension and
royalty payments. But if no contract is filed, or the wrong names
are used, or no names at all, musicians lose out on hundreds and
thousands of dollars later. Situations like that, and the way
record companies do business with artists and musicians in
general, is under increasing scrutiny in today's post-Enron
climate of growing public concern about accounting irregularities
in big business." Detroit News
08/05/02
TRASH-TALKIN'
OPERA: The must-see event at this summer's Edinburgh Fringe?
Why, it's Jerry Springer: The Opera. The show's a hit, with
a bright future in front of it. "I love its violent marriage
of high and low culture. To hear the kind of vulgar chaos of Jerry
Springer submitted to the disciplines of classical opera results
in more than the sum of those two halves." The
Telegraph (UK) 08/07/02
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5. PEOPLE
http://www.artsjournal.com/Arts%20beat.htm#people
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WHY
I GIVE: Arts patron Alberto Vilar's fortune has dipped from
$5.5 billion to $1.6 billion. But he's still giving money for the
arts, and he's annoyed at reports he meddles with the productions
he finances. "Let me tell you the way this works. You come to
me, the head of the Met, the Kirov, and you say, we're going to do
War and Peace and Joe is going to direct it and Joe is
going to be the conductor and here are the singers. We have a
gentleman's code; I simply say pass or fail, yes or no. If you
call that meddling, I'll be happy to be called a meddler any
day." Denver Post 08/04/02
CENSOR'S
SENTENCE: "One of Turkey's most famous film actresses,
Lale Mansur, could face a 15-year prison sentence because of her
outspoken views on the country's censorship laws. Mansur, who was
Istanbul State Opera's longest-serving prima ballerina before
taking up acting, has already received a suspended five-year
sentence under Turkey's anti-terrorism laws. She now faces new
trials, along with several other artists, relating to the
publication of books by banned authors." BBC
08/07/02
SCHAMA
SIGNS RECORD DEAL: Simon Schama has signed a £3 million
book/TV deal for a series focusing on Anglo-American relations.
"The book deal from HarperCollins for the non-UK rights to Mr
Schama's books is worth £2 million, thought to be the single
biggest advance ever paid for history titles. The BBC, which is
paying the remaining £1 million for the British rights to the
books and to the two television series, said it thought Prof
Schama was worth 'every penny'." The
Telegraph (UK) 08/04/02
PREVIN/MUTTER:
Conductor Andre Previn and violinist Anne-Sophie Mutter have
married; it's Previn's fifth marriage, Mutter's second. "The
couple, despite their differences in age - he is 72 and she is 39
- have become inseparable over recent months after her performance
in Boston of The Previn Violin Concerto, which he composed for
her." The Telegraph (UK) 08/06/02
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6.
PUBLISHING
http://www.artsjournal.com/Arts%20beat.htm#publishing
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WHAT
BECOMES A BESTSELLER? "As books editor, I have pondered
this question more than once. Sure, great content helps. But let's
not be naive: Just as in dating, many other factors come into
play. I have learned my lesson yet again: When it comes to books,
the hype machine is an unreliable matchmaker, ruled as often by
press and publishing self-interest as by literary ideals." Rocky
Mountain News 08/04/02
BOOKS
FOR PEOPLE WHO DON'T READ: "They sell to people working
at 30,000 offices, factories and schools, and 2 million more by
mail order and the internet. They sell 14 million books a year,
and each year they throw extraordinary parties with fairground
rides and marching bands to celebrate their success. Peculiarly,
unless The Book People send you their catalogues or visit your
workplace every few weeks, you may never have heard of them."
The Observer (UK) 08/04/02
RISE
OF THE DEAL-MAKER: The literary agent is fast dying out. He's
being replaced by the multimedia packager, the deal-maker capable
of putting together a deal for TV, movies, newspapers and brand
marketing. What's that doing to the author of work that doesn't
fit into easily-recognizeable categories? London
Evening Standard 08/05/02
THE
SHAKESPEARE FRANCHISE: "The
'did-Shakespeare-really-write-Shakespeare' debate has raged for
200 years." A new Australian documentary takes up the case
and concludes that Shakespeare had some help - "that
Shakespeare collaborated with Marlowe to produce the works; that
Marlowe provided the great themes and learning, while Shakespeare
was the voice of 'the heart and soul of merry England'." The
Age (Melbourne) 08/06/02
MOVING
BOOKS ONLINE: Struggling used-book sellers in Australia are
closing up their storefronts. But they're not going out of
business - they're moving online, where the business seems brisker
(and cheaper to run). "The success of online selling may soon
see the second-hand book lover struggling to locate a suburban
seller." Sydney Morning Herald
08/09/02
SPEAKING
OF BOOKS: Writers who can talk find there's an increasingly
eager audience for what they have to say (as opposed to what they
write?). "The fee scale for writers in this country ranges
from two thousand dollars for a well-respected poet to over a
hundred thousand for a high-profile, celebrity writer." Poets
& Writers 08/02
BESTSELLING
WHAT? Every writer, publisher, agent - anyone, in fact, who's
involved in the publication of books - pays attention to
Bestseller lists. They pay attention even though everyone knows
their accuracy is questionable. Some high-selling books never make
it to the list, while other, lower-volume books manage to squeak
on. And then there's the whole business of in-store placement and
promotion... The Globe & Mail
(Canada) 08/06/02
CANCON
MISUSED? Indigo Books, Canada's largest bookseller, is suing
to prevent Amazon from making inroads into the country, and some
critics aren't happy. "Canada has rules protecting cultural
industries in Canada. Those rules limit, among other things,
foreign ownership of bookstores and publishers. The idea is to
create a balance between nurturing indigenous cultural products
and fostering competition that favours consumers. Too often, in my
view, consumers are shortchanged in this equation. I'm all for
government-sponsored encouragement for the writing and publishing
of Canadian books. But why... are we protecting booksellers from
foreign competition?" The Globe
& Mail (Toronto) 08/07/02
BATTLING
SUPERHEROES: Selling comic books is not like selling books. In
book sales, if you order too many copies, you get to return the
unsold volumes. But comic book sellers have to guess how many
copies will sell, and eat the ones that don't Now a small Bay Area
comic book seller is suing giant Marvel Comics (home of Spiderman)
over sloppy returns policies. Sure Brian Hibbs is only out $2000,
but when he certified a class action, the amount soared to
millions... SFWeekly 08/08/02
A
MATTER OF BIAS: Do different standards apply when reviewing
books by African-Americans? Critic Wanda Coleman believes so.
"Critically reviewing the creative efforts of present-day
African-American writers, no matter their origin, is a minefield
of a task complicated by the social residuals of slavery and the
shifting currents in American publishing. Into this 21st century,
African-Americans are still denied full and open participation in
the larger culture. Thus, our books remain repositories for the
complaints and resentments harbored against the nation we love, as
well as paeans to the courage, fortitude and sacrifice of peers
and forebears." LAWeekly 08/08/02
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7. THEATRE
http://www.artsjournal.com/Arts%20beat.htm#theatre
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DARK
ON 9/11: More than a dozen Broadway shows, including The
Phantom of the Opera, Chicago, Les Miserables, Cabaret and Mamma
Mia! have decided not to perform on September 11 this year.
"I don't think we could face performing that day when you
remember back to what occurred last year. It's just too difficult
and too emotional." Nando Times
(AP) 08/07/02
ART
OR MONEY (CAN IT BE BOTH?): Playwrights have a pet saying that
in theatre you can make a killing but you can't make a living.
When the gravy train is a-chuffing, incomes can be awesomely good.
David Hare, Tom Stoppard, Alan Ayckbourn - they're all loaded. But
the reality for most writers is very different. Say you had two
plays on in one year at two of the big subsidised theatres like
the Royal Court and the Royal Exchange, you might get £20,000 in
total. That's hard enough to do in one year, let alone every
year." The Telegraph (UK)
08/10/02
DEATH
OF TRYOUTS: New York theatre producers have been fretting
since local press broke an informal agreement not to publish
reviews of Broadway-bound shows opening out of town. Out-of-town
runs were meant as tryouts out of the media glare so they could be
tinkered with before coming to the big time. Now the
"agreement" has been broken, "no more will a show
be able to work out its problems away from the scrutiny of the New
York press. But press coverage isn't really the problem. Tryouts
don't work anymore because the shows don't really get fixed. They
get edited, polished and streamlined - but not fixed." New
York Post 08/09/02
UNRATED
AT YOUR OWN RISK: With some of the Edinburgh Fringe Festival's
shows deliberately setting out to embarrass, offend or gross out
their audiences, there's a renewed call for some sort of
film-style ratings system. But organizers rule it out, saying that
it would be "impossible for a group of censors to see every
one of the 1,500 shows or provide a consistent film-style
classification." The Telegraph
(UK) 08/07/02
THEATRE
CREEDE: In 1967 a bunch of college students from the
University of Kansas were lured to the small Colorado town of
Creede (pop. 600) to start a theatre company in an old movie
theatre. "What happened the next 37 years is a story
sociologists and economists could study for years: How a ragtag
group of young artists came into a harsh, dying town and not only
found a way to mesh with its isolated community but has been twice
credited - by some only begrudgingly - with saving it." Denver
Post 08/06/02
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8.
VISUAL ARTS
http://www.artsjournal.com/Arts%20beat.htm#visualarts
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
IF
YOU MAKE IT FREE, THEY WILL COME: Since British museums did
away with admission fees last winter, average attendance is up by
2.7 million - or 62%. Free admission has particularly helped the
once-ailing Victoria and Albert Museum which has seen a 157
percent increase in visitors. Some institutions, like the
British Museum have failed to make up the income they have lost,
and are struggling. The Guardian (UK)
08/09/02
TAKE
A LONGER LOOK: New Republic art critic Jed Perl worries that
people are forgetting how to look at art. "People seem to
have an idea that to look at art in a sophisticated and up-to-date
way means not looking at it very long or very hard. What people
are no longer prepared for is seeing an experience that takes
place in time. They have ceased to believe that a painting or a
sculpture is a structure with meaning that unfolds as we look….
The essential aspect of all the art I admire the most, both old
and new, is that it makes me want to keep looking." Spiked-online
08/07/02
HOLDING
TO ACCOUNT: Greece is demanding an explanation from the
British Museum for how a 2,500-year-old Greek statue was stolen
from the museum last week. "Given the historic and cultural
interest Greece has in all Greek antiquities, wherever they may
be, we would like an explanation." The
Guardian (UK) 08/06/02
WHY
I LEFT THE ROYAL ONTARIO: When Lindsay Sharp became director
of the Royal Ontario Museum in 1996, he brought with him the
promise of a little flash and excitement. But he resigned before
the end of his contract, a controversial figure who upset many of
the museum's supporters. "I did what I was expected to do.
But I couldn't stay there. The politics were too difficult. There
was a struggle, in my view, between the forces of open-mindedness
and creativity, and the other side was selfishness and
conservatism of the wrong sort. I was determined that we make a
fair amount of organizational change, but I didn't manage to do
all of the cultural change." The
Globe & Mail (Canada) 08/03/02
TOKYO'S
NEW SKYLINE: "As any visitor to Japan today can testify,
Tokyo in particular, has metamorphosed over the past 20 years into
one of the most stunning, often bizarre, skylines in the world.
Tension still exists, in the sense that its architecture is an
ephemeral commodity. After early mistakes, Japan's contemporary
architecture is the undisputed leader in the aesthetics of style,
and an internationally touring photographic exhibition proves how
far ahead of the game is the land of Zen." New
Zealand Herald 08/05/02
RIGHT
TO MOVE: The Dallas Museum of Art is moving a giant Claes
Oldenburg/Coosje van Bruggen sculpture which has towered through
the museum's largest gallery since the museum was built in 1984.
The museum wants to use the space for other artwork, but the
artists, who believed that the site-specific work was permanently
located, are unhappy. Dallas Morning
News 08/06/02
RUBENS
RECOVERED: Irish police have recovered a Rubens painting 16
years after it was stolen by Dublin mobster Martin Cahill.
"Cahill and his 13-strong gang made international headlines
in 1986 when they snatched 18 paintings, worth a total of £24
million in a daring raid." The
Guardian (UK) 08/07/02
BUILDINGS
AS INSPIRATION: Does a university owe its community good
architecture? MIT president Chuck Vest thinks so. The university
has embarked on a major building program. ''I believe that the
buildings at this extraordinary university should be as diverse,
forward thinking, and audacious as the community they serve. They
should stand as a metaphor for the ingenuity at work inside
them.'' Boston Globe 08/11/02
BUILT-IN
CONFLICT? Does architecture play a role in shaping political
conflict? Israeli architects are debating the issue. "Some
argue that by designing and constructing Israeli settlements in
the occupied territories, the architectural profession has,
perhaps unwittingly, contributed to escalation of the
Israeli-Palestinian conflict. Others respond that architecture is
neither political nor ideological and, as such, has nothing to
answer for." The New York Times
08/10/02
TAKING
ON THE DOWAGER: Neil McGregor, the British Museum' new
director has a big job ahead. The museum is "all but broke.
With a projected budget deficit of more than £6 million it faces
drastic cutbacks: 150 staff members have been told they must lose
their jobs. A third of the galleries may have to be closed at any
one time. How can this Bloomsbury dowager, beset by declining
visitor numbers, compete with its debutante granddaughter, Tate
Modern, which, on the very day that MacGregor took up his new
position, was welcoming its ten-millionth visitor?" The
Times 08/07/02
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9.
ISSUES
http://www.artsjournal.com/Arts%20beat.htm#issues
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ART
OF BUSINESS: "We like to believe that the best and most
interesting artists, even popular artists, make the stories and
pictures and music they do because they need to make them, not
just because they think they can earn a buck." And yet, art
is big business, and it is naive to believe that business doesn't
dictate much of what an artist does... Public
Arts (WCPN) 08/06/02
THE
NEW ART? "The terrorist attacks of 9/11 have brought upon
us all a realization that conceptual art, incomprehensible 'l.a.n.g.u.a.g.e
p.o.e.t.r.y', avant-garde performance art, plotless fiction,
tuneless music, and inhuman postmodern architecture are not going
to be able to deal with the real evil of the world. Only in the
great artistic traditions of humankind will we find adequate means
of expression. The new movement in the arts, as if it anticipated
the need for them, has been busy recovering those traditions. Who
are the new classicists?" NewKlassical
08/06/02
MAKING
A SCENE: "People in the arts business are forever talking
about 'scenes,' as in fashion scene, jazz scene, or gay scene. But
it took a sociologist, York University's Alan Blum, to stop and
meditate about what a 'scene' really is. As part of the
university's five-year study of urban culture, Culture of Cities,
Blum analyzed the idea of a scene in Public magazine last year. It
was a revelation for me, once I learned to enjoy the rich,
corrugated phrase-making of academic sociology. You know you're
far down this road when locutions like 'the libidinal circuits of
intoxicated sociality' begin to have the sea-green rhythm of
poetry." The Globe & Mail
(Toronto) 08/07/02
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10. FOR FUN
http://www.artsjournal.com/Arts%20beat.htm#forfun
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BEHEADING
THE CRITIC? St. Paul Pioneer-Press theatre critic Dominic
Papatola, on reviewing a play called Bring Me the Head of Dominic
Papatola at the Minnesota Fringe Festival: "Reviewing this
show was an unusual experience for me, and having me review it was
probably an unusual experience for those in the cast. I'm
accustomed to sitting quietly in my aisle seat, spewing my poison
in relative anonymity. They're used to hurling invectives at
critics in muttered, half-drunken tones in the corner booth at
Leaning Tower of Pizza. While I guess I wouldn't have expected the
talkback to take the form of a play that advocates my grisly
murder, the mere fact that theater people would even try to pull a
stunt like this proves that either (a) they're a lot braver than
one would expect or that (b) I've somehow created the impression
that I can take it as well as I can dish it out." St.
Paul Pioneer-Press 08/09/02
REM
VS. CHARLES: When Harvard University hired renowned architect
Rem Koolhaas to design an architectural vision for its newly
expanded campus, they expected to be blown away. True, it's quite
a challenge to create a cohesive campus when the Charles River
runs through the middle of it, but everyone agreed that the
eccentric and brilliant urban planner was up to the challenge. And
he was: after much thought, Koolhaas announced the centerpiece of
his proposal to bring all of fair Harvard together - the river is
just going to have to be moved. Boston
Globe 08/08/02
COLOUR
FIELD: So you think calling red, red or green green is
sufficient? Thou cretin! You're probably the kind of person who'd
be surprised to learn there's a whole field of study in the art of
identifying colors. "It is, for me, one of the great
pleasures of taking notes at warp factor 10 during fast-moving
fashion shows to get down the particular shade of the
bugle-beaded, dolman-sleeved, wool-crepe jumpsuit that is
sashaying by. To nail the subtle differences between, say,
'tobacco' and 'snuff', or 'beige' and 'camel' is deeply
satisfying." Sydney Morning
Herald 08/05/02
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