ArtsJournal Classic

AJ Four Ways: Text Only (by date) | headlines only

DANCE

    IDEAS

    • Trump Says Kennedy Center Will Be “Ripped Down” If He Can’t Put His Name On It

      “I think that the Trump administration should certainly have recognition. Because frankly, if we don’t do that, it’s going to close. It’ll end up being ripped down,” he told reporters. He said the previous day that he won’t spend congressionally-designated money for the center’s renovation unless the building bears his name. – ABC News

    • After A False Start, Salzburg Festival Chooses Director To Replace Fired Markus Hinterhäuser

      Austrian media were reporting that there would be two leaders: stage director Barrie Kosky (artistic) and Dutch National Opera chief Sophie de Lint (administration). Negotiations with that pair collapsed at the last minute, so the Festival board turned to Peter de Caluwe, until last year director of La Monnaie in Brussels. – Moto Perpetuo

    • Some Surprises In This Season’s List Of Most-Produced Plays And Playwrights

      There’s a new play atop the list: Kimberly Belflower’s John Proctor Is the Villain, followed by Branden Jacobs-Jenkins’s Purpose and Bess Wohl’s Pulitzer-winning Liberation. Among playwrights, once-perennial leader Lauren Gunderson is down to fourth place; the late August Wilson is number one, followed by Belflower and Jacobs-Jenkins. – American Theatre

    • Peter Max, Whose Day-Glo Art Epitomized The ‘60s, Has Died At 88

      “Through savvy marketing, his … color-saturated, almost hallucinatory depictions of stars, sun rays and people in profile showed up on walls and coffee mugs, on clothing, clocks, stationery, and even airplanes and cruise ships. In some ways, Mr. Max created the graphic equivalent of the rock-and-roll revolution in music.” – The Washington Post (Yahoo!)

    • (no title)

      Good Morning,

      Two hours a day. That’s the average screentime of the 700 million people now watching microdramas — cheap, vertical, minute-long episodes — and the case is being made that they are the artform of our time (New Left Review). The sophisticated science programming legacy media used to produce now draws tens of millions on YouTube, made by individuals (TheWrap). Whatever else those stories say, demand for culture isn’t the problem.

      Institutions, meanwhile, are arguing about who pays. Staff at the Whitney, Brooklyn Museum and American Folk Art Museum voted to strike over wages below what a single adult needs to live in New York (ARTnews). San Francisco Opera is dark through Sunday as its orchestra strike continues (San Francisco Chronicle). The Louvre’s new director is in Tokyo and Hong Kong passing the hat for a €1 billion renovation (South China Morning Post). And a proposal to privatize the Smithsonian as its cleanest defense against political interference (The Wall Street Journal) assumes donors want less control than governments do.

      The generative exception: MoMA has handed its atrium to choreographer Sarah Michelson for four weeks, and her piece’s animating question — what is a dance? — is the one institutions should be asking about their own forms (The New York Times).

      Ruben Santiago-Hudson says he and August Wilson fought constantly; every time the cast predicted he’d be fired, Wilson wrote him another role instead (The New York Times). Note to managements.

      All of our stories below.

    ISSUES

    MEDIA

    MUSIC

    PEOPLE

    • Trump Says Kennedy Center Will Be “Ripped Down” If He Can’t Put His Name On It

      “I think that the Trump administration should certainly have recognition. Because frankly, if we don’t do that, it’s going to close. It’ll end up being ripped down,” he told reporters. He said the previous day that he won’t spend congressionally-designated money for the center’s renovation unless the building bears his name. – ABC News

    • After A False Start, Salzburg Festival Chooses Director To Replace Fired Markus Hinterhäuser

      Austrian media were reporting that there would be two leaders: stage director Barrie Kosky (artistic) and Dutch National Opera chief Sophie de Lint (administration). Negotiations with that pair collapsed at the last minute, so the Festival board turned to Peter de Caluwe, until last year director of La Monnaie in Brussels. – Moto Perpetuo

    • Some Surprises In This Season’s List Of Most-Produced Plays And Playwrights

      There’s a new play atop the list: Kimberly Belflower’s John Proctor Is the Villain, followed by Branden Jacobs-Jenkins’s Purpose and Bess Wohl’s Pulitzer-winning Liberation. Among playwrights, once-perennial leader Lauren Gunderson is down to fourth place; the late August Wilson is number one, followed by Belflower and Jacobs-Jenkins. – American Theatre

    • Peter Max, Whose Day-Glo Art Epitomized The ‘60s, Has Died At 88

      “Through savvy marketing, his … color-saturated, almost hallucinatory depictions of stars, sun rays and people in profile showed up on walls and coffee mugs, on clothing, clocks, stationery, and even airplanes and cruise ships. In some ways, Mr. Max created the graphic equivalent of the rock-and-roll revolution in music.” – The Washington Post (Yahoo!)

    • (no title)

      Good Morning,

      Two hours a day. That’s the average screentime of the 700 million people now watching microdramas — cheap, vertical, minute-long episodes — and the case is being made that they are the artform of our time (New Left Review). The sophisticated science programming legacy media used to produce now draws tens of millions on YouTube, made by individuals (TheWrap). Whatever else those stories say, demand for culture isn’t the problem.

      Institutions, meanwhile, are arguing about who pays. Staff at the Whitney, Brooklyn Museum and American Folk Art Museum voted to strike over wages below what a single adult needs to live in New York (ARTnews). San Francisco Opera is dark through Sunday as its orchestra strike continues (San Francisco Chronicle). The Louvre’s new director is in Tokyo and Hong Kong passing the hat for a €1 billion renovation (South China Morning Post). And a proposal to privatize the Smithsonian as its cleanest defense against political interference (The Wall Street Journal) assumes donors want less control than governments do.

      The generative exception: MoMA has handed its atrium to choreographer Sarah Michelson for four weeks, and her piece’s animating question — what is a dance? — is the one institutions should be asking about their own forms (The New York Times).

      Ruben Santiago-Hudson says he and August Wilson fought constantly; every time the cast predicted he’d be fired, Wilson wrote him another role instead (The New York Times). Note to managements.

      All of our stories below.

    PEOPLE

    • Trump Says Kennedy Center Will Be “Ripped Down” If He Can’t Put His Name On It

      “I think that the Trump administration should certainly have recognition. Because frankly, if we don’t do that, it’s going to close. It’ll end up being ripped down,” he told reporters. He said the previous day that he won’t spend congressionally-designated money for the center’s renovation unless the building bears his name. – ABC News

    • After A False Start, Salzburg Festival Chooses Director To Replace Fired Markus Hinterhäuser

      Austrian media were reporting that there would be two leaders: stage director Barrie Kosky (artistic) and Dutch National Opera chief Sophie de Lint (administration). Negotiations with that pair collapsed at the last minute, so the Festival board turned to Peter de Caluwe, until last year director of La Monnaie in Brussels. – Moto Perpetuo

    • Some Surprises In This Season’s List Of Most-Produced Plays And Playwrights

      There’s a new play atop the list: Kimberly Belflower’s John Proctor Is the Villain, followed by Branden Jacobs-Jenkins’s Purpose and Bess Wohl’s Pulitzer-winning Liberation. Among playwrights, once-perennial leader Lauren Gunderson is down to fourth place; the late August Wilson is number one, followed by Belflower and Jacobs-Jenkins. – American Theatre

    • Peter Max, Whose Day-Glo Art Epitomized The ‘60s, Has Died At 88

      “Through savvy marketing, his … color-saturated, almost hallucinatory depictions of stars, sun rays and people in profile showed up on walls and coffee mugs, on clothing, clocks, stationery, and even airplanes and cruise ships. In some ways, Mr. Max created the graphic equivalent of the rock-and-roll revolution in music.” – The Washington Post (Yahoo!)

    • (no title)

      Good Morning,

      Two hours a day. That’s the average screentime of the 700 million people now watching microdramas — cheap, vertical, minute-long episodes — and the case is being made that they are the artform of our time (New Left Review). The sophisticated science programming legacy media used to produce now draws tens of millions on YouTube, made by individuals (TheWrap). Whatever else those stories say, demand for culture isn’t the problem.

      Institutions, meanwhile, are arguing about who pays. Staff at the Whitney, Brooklyn Museum and American Folk Art Museum voted to strike over wages below what a single adult needs to live in New York (ARTnews). San Francisco Opera is dark through Sunday as its orchestra strike continues (San Francisco Chronicle). The Louvre’s new director is in Tokyo and Hong Kong passing the hat for a €1 billion renovation (South China Morning Post). And a proposal to privatize the Smithsonian as its cleanest defense against political interference (The Wall Street Journal) assumes donors want less control than governments do.

      The generative exception: MoMA has handed its atrium to choreographer Sarah Michelson for four weeks, and her piece’s animating question — what is a dance? — is the one institutions should be asking about their own forms (The New York Times).

      Ruben Santiago-Hudson says he and August Wilson fought constantly; every time the cast predicted he’d be fired, Wilson wrote him another role instead (The New York Times). Note to managements.

      All of our stories below.

    THEATRE

      VISUAL

      • Doomsday Days: The Growing Awareness Of AI Dangers

        Jacob Coxon, the engineer who recently resigned from Anthropic to protest its safety policies, says A.I. could “kill us all by the end of the decade.” But if A.I. is so outrageously dangerous, why should we accept modest proposals to “pace” its development? Why not call in the Turing cops, and pull the plug? – The New Yorker

      • How Threats Of A Dismal Future Are Shaping Gen Z

        Their perception is that jobs that feel meaningful are being slashed by government or stolen by AI. As a result, she reported, members of Gen Z may just need to find meaning in their hobbies and interests outside of work and pursue jobs that allow them to fully check out at the end of the day. – 3 Quarks Daily

      • Why Italianness Is A State Of Mind

        Descendants of Italian migrants generally express an intense pride in their heritage, and many continue to live by its sociocultural tenets in spite of decades, or more, of absence. It is as if time away from Italy, and geographical distance, only amplify a yearning for it. – Aeon

      • Study: Why Our Brains Mix Up Memories

        Scientists already know that confusing memories happens more often than forgetting them altogether. What’s less clear is how the brain gets confused. – The Conversation

      • Angela Duckworth Takes On Will Power

        High-profile authors are obviously under pressure to offer novel frameworks, but rarely do these second acts feel like an about-face. Duckworth insists that “Situated” is not a reversal but an expansion of her earlier research; as an account of individual success, grit is “necessary but not sufficient,” and must be complemented by the larger picture. – The New Yorker

      WORDS