“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.”
“It’s simply not realistic to expect someone to respond to music with such life-defining fervour more than once. And it’s not realistic, either, to expect someone comfortable with his personality to be flailing about for new sensibilities to adopt. I’ve always been somewhat suspicious of those who truly do, as the overused phrase has it, listen to everything. Such schizophrenic tastes seem not so much a symptom of well-roundedness as of an unstable sense of self. Liking everything means loving nothing. If you’re so quick to adopt new sentiments and their expression, then how serious were you about the ones you pushed aside to accommodate them?”
“Americans might say that their freedom of self-expression is being denied if they are told how to dress. I think we can learn that self-expression and respect for certain traditions are not mutually exclusive. I have seen many of my fellow citizens dressed in attire more suited to a workout at the gym or for mowing the lawn in restaurants, offices and theaters. This detracts from the specialness of certain occasions.”
“Old Millennials, as I’ll call them, who were born around 1988 or earlier (meaning they’re 29 and older today), really have lived substantively different lives than Young Millennials, who were born around 1989 or later, as a result of two epochal events that occurred around the time when members of the older group were mostly young adults and when members of the younger were mostly early adolescents.” Jesse Singal, an Old Millennial, explains.
Key to the success of projects is promoting “the ‘fun’ and ‘social’ aspects of participation as opposed to focusing on the artistic aspects of activities”. The report notes that using “exclusive ‘arts’ language and jargon” acts as a barrier to encouraging local communities to get involved.
“If any state knows the value of publicly financed art, it may be South Dakota: One of its biggest tourist attractions, Mount Rushmore, is, among other things, a colossal federally funded sculpture. … [The NEA’s] generally small grants can have a bigger impact here than they would at the Metropolitan Operas of the world.” Michael Cooper visits the Coyote State to see in action some of the arts programs funded by the agency the Trump administration proposes to eliminate.
“Counters keep track of average visit duration in any space where we use them and by tracking at our main entrance, special exhibition, and collection gallery we have a sense of visit duration throughout the building on any given day and at any given time. This has given us the opportunity to manage queues effectively at high capacity events because we know roughly what the average stay rate is and how quickly those lines will move.”
“How can we change what we do so that we are bringing in more readers in more places to be more engaged. It’s not a question purely of page views, but more engaged: the term that encompasses both sheer numbers and the kind of readers they are, whether they are subscribers, how long they’re spending on the articles, where in the world they’re located. So what we want in classical music, and what everyone in the paper wants, is to be bringing our journalism to a substantive and engaged readership.”
“Expanding the concert experience is a pet theme of classical music these days. And if you wonder why the concert experience needs expanding, it’s because the term ‘classical concert’ tends to translate as ’19th-century music played in a stuffy setting’ – at least, to the people who aren’t coming. In fact, classical concerts are more and more varied, and this weekend I saw a couple of different attempts – one more subtle, one more overt – to mix things up.”
“The fact that internships are so prevalent in the creative industries is concerning, because the creative workforce lacks ethnic and socioeconomic diversity, particularly at entry level. If internships without measures to ensure equal access are common, there is a risk that the diversity of the sector will suffer.”
“Here’s an exhausting irony: Tate Modern’s room dedicated to Minimalism is so packed with works that it looks more like an industrial warehouse than a museum … [It] is just one of the countless London exhibitions stuffed full of art like a trussed turkey.”
The director of the independent regional agency SMART writes about the cultural renaissance taking place in Aberdeen and the differences it has made.
Reporter Peter Dobrin follows Hannibal Lokumbe as he takes four of the orchestra’s musicians to the Philadelphia Detention Center to perform a new piece about Anne Frank.
After being in this field for a hot second, there are just some things that I think are impeding our ability, as an industry, to become more self-sustaining, attract new and younger audiences, and make the arts experience much better for the audience and/or consumer. These are ideas, traditions, thoughts – or “institutional traditions” – that have somehow become the “norm” in our industry and create an environment where we value the tradition over the audience experience – our “user interface”.
“For one thing, … our attitudes toward television have yet to catch up to the age of peak TV. In fact, … as shows have become increasingly complex in recent years, watching TV has become a more cognitively stimulating activity.”
Police were called to break up an eight-person fistfight in the stalls at the Manchester theatre where the production is playing before beginning a tour of regional England.
Liesl Schillinger: “Those of a populist mind-set attack so-called elitist art forms as boring; those of an elitist mind-set attack so-called populist art forms as facile and unworthy. But in either case, it’s usually the mind-set, not the work itself, that raises hackles.”
Adam Kirsch: “The truth is, however, that few writers ever make a conscious choice between elitism and populism, difficulty and accessibility. Writers write as their minds and fates compel them to.”
Philip Kennicott: “This exhibition highlights problems far deeper than those raised by the all-too-successful blockbuster shows of the past. This isn’t about managing success and finding the right balance between access for crowds and the integrity of the individual aesthetic experience. Rather, this is about the nature of experience itself, and whether museums want to reinforce an understanding of existence that is fractured, competitive, capitalistic and ultimately alienated from art.”
“Because one essential feature of the contemporary art world is artificial scarcity,” Philip Kennicott writes. “Theoretically, the Hirshhorn could line its ringed galleries with four or five versions of each room. More people could see them, and more people could experience the effect for longer periods. Except that Kusama has defined her rooms as ‘unique art works,’ and that ultimately diminishes their reach and impact.”
Yes, it’s about Machiavelli. “Drawing from disparate political histories involving the Medicis, Hitler, Alexander Hamilton, Bill and Hillary Clinton, and Osama bin Laden, the Machiavelli of the future, with Henry Kissinger as his sidekick, delivers a warning about abuses of power and lapses of political judgment. There is one ‘new prince’ that everyone in the audience was probably thinking of during the production, but he is conspicuously absent from this political soup.”
“U.S. pay-TV providers lost around 1.9 million subscribers last year, according to the latest research from Kagan, a unit of S&P Global Market Intelligence. Meanwhile, “virtual” pay-TV services delivered over the internet like Dish’s Sling TV and AT&T’s DirecTV Now didn’t help stop the overall sector from shrinking in 2016.”
“Combined takings from streaming, downloads, physical sales and licensing for use in films, TV and computer games rose 5.1% to £926m. The main contributor to growth was streaming, but vinyl revenues rose by more than two thirds.”
“The report, compiled by Frédéric Julien of CAPACOA and research consultant Inga Petri, argues that non-profit groups will need to consider their own versions of vertical integration, with presenters making strategic alliances with producers or co-operating with private industry to build networks large enough to draw the audiences they will need. As a model it points to Radioplayer Canada, a single app implemented by 400 public, private, community and campus radio stations. For the performing arts, the details are still hazy, but the message is clear: Go digital or go home.”
“So, while we know that old-fashioned social interaction is healthy, what about social interaction that is completely mediated through an electronic screen? When you wake up in the morning and tap on that little blue icon, what impact does it have on you?” Well, …
“The paper, issued last month by the National Bureau of Economic Research and written by economics professors from Stanford and Brown Universities, found that the growth in political polarization was most significant among older Americans, who were least likely to use the internet between 1996 and 2012, the years for which data was available when the paper was written.”
“In the infancy of computers, educators quickly figured out that computer games could be a great vessel for both education and entertainment. Problem was, the educators were always better at the teaching part than the game part. Today’s Tedium, in the midst of practicing its home-row keys, ponders why that was. (Includes the story of “the tutor who became a multi-millionaire edutainment innovator because she went to the wrong restaurant”)
“At the Birmingham Stage Company we recently went public about our decision to pull out of future presentations at Leeds Grand because of the £3 booking fee and £1 restoration fee that is levied on all tickets. This means that schoolchildren seeing our production of Gangsta Granny by David Walliams for £10 are then being asked to pay another £4 on top. This effectively amounts to a 40% surcharge on every ticket.”
“There’s little doubt that e-commerce companies have dramatically changed the retail industry, and delivered enormous gains in efficiency and productivity. Yes, there would be more traditional retail jobs in this country if Amazon didn’t exist. Companies like Amazon are able to produce the same amount of economic activity as traditional retailers, with many fewer man hours of work. But, in general, those kinds of productivity increases are considered a good thing; it’s virtually impossible for the economy to grow in a meaningful way without such leaps in productivity.”
Glasgow’s Pavilion Theatre, in addition to asking patrons to try to ensure their babies won’t spit up on other patrons, has a policy that in part says, “We do not think that the theatre is a place for any child who cannot yet walk and can be very distressing during certain performances due to flashing lights and loud sound levels.”