Week
of September 3-8, 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
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
POISONED
HERITAGE: "As late as the 1960s, it was common practice
for museums and collectors to preserve artifacts - and to ward off
bugs and rodents - by applying a variety of toxic pesticides,
including mercury, arsenic, and the now-banned DDT. In the wake of
a federal repatriation law passed in the early 1990s, Native
Americans have realized what was previously known only to museum
workers: Virtually every organic artifact collected before the
second half of the 20th century has been contaminated. Because the
problem is so new, no data exist on the correlation between
contaminated artifacts and health defects, especially among the
little-studied Native American population." SF
Weekly 09/05/02
IRRATIONAL
RATINGS: The rating of films in America is a murky business.
There's no absolute standard, and independent filmmakers complain
that the ratings board deals with their films more restrictively -
especially movies with sex in them. "The rating system was
started to fend off church-related organizations from rating films
themselves, which often led to community bans. But the ratings
board has become the worst kind of censor itself, exercising its
own subjective, often maddeningly capricious opinions. This is
especially true of the board's decisions involving sexual
content." Los Angeles Times
09/03/02
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2. DANCE
http://www.artsjournal.com/Arts%20beat.htm#dance
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GRAHAM
COMPANY IS BACK: The Martha Graham Company is preparing to
dance again. "The prospect of performing again came with a
victory on Aug. 23 in the long and bitter legal struggle over the
rights to the name and work of Martha Graham. As soon as the
federal district court decision was announced, calls and e-mails
went out to the Graham dancers, who had been laid off when the
center suspended operations for financial reasons in May 2000.
Understandably, they were overjoyed." The
New York Times 09/02/02
THE
KIROV'S BACK: "Perhaps no ballet company in the world is
more daunting to write about than the Kirov. The company has a
deep and detailed past which is the stuff of scholars, and a
performance history that is hard to know given restrictions during
the Cold War." Yet the book on the company in recent years is
that it lost a step or two. The cliche goes something like:
"if the Kirov watches us enough they’ll learn how to dance.
Actually, maybe it’s time for us to watch them." New
Criterion 09/02
SAVING
DANCE: Dance is an ephemeral artform. After it is performed,
it is often lost, usually recreated from the memories of those who
were taught it. A video archive project attempts to record the
teaching of important roles. "During a taping session, which
lasts from one to three days, the teacher coaches young dancers
through the principal roles - not the entire ballet - in an
informal studio setting; the teacher also takes time for
interviews and commentary with a selected dance scholar or critic.
The tapes are edited into a final version that is usually about an
hour in length. Copies are kept at selected libraries around the
world, where they are available for on-site viewing." Fort
Worth Star-Telegram 09/01/02
WHY
MERCE DOESN'T WATCH DANCE: Merce Cunningham, "rarely
watches other dance performances. He says it is because he has too
little time, but he also admits, as politely as he knows how, that
too much of what he sees is dull. Cunningham, whose company
celebrates its 50th anniversary this season, has dominated modern
dance for so long that he has acquired the status of guru, wise
man, even saint. Changing fashions, artistic burnout and
underfunding limit most choreographers' careers to a decade or so;
yet Merce has survived to become a still point." The
Guardian (UK) 09/05/02
DANCE
MEETS THE TECHNOGEEKS: "With the formal opening on Oct. 2
of the new Dance Theater Workshop in Chelsea, New York dance
officially enters the cyber universe. The new D.T.W. is the most
technologically sophisticated dance theater space in the nation
and perhaps the world, judging by anecdotal evidence from touring
dance companies... Every room in the complex is wired for video
and computers. Even more impressive is the in-house Artist
Resource and Media Laboratory, which will provide arts technicians
and dance artists with extensive access to video-editing, digital
video creation, graphics layout and digital performance
playback." The
New York Times 09/08/02
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3. MEDIA
http://www.artsjournal.com/Arts%20beat.htm#media
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FEST
EXPERIENCE: There are now more than 1000 film festivals a year
- every day of every week somewhere a festival is playing. And
they have changed how movies are marketed and what we see.
"Different constituencies like film festivals for different
reasons. Cities like them because they are useful for tourism and
promotion. Audiences like them because they are exposed to films
they might not otherwise see. Filmmakers like them because they
can debut their films before enthusiastic audiences and at the
bigger festivals they can get a lot of publicity at one event,
getting the most bang for their promotional buck." National
Post (Canada) 09/06/02
BLOCKBUST
AT YOUR PERIL: This was a blockbuster summer for Hollywood,
with numerous films making hundreds of millions of dollars each.
But the costs of making these blockbusters has soared too, with
big-name stars making tens of millions for their parts. And then
there are those costly flops...Little wonder studio execs are
looking hard at surprise boutique hits like My Greek Wedding,
which cost $5 million to make, but has brought in $100 million so
far. The New York Times 09/01/02
TECH
COMPANIES RACE FOR PROTECTION: "Studios and record labels
want their products protected from the widespread thievery
popularized by services such as Napster. Spurred by the threat of
federal legislation, technology companies such as Microsoft Corp.
and RealNetworks Inc. are scrambling to prove that their systems
do more than the other fellow's to keep content under lock and
key. Microsoft has been particularly aggressive, launching a
number of efforts to satisfy entertainment moguls' hunger for
security in a digital age when content can be perfectly reproduced
millions of times." Los Angeles
Times 09/03/02
DESOLATION
AND RENEWAL IN VENICE: In an age when film festivals
increasingly reflect nothing more than the desire of filmmakers to
become famous and make money, the Venice Film Festival is a
refreshing slice of reality, says one critic. Well, maybe
refreshing isn't the word - after all, reality is not terribly
upbeat these days, and much of this year's festival is reflective
of an uncertain and sometimes frightening world outlook. But the
art is genuine, and the entries as eclectic as any film fan could
wish for. And you know the festival can't be taking itself too
seriously, since the president of the judging panel speaks only
Mandarin, a language in which not one of the entered films is
subtitled. Chicago Tribune 09/07/02
- EH,
IT'S NOT WHAT IT USED TO BE: If Venice really wants to be
taken seriously as a premiere film festival, it needs to stick
to what it does best, and quit trying to be Cannes or Berlin,
says Frank Bruni. This year's red-carpet fixation reflects
"the overarching, unofficial themes of the festival's
59th incarnation: relentless self-examination, aggressive
overhaul and an emphatic quest for renewed glory at a time
when competitors have stolen much of its luster. Over the last
few decades, Venice has gone from the grande dame of film
festivals to the somewhat neglected spinster, and the first
person to say so is...its new director." The
New York Times 09/07/02
BUZZ
SAW: Film festivals exist for the purpose of finding
undiscovered gems, which can be "catapulted onto a higher
plane of existence by a combination of word-of-mouth, lavish press
and the embossed chequebooks of major-league film distributors.
That's what makes buzz. But here's a word of advice that may not
be appreciated by some of the more excitable elements of the
entertainment press: Don't believe the hype. As a breed, film
festivals don't have a great track record of predicting movies
that will catch on with the public." The
Globe & Mail (Canada) 09/03/02
HOLLYWOOD'S
RECORD SUMMER: The numbers are in for the summer movie season.
"By Labor Day, domestic ticket sales will have totaled about
$3.15 billion since Memorial Day weekend, surpassing the record of
$3.06 billion set last summer. Factoring in higher ticket prices,
movie admissions this summer likely will come in slightly lower
than last year's 542 million and well below the modern record of
589 million set in 1999." Hartford
Courant (AP) 09/02/02
IMPERFECT
MEASURE: Traditional survey measurements of what people listen
to on the radio are generally inaccurate. But with so much money
riding on the ratings, several companies are developing better
ways of recording what we're listening to. Sydney
Morning Herald 09/03/02
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4.
MUSIC
http://www.artsjournal.com/Arts%20beat.htm#music
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WE'RE
NUMBER ONE! OR TWO! WE THINK!: "Ranking orchestras by
quality is hard -- and subjective. Doesn't every city think its
orchestra is great? Orchestras wouldn't have been formed without a
strong element of civic pride. And yet orchestras are ranked all
the time -- by managers, by critics, by musicians, by conductors,
by soloists... If there's a vague consensus about what orchestras
are on the list, what are the criteria? Recordings? Repertoire?
Tours? Reviews? Budgets? Technical accomplishment? The glamour and
talent of the music director? Orchestra managers and officials
suggest that it's a complicated question and that ranking
basketball teams is much easier." The
Star Tribune (Minneapolis) 09/08/02
A
BUYER'S MARKET, IF YOU CAN FIND IT: Despite the troubles
sweeping the recording industry, there are more recordings of
great classical music available today than at any time in history.
Still, where does the serious collector go to find that obscure
recording or digital reissue? "The future, everyone says,
lies on the Internet, but there are still a lot of problems there.
One of the basic issues is the difficulty of building a database
for classical music that is consistent enough for the search
engines to deal with. (How do you spell 'Petrouchka'?). And
of course, the Internet is not the easiest place for you to find
something you just have to have if you don't already know that it
exists. There isn't a catalog that can keep up with what is
theoretically or actually available. No publication like the
Schwann Catalog of the LP era can claim to be 'the collectors'
Bible' anymore." Boston Globe
09/08/02
MUSIC
FOR AN AMERICAN TRAGEDY: With the first anniversary of 9/11
coming up on Wednesday, arts groups the world over are preparing
to commemorate the attacks with concerts of all kinds. The
"Rolling Requiem," a worldwide performance of Mozart's
last work spanning 21 time zones and including 170 choirs, will
run throughout the day. In Texas, the Houston Symphony will play a
free concert celebrating American music. In Minneapolis, Renee
Fleming will offer Strauss's haunting Four Last Songs with
the Minnesota Orchestra. And in New York, the Philharmonic will
debut John Adams's On the Transmigration of Souls, written
for the occasion. And that's only the beginning... Andante
09/08/02
A
LECTURE FOR CRITICS: Composer John Corigliano has a rigorous
definition of job standards for music critics, and tells critic
Justin Davidson so: "Am I saying that critics need to be
trained musicians, thorough scholars, and snappy writers — all
on a freelancer's meager salary? Yes. 'What professional standards
should critics be held to?' You need to be able to read like a
conductor, research like an historian, judge like a parent and
write like a playwright. 'How should critics reconcile the demands
of accuracy with the realities of the deadline and the music
business?' Take this question to your editors, Justin. Critics
must improve the business of criticism: composers cannot. It's
tough out there, from what I hear. But it's tough for composers,
too. Sorry." Andante 09/05/02
CLASSIC
FM BRANCHING OUT: While much of the classical music industry
struggles, Britain's ClassicFM is thriving, and expanding. The
company operates an all-classical radio network with 6.7 million
listeners per week, a magazine with strong circulation, and a
successful record label. So what's the next logical step?
Television, of course. Classic FM says it will launch an
over-the-air TV channel next year, and is confident that it can
make money on the project. The Times
(UK) 09/04/02
88
KEYS AND NOTHING TO SAY: Critic Martin Kettle is bored.
"If there were a softer and gentler way of saying this, then
I would say it. But in my view, modern concert pianists have
become boring. Very few of them have anything very interesting to
say, at least to me. To make such statements is to invite some
heartfelt attacks. Some will say that it isn't the pianists who
are boring, but I who am bored with the piano. Perhaps that is the
case. But then I only have to put on a CD by Schnabel to know that
I'll never be bored by him, at any rate." The
Guardian (UK) 09/05/02
THEY'RE
SO MUCH BETTER ON THE WALL: A Stradivarius violin will be
auctioned at Christie's this week. This in itself is not terribly
unusual - although there are only 500 or so Strads known to exist,
they pop up at auction with some frequency - but this instrument
is a perfect example not only of the absurdly high cost of the
world's top violins (it is expected to fetch $1.3 million,) but of
the central conflict between collectors and performers.
Incredibly, in 275 years, the fiddle has never been owned by a
professional musician, and never been played in a concert. BBC
09/05/02
STATISTICS,
DAMN STATISTICS AND LIES: A new batch of polls and surveys
arrives to depress the classical music faithful. Classical is a
dying art, the evidence says. But is it really dying? There's
plenty of evidence to the contrary, and besides, don't surveys
prove the theories going into them? The
Telegraph (UK) 09/04/02
THE
MUSIC EFFECT: "Science may not have yet figured out
exactly how, or why, human beings respond to music. But research
across many disciplines shows that music is a powerful stimulator,
shaper and maybe even sharpener of memory." Hartford
Courant 09/04/02
BETTER
LATE THAN NEVER: That CD you paid $18 for at a big national
retailer cost the record company around thirty cents to produce,
and these days, most consumers are aware of that, and are fairly
unhappy about it. The industry has been accused for years of
keeping CD prices artificially and indefensibly high, but now, the
prices are coming down for the first time as individual labels try
to dig out from under abysmal sales numbers and declining interest
in their product. CDs by major artists are now selling like
hotcakes at $11 to $13, and the industry may be on the verge of
discovering a fascinating marketing concept called supply and
demand. Chicago Tribune 09/05/02
SOVIET
TREASURE: For years the heart of the Soviet Ministry of Radio
and Television archives - recordings of some of the USSR's most
important artists - have been stored away and inaccessible.
"Now, after years of legal and technical wrangling, the
performances recorded over nearly seven decades are being
released. They number more than 400,000 - enough to fill 12,000
compact discs." The Plain Dealer
(AP) (Cleveland) 09/02/02
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5. PEOPLE
http://www.artsjournal.com/Arts%20beat.htm#people
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GREAT
VIBES: "Lionel Hampton was a defining voice for a
generation of musicians who understood that it was possible to
entertain without sacrificing one's quest for inventiveness. And
he did so with consummate skill." Los
Angeles Times 09/02/02
VLADO
PERLEMUTER, 98: The French pianist studied with Moszkowski and
Cortot, gave his first piano recital in 1919 and studied Ravel
with the composer himself. "His classes became legendary. His
teaching embodied the great qualities of his own playing - an
impassioned care for detail and also an architectural vision of
each piece as a whole." The
Guardian (UK) 09/06/02
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6.
PUBLISHING
http://www.artsjournal.com/Arts%20beat.htm#publishing
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AFRICA'S
LOST LIBRARIES: "There generally tends to be the view
that Africa is a continent of oral tradition or the continent of
song and dance - that this isn't a continent that has an
intellectual tradition of its own." But there are hundreds of
thousands of 600-year-old manuscripts in troves around the African
city of Timbuktu that prove a rich and long intellectual literate
tradition. "When much of Europe was in its Dark Ages, Africa
was recording its literate history." Few documents have been
translated into Western languages. And many of the crumbling
manuscripts are being lost to the desert. Chronicle
of Higher Education 09/02/02
WHERE'S
HARRY? The fifth installment of the Harry Potter stories was
due out by now. But there's no sign of it, and book-sellers, in
need of a bestseller pick-me-up are wondering where it is.
"At first we were told she [author J.K. Rowling] hadn't
turned the manuscript in yet. Then they kind of dropped that
story. Now they just give you more delays. The fans are anxious
for it, I can tell you that. And it's funny, it's the parents who
are asking more than the kids." Atlanta
Journal-Constitution 09/05/02
DARING
TO DIS MAYA: Wanda Coleman's scathing review of Maya Angelou's
recent book is notable for the controversy it has stirred up.
"The book has gotten some other poor reviews, but it seems
that Coleman caused trouble by accusing Angelou of hustling the
public, selling a skimpy book in large type and large hype at a
high price, containing rehashed material and what may be
exaggerated claims for a high-minded, race-conscious past. A book
review that wouldn't begin to damage the reputation, book sales,
or livelihood of the country's most popular and successful living
poet became a subject of controversy as much for its rarity as for
its rudeness." Village Voice
09/04/02
ARE
SOME SUBJECTS TABOO? France's literary world is in turmoil
over the publishing of two books whose "heroes are an
obsessive paedophile and a perverted serial killer with a
preference for very young girls, including his two-year-old
daughter. Publishers and a number of authors are defending the
works on the grounds that violence, whether sexual or not, is an
intrinsic part of contemporary society and writers are only doing
their job by addressing the subject." The
Observer (UK) 09/01/02
TRUTH
IN FICTION: After ten books about the music business, critic
Norman Lebrecht was looking for fresh game - so he crossed over to
fiction and finds, on the eve of the publication of his first
novel, a whole new world he'd never dreamed about. "I thank
my lucky stars that I have switched from digging facts to telling
tales. The creative rewards are richer and the fictions I invent
can, I think, reveal deeper human truths." London
Evening Standard 09/02/02
THE
STORY OF... The world will always need a good story. Fiction
plays with reality and time to help us learn about ourselves.
"Rumours that fiction is dead have been around for so long
now that we have good reason to be sceptical of their accuracy.
The latest to spread them are the critical theorists, but their
arguments are based on ways of reading so much less responsive and
psychologically complex than those of the ordinary reader (they
have no capacity for the sort of naivete that fiction demands) as
to need no answering." The Age
(Melbourne) 08/31/02
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7. THEATRE
http://www.artsjournal.com/Arts%20beat.htm#theatre
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THE
SMALL-THEATRE STRUGGLE: Los Angeles is home to formidable
dramatic talent in all forms. But the city's playwrights generally
have a hard time of it. One champion of the playwright is Jon
Lawrence Rivera. "For a decade, Rivera's Playwrights' Arena
has developed and produced nothing but new plays by Los Angeles
County writers - 29 such shows by 17 writers or writing
teams." But the enterprise has always been a precarious
enterprise, one that these days, looks close to failing... Los
Angeles Times 09/03/02
CROSS-POND
GROUCHINESS: London's West End has been in a bit of a snit
lately over the influx of big-name American actors showing up in
leading roles. Clive Barnes doesn't see what the big deal is:
"Perhaps Britain has some lurking idea that its function is
to play Greece to America's Rome, and that a tacit superiority in
the arts is part of history's deal. Whatever the reason, such a
fuss seems odd after years of New York applauding such British
stars as Alan Bates, David Warner, Alan Rickman, Lindsay Duncan,
Emma Fielding and Henry Goodman - just some of our visitors last
season." New York Post 09/08/02
STRETCHING
THE FORM: "If there is anything new on the Broadway
horizon this fall, it is the prospect of two artists from outside
the theater, the choreographer Twyla Tharp and the filmmaker Baz
Luhrmann, bringing their creative energy to the stage and
expanding the definition of what constitutes a Broadway
musical." Only in New York could two such luminaries be
considered outsiders, but in the traditionally closed circle of
Broadway, they qualify as virtual gate-crashers, and many devotees
of that increasingly antiquated art form, the Broadway musical,
are holding out hope that Tharp and Luhrmann will live up to the
hype, and reinvigorate an industry which has been living off its
own past for the better part of a decade. The
New York Times 09/08/02
SUBJECTS
FROM WHICH TO STAY AWAY: "Our playwrights, from time to
time, may shock us, but where are the plays that will challenge
us? When playwrights deal with serious themes, they do so in a
manner that allows us to distance ourselves from the social evils
they portray, committed by characters who are mentally ill or not
our class, dear. When those who govern us make a rare appearance
on stage, it is as implicitly harmless figures of fun. One would
think, from British plays, that their authors read only those
pages in the newspaper that cover celebrities and crime, and only
as many books as would fit in a suitcase." The
Independent (UK) 09/05/02
WHEN
BIG ISN'T NECESSARILY BETTER: Perhaps it's inevitable - the
Edinburgh Fringe has grown so big and become so successful, more
rules and regimentation are required. Also more corporate
sponsorships and higher ticket prices. But perhaps all this
success kills off some of the celebrated Fringe spirit - the
rough, spontaneous acts of performance which invigorate those who
encounter it. The Scotsman 09/05/02
THEATRE
AS TONIC (OR PALLIATIVE): "The theater's role as a social
mirror in London can seem surreal to an American visitor, as daily
headlines and onstage plot lines converge. At the moment the
London theater, which has an intimate relationship with its public
that New Yorkers haven't known in years," is providing a
myriad of ways to deal with the stress of an uncertain world. The
New York Times 09/04/02
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8.
VISUAL ARTS
http://www.artsjournal.com/Arts%20beat.htm#visualarts
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MUSEUM
ACCESS DENIED: Many museums are restricting access to parts of
their collections deemed "inappropriate" for public
scrutiny. "What’s significant and alarming about this story
is not just that researchers and the rest of us may be denied a
chance to study objects and their cultural importance. A situation
where museum curators are no longer obliged to defer to the idea
of research being integral to their employment by the museum is
deeply disturbing. Instead they seem to be playing the role of
high priests, hiding the ancient saint’s finger as a relic in
the basement, only to be seen by the privileged few chosen by
birth or background." The
Spectator 09/07/02
LET'S
GET SOME ROYALTY ACTION: The real money in art is made in the
resale market after the artist is established. Collectors get rich
if they pick the right artist to collect. But visual artists in
the United States do not earn royalties on their work after it is
first sold, meaning their capacity to earn goes to the grave with
them. Australian artists - painters, sculptors, photographers and
the like - are in exactly the same boat and right now are locked
in a tussle with gallery owners and the Federal Government to grab
a piece of that rock-star-earning action." Sydney
Morning Herald 09/06/02
ROLE
REVERSAL: Being a critic is significantly easier than being a
creator, and most critics would tell you as much. But being a
critic-turned-creator may be harder still, as the world lines up
to see if you can take the heat you're used to dishing out. Such
is the lot of Deyan Sudjic, the architecture critic tapped to head
up this year's Venice Biennale. The government is against him, his
plans are thwarted at every turn, and he speaks very little
Italian. Somehow, it all comes together. Or so he hopes. The
Observer (UK) 09/08/02
FREE
SPEECH ONLY IF I AGREE: In the Texas town of Marfa, an
Icelandic artist puts up a show that names Israel, the UK and the
US as the real "axis of evil." Marfans object: " 'I
guess `upset' would be a mild way of putting it,' said Mayor Oscar
Martinez, describing callers who complained. Of the exhibit, Mayor
Martinez said, 'We see better graffiti on the railroad freight
trains as they go by'." So the artist changed the exhibit to
name North Korea, Iraq and Iran. The locals are indifferent. The
artist said he had hoped to stimulate discussion. "I think
quite many Americans don't have interest in free speech. The
majority, I don't know. My experience was, quite many people would
be happy to give that one away." The
New York Times 09/04/02
THE
BATTERED BARNES: The Barnes Collection outside Philadelphia is
one of the world's great collections of Impressionist art.
"The Musee d'Orsay in Paris owns 94 works by Renoir. The
Barnes has 181. The Museum of Modern Art in New York has 39 by
Cezanne. The Barnes owns 69." But the Barnes is surely one of
the most troubled of art institutions - trapped by the will of an
eccentric founder and the wrath of angry neighbors. Can anything
be done? Los Angeles Times 09/03/02
THE
DEPRESSING HOMEFRONT: So what if we create civic buildings of
aesthetic quality? People can come and visit them. But then they
go home to wretched mass-produced, unsustainable, depressing
houses in suburbs. Could this be what people want? "But are
these people offered, or have they experienced, anything
different? How are they so sure when there are so many alternative
ways of living? And just who gains from turning lark-sung meadows
into acres of breeze-blocks tricked out in doll's house
detailing?" The Guardian (UK)
09/02/02
HIGH-END
HEIST: "Works by Pablo Picasso, Henri Matisse and Mexican
painter Frida Kahlo have been stolen from a doctor's home in
Texas. The haul, worth more than $700,000, was taken from the San
Antonio house of Dr Richard Garcia while he was asleep upstairs...
The most expensive item taken was a painting by Frida Kahlo,
valued at $500,000. Dr Garcia, who has not publicly identified the
paintings on the advice of his lawyer, said he had not insured the
works because the premiums would be too high." BBC
09/04/02
WORLD'S
LARGEST PAINTING? It's a lifesize painting of a tree.
"The picture of an oak tree is 32ft by 22ft. It is going on
display in the middle of Golden Square in Soho, central London.
Artist Adam Ball used 100 litres of paint and varnish to create
the vast work, entitled The Tree. He got through 35 brushes, as
well as mops, brooms and builders' trowels, to cover the canvas.
It will hang on a 12 metre (40ft) scaffold and be weighed down by
50 tonnes of concrete to prevent it from blowing over." The
Guardian (UK) 09/02/02
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9.
ISSUES
http://www.artsjournal.com/Arts%20beat.htm#issues
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
THE
WORLD'S NEW ART CAPITALS: "Driven out by the high rents
of cities like Paris and London, and aided by technology and the
growing ease of travel, more artists and thinkers are congregating
in smaller, far-flung communities around the world. In recent
years new kinds of creative laboratories have emerged—in small
university towns like Austin, Texas, and Antwerp, Belgium, in the
impoverished neighborhoods of Marseilles, France, and Gateshead,
England." Newsweek 09/02/02
- THE
NEW JET SET: Here's where the really hot art is being made
- in Tijuana. And Austin. And Kabul. The world's eight new
arts Meccas... Newsweek 09/02/02
LANGUAGE
OF ART - NOT BUSINESS: Why must the arts be such a business?
Because we treat them that way? "The language of government
policy towards the arts does not recognise their special nature,
but treats them as if they were no different from any other
economic sector. It is no accident that museums, galleries and
theatres are rolled up by government ministers into the one
economic/industrial category - 'the creative industries'. At a
single stroke, the one word, the single idea that might have given
the arts a distinctive right to exist - 'creativity' - has been
taken away, democratised (or popularised), generalised to the
point of meaninglessness, and awarded to anyone who can string two
words or two lines together." Here's a list of Commandments
to bring art back from the brink of commerce. Spiked
08/29/02
MINORITY
OPINION: Should critics belonging to a minority group be
expected to have a special response or affinity to art from their
"home" culture? "It's an old dilemma: Minority
journalists have long faced pressure to show their loyalty to
their ethnic group more than to their profession." Los
Angeles Times 09/01/02
THE
HEAVY SCOTTISH FOG: This summer's Edinburgh Fringe was a
roaring success. "But art in Edinburgh is a flimsy frock,
shucked off on the first of September for sensible tweeds. There
will be no more frippery for the next 11 months. When the festival
started in 1947, it was hoped that its light would spread around
the year and across the nation - a dream that, for half a century,
edged rosily towards realisation." But in the past five
years, Scottish arts institutions have fallen apart - and there
appears no easy cure. London Evening
Standard 09/04/02
SACRAMENTO
SLASH: "California Arts Council officials say the state's
new budget, sealed Thursday with Gov. Gray Davis' signature, means
their agency's support for artists and arts organizations
statewide will drop roughly 40%--from $28 million last year to
$16.4 million in the 2002-03 fiscal year... However, the state's
spending plan shelters the largest single recipient of California
Arts Council money, the Simon Wiesenthal Center in Los Angeles,
which for the last few years has been getting $2 million in state
money to support its "tools for tolerance" education
program." Los Angeles Times
09/07/02
PROCEEDING
WITH CAUTION: A new performing arts center set to debut in St.
Louis next year is going ahead with plans to open on schedule,
despite increasing evidence that the money to operate the PAC may
not be there. The project, which is on the campus of the
University of Missouri at St. Louis, has been known to be in
trouble for some time, and consultants have determined that the
center will not be able to pay for its own upkeep on a
year-to-year basis. The university is hoping that the state
government will bail it out to the tune of $1 million a year in
operating costs, but there is no indication that the legislature
will cooperate. Saint Louis Post
Dispatch 09/02/02
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10. FOR FUN
http://www.artsjournal.com/Arts%20beat.htm#forfun
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I
WANT TO HEAR LEONARDO'S NINTH: All ye who love music, read the
following at your own peril... A UK magazine survey reports that
"65% of children under 14 cannot name one classical composer.
Only 14% of 600 children nationwide knew Wolfgang Amadeus Mozart
and Ludwig van Beethoven wrote music." Asked to name a
composer, students answered variously with historical figures such
as Leonardo da Vinci and Shakespeare." The
Guardian (UK) 09/02/02
LISTENING
FOR MISTAKES: Programmers are converting raw computer code to
music as a way of helping check the thousands of lines of code in
programs. "Your ears are extremely good at picking up
temporal patterns. Sometimes better than eyes. When different
sections of code are put together, they should form a harmonious
tune. But if a loop, for example, does not execute properly, the
music would not ascend properly and the programmer should hear the
error. Similarly, a duff statement would produce a different chord
that would be immediately apparent." New
Scientist 09/05/02
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