“Historians now credit him with having pretty much invented the American pop song in its purest form: the bastard stepchild of the parlor song and the minstrel song, of the European and African strains of American music.” (And that child is very much a bastard – ever heard the second verse of “Oh, Susannah”? Yikes.)
“You could read this as being the lesbian love between Tove and Vivicka. They have their secret love in this suitcase, and when they open the suitcase and show it to the whole of Moominvalley it is also a picture of how they show their love to the world. It’s a really beautiful story.”
There’s a “battle between the Sotheby’s Old Guard and a financier who views artworks as financial assets that trade in a market made by the auction houses. The confrontation figures to get bitter and bruising between now and May, but at its center there sits a rather more exalted question: How do you properly value art?”
“Choirs routinely look for and program new music and that draws audiences, but instrumental ensembles suffer at the box office when presenting new works. In my opinion, there are a few reasons for this, with the main reason having to do with the difference between the human voice and instruments.”
Jon Fosse is “perhaps Europe’s most-performed living dramatist, translated into 40-odd languages. In 2010, he won the biggest prize in global theatre, the £275,000 Ibsen award,” and last year he was thought to be a frontrunner for the literature Nobel. Why does the English-speaking world know so little of him?
The Mikhailovsky Ballet, the well-funded St. Petersburg company that famously lured Natalia Osipova and Ivan Vasiliev away from the Bolshoi, was going to appear in New York in 2012 – until ABT, which also engaged the couple, invoked a non-compete clause. But they’re coming stateside at last.
Randolph College’s Maier Museum Is Punished
AJBlog: Real Clear Arts | Published 2014-03-12
Economics of deaccessioning (a bit theoretical)
AJBlog: For What it’s Worth | Published 2014-03-12
AJBlog: Performance Monkey | Published 2014-03-12
Making it as a Writer: MFA vs NYC
AJBlog: CultureCrash | Published 2014-03-12
Pierre Boulez video interview: ‘I am a composer. I still am a composer’
AJBlog: Slipped Disc | Published 2014-03-12
“The distinction in creative labor, put simply, is that artists have autonomous control over the direction of their creative output, whereas members of the “creative industries” produce products on spec. While both trade the products of their labor for capital, the latter, professionalized class dwarfs the former in economic clout, and so is dramatically more lucrative and stable an avocation.”