“There was something that kind of irked me about the title,” says Jane Schmidt, librarian at Ryerson University in Toronto. “As a librarian, my gut reaction to that was, ‘You know what else is a free library? A regular library.’”
“If art is defined by human emotions, what might happen once external algorithms are able to understand and manipulate human emotions better than Shakespeare, Picasso or Lennon? After all, emotions are not some mystical phenomenon — they are a biochemical process. Hence, given enough biometric data and enough computing power, it might be possible to hack love, hate, boredom and joy.”
“Receiving it [in 2013] at the age I received it – I definitely felt that I didn’t deserve it. And that became a distraction from the work – I was thinking about so many of my mentors and idols who don’t have that award and asking, ‘Why do I have this and they didn’t have it?’ I allowed that to play a part in the work I was trying to make. And that’s tricky.”
“I think we’re hitting a point, particularly with the younger generations, where they feel the need to reclaim a level of informality. Of course, that means going through an interesting transition period, because there are still those brought up in the old ritualized style now clashing with those who want a very different experience.”
“The Lenfest Institute for Journalism, launched in January 2016 with an endowment of $20 million from philanthropist Gerry Lenfest, announced today it has raised $26.5 million in additional gifts from a variety of sources. Impressed by the response, Lenfest says he’s ponying up another $40 million, an amount that will have to be matched.”
“Jordan (Tead) Vaughn, 34, made a reputation for himself in Detroit’s street art scene over the past 20 years. The Trenton-reared artist was known for being able to seamlessly blend various styles to create an approach that was pulled from the early days of graffiti yet uniquely his own.”
What does it mean when a culture expresses its aspirations and ideals through a longing for a lost past, the past even of another country? Of course, every society has some version of its own past, and many of these are idealized pictures. Fantasizing about a simpler, happier world is a common enough reaction to rapid social change.
According to the findings, only 59% of people with an Asian background said they had engaged in the arts in the last year compared to 78% from the white and 70% from the black ethnic groups. Over the past 10 years, there has also been a “significant” decline – of seven percentage points – of the proportion of Asian people engaging in the arts.
“It wasn’t clear what was fueling the selling. Some tied the declines to the launch of Hulu’s live package, which could put pressure on ratings and traditional pay-TV subscription. Another negative was Time Warner reporting that its Turner unit’s ad sales fell 2%, possibly signaling a weak ad market and a slower than expected upfront. Last week, Comcast’s NBCUniversal said ad sales at its cable networks were also down in the first quarter.”
“There have been lawsuits, charges of slander, death threats, hoaxes, and thefts. A Modigliani specialist has been convicted of falsely attributing works to Modigliani. A skyrocketing market for works by the artist has been plagued by fakes in Russia, Serbia, and Italy (where Modigliani was born). Perhaps appropriately for one of the world’s most faked artists, there have even been fake fakes. Experts, meanwhile, are jockeying to be recognized as the ultimate authority on what should and should not be accepted as authentic.”
“Over the last decade, ESPN built perhaps the most profitable business in media, and the future of its business will likely exist somewhere beneath that superlative. But as long as Americans enjoy sports—and as long as individual sports leagues see a financial benefit in selling access to an entertainment company rather than selling straight to consumers—there is every reason to expect ESPN will continue to be an extremely valuable network.”
It is hard to imagine how some of Acconci’s work, which addresses consent as both a theme and a medium, would be received as new work by museum audiences today. (Notwithstanding Acconci’s successful retrospective at MoMA P.S.1 in 2016, his place in the canon by then long established.) Recent examples of socially transgressive artworks suggest that the answer may be: not so well.
“There were stained futons that you wouldn’t even let your college freshman sit on,” said Amy Astley, the glossy mag’s editor-in-chief and a ballet fan. A donor took care of construction costs, and Astley convinced the designer and all the furnishings suppliers to donate the rest. Here’s the story, with before-and-after pics.
The Art Newspaper‘s Ben Luke argues that limiting the prize to artists under 50 was a crucial element in the Turner Prize’s success in drawing wide attention to emerging talent (the stated reason for the award’s existence), and that eliminating that limit will make jurors’ jobs much more difficult.
Bernard Labadie, founder of the Quebec City-based chamber orchestra Les Violons du Roy. He takes over from Pablo Heras-Casado at the podium of New York’s leading freelance orchestra in 2018. Michael Cooper talks to Labadie about his plans for the band and his recovery from lymphoma.
“Whether contemplating the pros and cons of climate change; the role of evolution; the risks versus benefits of vaccines, cancer screening, proper nutrition, genetic engineering; trickle-down versus bottom-up economic policies; or how to improve local traffic, we must be comfortable with a variety of statistical and scientific methodologies, complex risk-reward and probability calculations – not to mention an intuitive grasp of the difference between fact, theory and opinion. Even moral decisions, such as whether or not to sacrifice one life to save five (as in the classic trolley-car experiment), boil down to often opaque calculations of the relative value of the individual versus the group. If we are not up to the cognitive task, how might we be expected to respond?”
“You don’t need a printing press to be a journalist anymore. You don’t need a museum to be an artist. Web platforms have made it so anyone can distribute anything online. They’ve also shortened the distance between making something and remixing it; between distorting other people’s original work and just copying it outright. The same tools that enable artists to share their work widely makes it easier for those same artists to get ripped off by outsiders who sometimes profit from this kind of theft. But money isn’t the only thing separating collaboration from co-option.”
The report, published following the inquiry into Skills in the Theatre Industry, revealed that the number of performers, directors and writers from more affluent background and the underrepresentation of black, Asian and minority ethnic theatre workers continues to be a major concern for the industry.