June 15, 2005
How this blog worksWe’ve asked 15 critics from the US, UK, Canada and Australia to face off in a discussion about how they do their jobs. The conversation will last from Monday, July 18-Friday July 22, 2005. The blog is a lead-up to this year's Aspen Music Festival Critics' Symposium, where Tim Page, Willa Conrad, Greg Sandow and Anne Midgette will be taking part in public panels. Reader comments to the blog...
Posted by mclennan at June 15, 2005 08:07 AM
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What we're talking about Who's talking How this blog works Aspen Music Critics Event
36 entries and counting
Contact Canada US Moderator Lebrecht: Why American Arts Journalism Is So Bad Director Weighs In On Critics Biting Back At Toothless Critics AJBlogCentral
Is there a fundamental difference in the ways music critics see their roles? Are European classical music critics different from American critics? Are there different expectations of London critics than New York critics? Between critics in the “second cities” of America and those of Europe? Consequently...
Our invited critics include: from the UK: Hugh Canning (Sunday Times), Norman Lebrecht (Evening Standard), Fiona Maddocks (Evening Standard); from Canada: Colin Eatock (freelance), Robert Everett-Green (The Globe & Mail); from Australia: Peter McCallum (Sydney Morning Herald); from the USA: Willa Conrad (Newark Star-Ledger), Andrew Druckenbrod (Pittsburgh Post-Gazette), Lawrence Johnson (South Florida Sun-Sentinel), Joshua Kosman (San Francisco Chronicle), Allan Kozinn (The New York Times), Anne Midgette (The New York Times), Tim Page (Washington Post), Donald Rosenberg (The Plain Dealer), Tim Smith (Baltimore Sun), David Patrick Stearns (Philadelphia Inquirer)
We’ve asked 15 critics from the US, UK, Canada and Australia to face off in a discussion about how they do their jobs. The conversation will last from Monday, July 18-Friday July 22, 2005. The blog is a lead-up to this year's Aspen Music Festival Critics' Symposium, where Tim Page, Willa Conrad, Greg Sandow and Anne Midgette will be taking part in public panels. Reader comments to the blog...
At the end of this blog (July 22-24), a group of four music critics gather at the Aspen Music Festival for a weekend of discussion. AJ blog partner
Colin Eatock, freelance
Robert Everett-Green, The Globe & Mail
Who Cares If They Read?
Willa Conrad, Newark Star-Ledger
More on newspapers underwriting the arts
Another way to look at the American style
Andrew Druckenbrod, Pittsburgh Post-Gazette
Where did I put that periwig?
Lawrence A. Johnson, The Sun- Sentinel (Florida)
The Critic's Role(s)
Joshua Kosman, San Francisco Chronicle
One Voice Per Beat
Allan Kozinn, The New York Times
Reporting and Ink Measurement
Critics and Reporters and Being Played Like a Fiddle
Observations about the observations
One view from New York
Anne Midgette, The New York Times
Tim Page, Washington Post
Donald Rosenberg, The Plain Dealer
Touting Two Tims
Tim Smith, Baltimore Sun
David Patrick Stearns, Philadelphia Inquirer
Douglas McLennan, ArtsJournal
Daniels All Around?
Hear Hear for the Two Tims (and Daniel and Mark and...)
Looking For A Critical Connection
Call Off the Attack Dogs!
Critics - Pick A Role
Norman Lebrecht doesn't think much of American arts journalism. "The failure to challenge is a fundamental flaw in US arts journalism. The tone in US arts coverage is uniformly respectful, uninquiring, inherently supportive." And how did this happen? Because there are few cities with multiple critical voices. "This monopoly places an unhealthy burden on critics. If theirs is to be the only voice to pronounce on a new show or the fate of an institution, they are obliged to wear a mantle of responsibility that is antithetical to good journalism. A critic is licensed to get it wrong from time to time. Restrict that license and the reviews grow safe and solemn. An era of incorporation fostered a pontifical tone in American arts criticism." La Scena Musicale 04/01/04
Why isn't American theatre criticism more of a "companion piece" than a Consumer Reports verdict, wonders Anna Shapiro. "Two things baffle me and make me angry, and they are this: When somebody writes about a new play and says the play is beautiful; the production is beautiful; the performances are stunning; the directing is weak. That makes me angry. But not as angry as: The direction is beautiful; the production is wonderful; the actors are amazing; the play is weak. That makes even less sense to me." Chicago Tribune 07/03/05
Why the thumbs up/down review has damaged critics' power to set agendas. ArtsJournal 03/14/01
This week only!
Critical Conversation II
16 International Music Critics on the Future of Music
Nancy Levinson on Architecture
About Last Night
Terry Teachout on the arts in New York City
Andrew Taylor on the business of Arts & Culture
rock culture approximately
Straight Up |
Jan Herman - Arts, Media & Culture News with 'tude
Tommy Tompkins' extreme measures
Tobi Tobias on dance et al...
Martha Bayles on Film
Drew McManus on orchestra management
Kyle Gann on music after the fact
Doug Ramsey on Jazz and other matters...
Greg Sandow on the future of Classical Music
A Book Review review
John Perreault's art diary
Modern Art Notes
Tyler Green's modern contemporary art blog
Midori in Asia
Conversations from the road (June 22-July3, 2005)
A better case for the Arts?
A public conversation
Classical Music Critics on the Future of Music
Sticks & Stones
James S. Russell on Architecture
In Media Res
Bob Goldfarb on Media
Sam Bergman on tour with the Minnesota Orchestra
How this blog works Aspen Music Critics Event
36 entries and counting
Contact Canada US Moderator
Aspen Music Critics Event
Archive 36 entries and counting
Lebrecht: Why American Arts Journalism Is So Bad
Director Weighs In On Critics
Biting Back At Toothless Critics