“We’re right to view Copeland’s rise with awe, gratitude, and hope, but it’s also interesting to note that two of the the ceilings she’s breaking (by being a ballerina with breasts and muscles) have only recently been installed. It reminds me how quickly a newly introduced expectation can feel timeless; how strongly it can ossify into something that seems inevitable; how easily we accept that what we see in front of us is universal.”
Pacific Standard Published:05.04.16
“I watched, fascinated, as it got picked up and spread by Huffington Post, BuzzFeed, Perez Hilton: 50 million views, 200 million, 300 million views on each site. Then it started getting posted by less famous sources, and I noticed my name was no longer on it, but advertisements were. I was soon contacted by a licensing company.”
“What had been a well-schooled but bland troupe in its last years under aging founder Mary Day woke up when Webre took over. … The Washington Ballet’s audience grew so much that the company regularly filled the Eisenhower Theater. Webre was developing a vigorous, outgoing style that drew attention from arts enthusiasts of all kinds.” Yet perhaps his greatest legacy, says Sarah Kaufman, got started in a wet basement.
Washington Post Published:05.03.16
The company and the choreographer have “an agreement to add one work each year, as well as performing the four ballets already in the company repertory. The first acquisition is Mr. Forsythe’s full-length Artifact, which will be performed [next winter].”
New York Times Published:05.05.16
“Is there something unethical in contemporary criticism? This essay is not just for those who identify with the canaries in the mine, but for anyone who browses through current journals and is left with an impression of deadness or meanness. I believe that the progressive fervor of the humanities, while it reenergized inquiry in the 1980s and has since inspired countless valid lines of inquiry, masks a second-order complex that is all about the thrill of destruction.”
The Point Published:04.16
Your Grumpy Old Relative Was Right: Creative People Have More Than A Little In Common With Psychopaths
“If you can’t get enough of the myth of the mad genius, you’ll love the results of this new study: … Researchers suggest that creative individuals share more personality traits with psychopaths than their less creative peers do.”
“Gaudí and Mies remind us that there is no disputing matters of taste when it comes to assessing the value of simplicity and complexity in works of art. Einstein and Newton say that science is different – simplicity, in science, is not a matter of taste.”
“You listen to yourself all day long. Why would a recording of your voice make you feel uncomfortable? The unfamiliarity is quite literally all in your head, although you’re not imagining things.”
When Julia Cameron published “The Artist’s Way,” in 1991, she probably could not have foreseen exactly how the very idea of creativity would collide with the marketplace. “Creative” sits right above “innovation” and “disruption” in the glossary of terms that have been co-opted by corporate America and retooled to signify an increasingly nebulous set of qualities.
The New Yorker Published:05.04.16
“The report gives new insight into this group of consistent arts attenders and participants. They are more likely to be women (57%, compared with 47% of other respondents) in the upper socio-economic group (65% compared with 43%) and to be owner-occupiers (73% compared with 57%) who live in less deprived areas (36% compared with 25%). Most of them (86%) engage with the arts three or more times a year.”
Arts Professional Published:04.29.16
“Rejection sure is tough, especially when you’re a white applicant vying for a spot in a museum internship program that’s explicitly open only to minority groups. So tough, in fact, that one Samantha Niemann is now suing the Getty Foundation for racial discrimination after the institution refused to accept her application to its paid Multicultural Undergraduate Internship program.”
“This year’s report provides the fullest picture yet of the impact of the Great Recession on the arts—before, during, and after. Like many sectors of the economy, the arts recovered slowly and unevenly from the recession due to industry contraction and consolidation, the impact of technology, slow rebounds in philanthropy, and tepid consumer spending. While some indicators may be up during a recession, we see that a majority of them we were in decline. The arts were a little slower to fully bounce back than the economy at large.”
Barry's Blog Published:04.30.16
“We need to work to shift this imbalance, and it seems the only way to do this is to be radical, rather than waiting for something to change.”
“Producer Jonah Hirsch and filmmaker Danny Abrahms are creating the new film Anne, which, through virtual reality technology, will recreate history and go back to the early 1940s, giving audiences the feel of being in the secret annex with Frank and the others hiding from Nazi persecution.”
Entertainment Weekly Published:05.03.16
“The 74-page report argues that the impact of selling off Channel 4 would be ‘overwhelmingly negative’ for the UK economy, the broadcasting industry and creative industries.”
The Guardian Published:05.04.16
“The move would give Hulu another leg up in courting cost-conscious consumers and others who live in the 10 million homes in the U.S. without a pay-TV subscription.”
Los Angeles Times Published:05.01.16
“Palabra Libre — translated it means ‘free word’ — began as a way to humanize those in the nation’s penal system and nurture inmates’ life skills. The program is a collaboration between Ecuador’s Ministry of Justice and provincial government of Pichincha to help ‘personas privadas de libertad’ — people deprived of physical liberty — to reintegrate into society by participating in the arts.”
Famed conductor Valery Gergiev led Saint Petersburg’s celebrated Mariinsky orchestra through pieces by Johann Sebastian Bach, Sergei Prokofiev and Rodion Shchedrin in front of a crowd of Russian soldiers, government ministers and journalists.
Yahoo! (AFP) Published:05.05.16
“When we became independent, all we had was people. Today, all we export is music, maybe because it was always the easiest art. You don’t need any material to sing.”
New York Times Published:05.05.16
Cautionary Tale: I’m A Composer And Apple Deleted Music On My Hard Drive When I Signed Up For Apple Music
“When I signed up for Apple Music, iTunes evaluated my massive collection of Mp3s and WAV files, scanned Apple’s database for what it considered matches, then removed the original files from my internal hard drive. REMOVED them. Deleted. If Apple Music saw a file it didn’t recognize—which came up often, since I’m a freelance composer and have many music files that I created myself—it would then download it to Apple’s database, delete it from my hard drive, and serve it back to me when I wanted to listen, just like it would with my other music files it had deleted.”
“Channeling their inner impresarios, critics and reporters for The New York Times engaged in a little operatic spitballing, throwing out ideas – including some that the Met is experimenting with and others it might find off the wall – that could help fill the house again.”
New York Times Published:05.08.16
Steve Lopez: “Alvin Mills is 94. Two conductor’s batons rest on the tray of his walker, within arm’s reach. He might drop or misplace one – you never know – and it’s good to have a backup.”
Los Angeles Times Published:05.04.16
It resembles Copeland in some ways: It’s clearly a ballerina, with nicely arched feet in pink toe shoes, hair pulled back, stage makeup, dance costume. The costume is one that’s closely identified with Copeland, copied from the flame-red unitard she wears in the ballet “Firebird.”
Washington Post Published:05.05.16
The winners of the 2016 Doris Duke Performing Artist Awards – given for dance, theater, and jazz – include well-established artists such as Mark Morris, Lynn Nottage, Fred Hersch as well as less-familiar names (for now) such as Aparna Ramaswamy, Jen Shyu, and Sharon Bridgforth.
Cutting Through the Clouds of Myth, a collaboration withthe Slovenian multidisciplinary artist Jaša, “is one of Ulay’s first reengagements with performance after a battle with cancer. … ‘At one point I got a sort of calling, an inner voice, to reenter performance art again,’ [he said].”
That Jeff Melanson, who studied opera as an undergraduate, is enmeshed in the soapy version of the genre is only one of the many ironies of Canada’s ongoing War of the Roses, a mutually assured destruction destined to expose the underbelly of the Canadian arts scene.
No less than the home of Molière, Racine, and Voltaire, the Comédie-Française will be transmitting its performances to moviegoers, beginning in October, with three productions presented in 300 cinemas in France, Belgium, and Switzerland. The broadcasts will subsequently be offered to the rest of the world in subtitled versions. (in French; Google Translate version here)
Culturebox (France) Published:05.04.16
Across the board, the topic of arts education demonstrated the most acute concern from respondents, scoring an average of 2.24. The deepest pessimism came from respondents in Yorkshire and Northern Ireland. Most respondents (84%) were more negative than positive about the prospects for arts opportunities in schools over the next 10 years, with one in three declaring they were deeply pessimistic about the future.
The Stage Published:05.04.16
“Show-Score features reviews from both critics and members who are regular theatergoers—each show gets two scores based on what critics and consumers think. The site has about 50,000 members so far, who have written 80,000 reviews of New York City shows.”
New York Observer Published:04.26.18
“As these Tony nominations attest, “Hamilton” has ushered in a new age of multiculturalism on Broadway, where talent at long last appears to be a determining factor of success. There can be no backpedaling from this position. History has arrived, laggard as usual but unmistakable. Just look at the shows being honored this year.”
Los Angeles Times Published:05.03.16
“Art collectors have begun to pull their paintings and sculptures out of Geneva’s secretive free port storage facility as the site once again finds itself under scrutiny following the identification of a $20 million Amedeo Modigliani painting in its tax-free vaults that was allegedly stolen by the Nazis.”
“The Italian government announced yesterday, 2 May, that it is allocating €1bn to major restoration and building projects at 33 museums, monuments and archaeological sites across the country, including Pompeii, the earthquake-stricken city of L’Aquila and the Uffizi galleries in Florence.”
The Art Newspaper Published:05.03.16
“The flames engulfed the artist’s personal collection, including one work by Andy Warhol, and some of her own sculptural works, which were stored in the basement.”
“Youths on their Passover vacation vandalized the archeological site Ashdod-Yam citadel … with paints on Tuesday as part of a ‘color party.’ At their festivities, they threw paint over each other and the site” – and, of course, posted photos of it all on social media so they could get busted.
Ynetnews (Israel) Published:04.27.16
Under the program, museum employees will provide advice and support in areas such as collection conservation and preservation, installation of climate control systems, museum management, and the development of educational programs.
The New York Times Published:05.04.16
I think “they” is the way to proceed as a default, until English is spoken in a world where the inherent power disparity between the “hes” and “shes” is eradicated. I know it won’t happen in my lifetime, but as long as we continue to use a language that is inherently sexist, we will be forever perpetuating sexist ideology, even without intending to. I still do not know how to talk about this without inspiring fights – but it is an important one.
The Guardian Published:05.04.16
The First Book To Win Both A Pulitzer And An Edgar Award – Does It Mean That Genre Fiction And Literary Fiction Are Finally Converging?
“When a novel does what The Sympathizer accomplished – i.e., something that’s never happened before in roughly 100 years worth of book-award-giving-outing – it’s worth asking why this has never happened before, and why it happened now.”
Why Does It Drive Literary Types Nuts That It’s The Attractive Novelists Who Get Promoted? This Is Why
“Somehow every time it gets reported (every six or seven years or so) it is always received as a disgusting revelation. … I hear you protest. I concur: It sucks that this matters. And most people in publishing think it sucks, too, I assure you. … Given how pervasive the imperatives of celebrity culture are, why are we so surprised by this?” Laura Miller has the likely answer.
“Well, the only reason why Bookslut was interesting was because it didn’t make money, and when I realized the sacrifices I was going to have to make in order for it to make money, it wasn’t worth it.”
Laura Miller, with help from C.S. Lewis, explicates the difference. (Batman vs. Superman? Not an allegory. Inside Out? Allegory.)