Hemingway’s bizarre behavior in his latter years (he rehearsed his death by gunshot in front of dinner guests, for example) has been blamed on iron deficiency, bipolar disorder, attention-seeking and any number of other problems. After researching the writer’s letters, books and hospital visits, Farah is convinced that Hemingway had dementia — made worse by alcoholism and other maladies, but dominated by CTE, the improper treatment of which likely hastened his death.
Like thousands of other Stravinsky fans, I listened to a live stream of the première, my anticipation heightened by descriptions that the composer had supplied later in life. (He called it “the best of my works before ‘The Firebird,’ and the most advanced in chromatic harmony.”) Like many others, I felt mild disappointment.
There’s a volubility about Rauschenberg’s visual imagination that is irreconcilable with the discipline art demands. However monumental or panoramic a work of art may be, there must always be some acknowledgment of the limits of the artist’s vision. Rauschenberg didn’t know the meaning of the word “limits.” There was something of the outrageousness of a Ponzi scheme in the way he took this or that avant-garde idea and inflated it—over and over again.
The five “key creatives” for five shows up for best musical dish about the process. “The [studio-driven musical] is just a very different world. It’s a stable of people with properties that are trying to figure out what to do with them. Many of the ideas are very possible. And some of them are idiotic. I listen to what everyone here is saying about all the ideas they could come up with from scratch and think: ‘It must be lovely.’ It’s like I’m watching a zoo.”
When the screen cartoonists’ guild formed in the late 1930s, animated shows weren’t scripted and instead were drawn out on storyboards. Because that was considered part of the animation process itself, the writers were placed under the jurisdiction of the cartoonists’ guild, said Tom Sito, a USC film professor and former president of the Animation Guild, IATSE Local 839. That dynamic has more or less continued to this day, even though today’s cartoons involve plenty of scripting.
In the mid-70s, Luft was “hired as the director of dance programming, arts and culture for the Montreal Olympics. During the Games, he organized 100 dance performances in the city, bringing in performers from all across Canada. After the Olympics, Mr. Luft worked as the director of Quebec’s nine conservatories of music and drama and in 1978, he also co-founded the artists agency Specdici. At the agency, he was instrumental in promoting emerging dance companies, including La La La Human Steps, Les Ballets Jazz de Montréal and dancer-choreographer Margie Gillis, to an international audience.”
“I think that we’re trying to have a cultural policy that is adapted to the digital age, whereby you believe in the importance of freedom of the Internet, you believe in the importance of net neutrality,” she said. It sounds nice, but an open Internet fits somewhat awkwardly alongside the existing regime of government support for Canadian culture.
“Humans rarely think for themselves. Rather, we think in groups. Just as it takes a tribe to raise a child, it also takes a tribe to invent a tool, solve a conflict or cure a disease. No individual knows everything it takes to build a cathedral, an atom bomb or an aircraft. What gave Homo sapiens an edge over all other animals and turned us into the masters of the planet was not our individual rationality, but our unparalleled ability to think together in large groups.”
“The overall index is composed of three dimensions: supply, demand, and government support. Supply is assessed by the total number of arts providers in the community, including the number of arts and culture organizations and employees, independent artists, and entertainment firms. Demand is gauged by the total nonprofit arts dollars in the community, including program revenue, contributed revenue, total expenses, and total compensation. Lastly, the level of government support is based on state and federal arts dollars and grants.”
Under Pollock’s leadership, Art in America instituted regular features such as artist-designed covers and mini-profiles of up-and-coming artists. She also expanded the magazine’s international coverage, publishing regular reports from far-flung parts of the world in the “Atlas” column.
Whether Woodstock would have happened without Sky River is, of course, anybody’s guess, but Sky River absolutely would not have happened without an even less-heralded event called the Piano Drop, a one-day Dadaist spectacle held on April 28, 1968, in a tiny town (its population was just 455) northeast of Seattle called Duvall. As the name of the event suggests, the Piano Drop featured a dropped piano (which organizers hoped would land on a specially prepared wood pile with a resounding crash), plus music by Country Joe and the Fish. Depending on whom you talk to, at least 3,000 and as many as 5,000 people showed up for this experiment in sonic mayhem.
“Opponents of the Maduro regime, which is trying to starve the country into submission, have accused Dudamel of targeting the opposition by failing to name the government as the cause of present miseries. Supporters of the Government are calling him a turncoat. Debate is raging across social media.”
“In this way, Wikipedia understands something that most philosophers after Socrates didn’t – definitions are not static, and cannot be perfected and finalized. They must be constantly challenged, updated, reverted, and discussed. Wikipedia is like a Socratic dialogue on a massive scale.” Nikhil Sonnad did a deep dive into the 14 years of edits (some of them pretty ugly) that led to the impressive entry the site has now.
“What’s more shameful is that Hearts With A Mission is so fearful of being perceived as endorsing — what?” the Medford Mail Tribune wrote in an editorial. “The existence of gay men? The performance of choral music by gay men in a church sanctuary to benefit a charitable organization?”
Neuroscientist Dean Buonomano argues our brains are “constantly tracking the passage of time, whether it’s circadian rhythms that tell us when to go to sleep, or microsecond calculations that allow us to the hear the difference between ‘They gave her cat-food’ and ‘They gave her cat food.’ In an interview with Science of Us, Buonomano spoke about planning for the future as a basic human activity, the limits of be-here-now mindfulness, and the inherent incompatibility between physicists’ and neuroscientists’ understanding of the nature of time.’
National and even international attention has been focused on music director searches in Eugene lately because three of the last four people on the podium — Marin Alsop, Miguel Harth-Bedoya and Giancarlo Guerrero — have all gone on from their jobs here to national prominence.
Rich Benjamin: “Despite my disgust with the format and with Fox [News] in general, I felt that if I could get a sizable slice of O’Reilly’s viewership to think fairly, for a few moments, about undocumented immigrants, corporate wage theft, or police brutality, my time would be well spent. … I could gauge the quality of my performance on The O’Reilly Factor by the response from viewers. When I received no response, I knew my efforts had fallen flat. In other instances, just minutes after wrapping up an appearance, my inbox would be flooded with choice feedback from his fans.”
The literary magazine has a stellar track record picking writers. Rather than make a yearly list, Granta picks looks over the course of a decade to choose writers it thinks will make an impact.
“Mr. Coates’s fiery work – which made him the National Book Award winner and a Pulitzer Prize finalist [and, arguably, earned him a MacArthur ‘genius award’] – will be adapted into a multimedia performance, with excerpted monologues, video projections, and a score by the jazz musician Jason Moran. Portions of Mr. Coates’s letters to his son would be read aloud, while narratives of his experiences at Howard University and in New York City could be performed by actors.”
“Evidence from the carvings, made on a pillar known as the Vulture Stone, suggests that a swarm of comet fragments hit the Earth in around 11000 BC. One image of a headless man is thought to symbolise human disaster and extensive loss of life. The site is at Gobekli Tepe in southern Turkey, which experts now believe may have been an ancient observatory.”
With Jerry Saltz just having ruminated on “The Avant-Garde That Lost By Winning,” what about the ones that simply lost? Alex Greenberger and Andrew Russeth offer “an unabashedly opinionated deep dive into the terms, artists, and movements that may once have seemed destined for the canon but that now chart as footnotes, as well as many that have returned to the forefront.”
Whereas “artists” originally were, by definition, people who create art, “art” is now defined as anything made by a purported artist. The “institutional theory” codifying that premise is fully operative in the global art establishment.
“Cite the numbers, and the problem instantly becomes too vast to grasp: More than 33,000 people killed and upward of 78,000 wounded by firearms each year in the United States … This is where the stealthy power of theater has an advantage, at least theoretically. … News reports arrive after the fact, but theater can meddle with time and dimension, showing us the before, the during, the yet to come.” Laura Collins-Hughes surveys the plays that have been exploring the issue.
“Like thousands of other Stravinsky fans, I listened to a live stream of the première, my anticipation heightened by descriptions that the composer had supplied later in life. (He called it ‘the best of my works before The Firebird, and the most advanced in chromatic harmony.’) Like many others, I felt mild disappointment. Funeral Song contains no thrilling premonitions of the Stravinsky to come. … Yet, after spending more time with the piece … I felt a growing fascination. The music has a veiled power, and hints at otherwise hidden sources of inspiration. A spectre haunts the scene: the spectre of Wagner.” (includes sound clip)
Alessa Rogers of Atlanta Ballet: “I see you. I know who you are. If you think you are hiding your self-loathing, you are deceiving only yourself. It is time to stop. … Don’t be seduced by the feeling that berating yourself makes you a better artist. I know you are trying to protect yourself by saying self-judgmental things so that it won’t sting if others do. But putting yourself down will not endear you to the people in the front of the studio.”
Irina Dvorovenko retired from ABT in 2013, and since then she’s had roles in two major dramatic television series. She tells Gia Kourlas how it happened.
“While Rhode Island may be the smallest state in the country, [it] has become a powerhouse when it comes to attracting artists and art lovers to its shores. And the method by which state leaders have leveraged Rhode Island’s tax code to benefit the creative community could serve as a model for other states looking to cultivate a stronger arts economy.”
Roland Cahill claimed to have purchased the rights to soprano Kathleen Battle’s life story and that he was producing a one-woman show starring Lupita Nyong’o about Battle’s firing from the Metropolitan Opera.
“The Metropolitan Museum of Art has been seriously getting into dance lately. But now it’s taking its love affair one step further: Gallim Dance director/choreographer Andrea Miller was just named the museum’s artist in residence for the 2017-18 season – the first dance artist ever chosen for that distinction! We caught up with Miller to find out exactly what this means.”
“[Emmanuel] Macron … has declared his intention to maintain the cultural budget in exchange for greater efficiency. He wants all schoolchildren to have access to cultural and artistic education, and has proposed a €500 annual ‘culture pass’ for young people. … [Marine] Le Pen, meanwhile, … has made no overall budget commitment. However, as part of her focus on French patrimony, she wants to increase funds for heritage and conservation by 25%. She also wants to stop the sale of national buildings and palaces to foreigners and the private sector.”