“Museums, auction houses and collectors feel free to ignore non-European groups who ask for the repatriation of their artworks. Indeed, some commentators even attack such requests.”
“Increasingly, artists and arts organisations are being asked to reflect upon who funds their work and examine whether that funder shares their values. The motivations of a corporate sponsor are not something that should be taken for granted. But in order to do that, we first need to understand our own ethical values.”
“We don’t want it to feel like Anywhere U.S.A.. We want it to be chaotic. “Culture Forward” seeks to build on the area’s history as an arts hub by making it more hospitable to its creative population.”
These closures have left a gap in Rome’s artistic life, demonstrating that occupied and alternative spaces are vital to the city’s cultural wellbeing.
“Our longtime home at 6th and Hennepin in downtown Minneapolis … has now become an environment that is hostile to the arts,” said the fundraising letter, signed by founding artistic director Linda Z. Andrews. “Many factors have contributed to this change, including the recent development of downtown sports centers with escalating parking fees; ongoing street construction right outside our door; and social unrest on Hennepin Avenue.”
Novelists Philip Pullman (His Dark Materials), Zia Haider Rahman (In the Light of What We Know), and Elif Shahak (The Bastard of Istanbul); playwright/screenwriter Mike Bartlett (King Charles III); and stage director Marianne Elliott (War Horse and The Curious Incident of the Dog in the Night-Time) join in a virtual panel discussion on their reactions to the vote, how it’s changed the way they see Britain as a place to make their homes, and when is too early for artworks to address the historic moment.
It’s not (or not just) because it’ll be hard to find a job in your field.
Labour MP Catherine McKinnell, who tabled the debate, claimed that poorer children have been hit hardest by the introduction of the EBacc. She pointed to Creative Industries Federation figures showing that schools with a high number of disadvantaged children have been more than twice as likely to withdraw arts subjects than schools with low numbers.
“Around 19,000 [black, Asian and minority ethnic] workers were employed in music and the performing and visual arts in 2015, compared to 12,000 in 2011 – a bigger change than in the wider creative industries (44%). Despite the surge, the 2015 figures means just 6.6% of all those in music and the performing and visual arts were black, Asian or from an ethnic minority, compared with 11.3% of those in the UK economy as a whole.”
“If journals, sketchbooks, letters, and scribbled-on napkins are venerated and kept for insights into great minds, there seems to be a case that tweets should be held onto, too. Then again, publicly accessible 140-character bursts can be so frivolous – and based so much on maintaining appearances – that they might seem like they don’t offer anything worth preserving.”
“There’s a very narrow doorway through which big ideas get to audiences,” said Chris Jackson, the editor-in-chief of Random House’s One World imprint. But as mainstream culture looks increasingly unlike America, there’s reason to hope cultural gatekeepers will soon be forced to expand their horizons.
Two professional conservatives, the New York Times Op-Ed columnist and Arthur Brooks (no relation), president of the American Enterprise Institute, offer some ideas convincing enough that the leftish Atlantic is willing to post them.
“All I could think is that it was written with a colonial lens. This was the story of an outsider in America ‘fixing’ what was already there. Rather than integrating Native Americans into her world, they are reduced to background set pieces.”
“New York Live Arts, which has seen quite a bit of administrative turnover since it was born five and a half years ago with the merger of the Bill T. Jones/Arnie Zane Dance Company and Dance Theater Workshop, has announced more changes to its programming staff.”
So what’s next? “In these socially conscious times, Hollywood awards have become a tool for change despite, or perhaps as a reaction to, their red-carpet frivolity.”
“The gallery has been here for nearly 200 years and it has survived many seismic changes including world wars and other skirmishes – so we are going to continue business as usual, shining as a beacon of excellence and a place of contemplation.”
Stating “The children of Chicago are demanding that $100 million of the $7 billion MacArthur Foundation has in assets be used to invest in Black communities and help Black children in Chicago survive violence in their communities,” the city’s Black Star Project staged a march last week on the foundation’s headquarters. Zoe Mendelson writes, “Of course foundations can have their own funding priorities, but at what point does an emergency in their hometown merit special intervention? … MacArthur’s basic stance is that it’s already doing its part. The impossible question becomes: When are you helping enough?”
Arts Council England’s National Council member David Bryan considers what has happened in the quarter-century since he first wrote a major article on the subject and offers five possible actions for the future.
“It falls to those seeking fair equity to propose a new way to allocate resources, with all the pros and cons on the table, for there to be a basis of discussion. Put another way, those who call for redressing inequity — and here I’ll expand this discussion to include diversity and inclusion, which suffer from the same definitional complexities — must propose ways to achieve the equity they seek.”
“Backed by the might of private philanthropy, the Stavros Niarchos Foundation Cultural Centre was launched at the weekend to a grand fanfare of concerts and fireworks. Except it hasn’t actually opened, nor has an opening date been announced. Both the national library and opera house have been gifted a further €5m to relocate here, but funding beyond that remains up in the air.”
Zachary Woolfe: “Even critics paid to know the ins and outs of all the presentations find themselves confused at what belongs in what container – and how, exactly, audiences are served by the clutter of brands. … I propose that all of these be rolled into a single entity called, say, Lincoln Center Summer.”
R. F. Luchetti has written 1,551 books. Woody Allen has directed 46 movies. Some artists are incredibly prolific – and successful – at the their work. But is there such a thing as too much? Have Damien Hirst or Stephen King made too much? Here’s a list of high producers in various art forms.
Pankaj Mishra: “Artists in America and Western Europe have been allotted a share, however small, in their nations’ wealth and power. … Art itself in [less prosperous and open societies] may seem the prerogative of the socially privileged; but it has to flourish for the sake of much more than art.”
Rivka Galchen: “Art that directs our feelings about contemporary events, even when well intentioned, quickly reads as dated, corrupted, almost always wrong. … Art for art’s sake avoids false warmth; it is untamed, but orderly.”
“For, whomever or whatever you might blame for the current state of affairs, the recent hostilities have been distinctly unfriendly to the creating and sustaining of intellectual energy. Universities need to get beyond these disputes, at least to some degree, if they are going to retain any meaningful chance to fulfill their social missions.”
“Only 9% of English adults think Government spending on the arts should be increased, compared with 45% who think it should be decreased, according to new research by consultants ComRes. It also found that more than half know ‘nothing at all’ about Arts Council England (ACE), and the vast majority (89%) don’t think that it is good at communicating the value of arts and culture.”
With strapped school budgets, the school board is looking to close its budget by making families “pay to play”.
“The chancellor of the exchequer, George Osborne (who warned against Brexit), might not have been popular among the culturati but he did genuinely value the arts and, especially in the latest spending round, went out of his way to protect funding for our national institutions. All those old conversations we used to have about arts funding (“instrumental” versus “intrinsic”) will disappear—quaint reminders of indulgent times past.”
“The truth is, “compelling” stories can be found just about everywhere online; arts groups regularly post feature material on their websites. What are we losing? Something that is becoming increasingly rare in the world of professional journalism — invitations, via criticism, to think seriously and honestly about artistic accomplishment and failure. Let’s not pretend it is a fair trade.”
“Between 2007 and 2015, a European Union program provided nearly $145 million to Britain’s film, television and games industry, according to an open letter published by a number of British film producers.”