Dan Kois: “Ready to explain how you CODDLE WRITERS, Laura?”
Laura Helmuth: “Hello, Kois. Have you made anybody cry today?”
“Having paid for your seat, having promised yourself a special evening, and finding yourself sitting in the middle of a long row beside others who have also paid and promised themselves a special evening, others whom you imagine have similar interests to your own, people willing to spend time and money supporting avant-garde culture, a community almost—in these circumstances you are probably always going to hang on at least thirty minutes, however bewildered and sceptical you may be.”
Even the word barely existed until 60 years ago. Now electronic tones are everywhere from heart monitors to smartphones to supermarket scanners, alerting us to everything from the truck backing up toward us to the train doors closing behind us to the Lean Cuisine in the microwave being ready. And those sounds aren’t chosen casually: psychoacousticians work hard to match the beep to the job.
“For a long spell, [many Hollywood] comedies … were taped without a live audience as laugh tracks fell out of fashion. But with the re-emergence of the traditional sitcom – comedies staged on a familiar set – living, breathing warm-up performers like Mr. Lundblade are suddenly in vogue. Producers fight for the best and virtuosos can command anywhere from $4,000 to $6,000 a day.”
“Many must have been unpleasantly surprised when they learned that Gurlitt had willed his collection to the Kunstmuseum Bern in Switzerland. According to reports, Gurlitt was deeply shocked by the way he was treated by the government. And now there are signs that his own will and testament won’t be respected by the state either.”
“Makella Craelius and her business partner, the filmmaker Puppett, founded Queer Books LLC in February of this year with an eye to buying the store. They hired on two other employees and Craelius began working full time at Giovanni’s Room. They’d been in contract talks with [store owner Ed] Hermance up until the week” he announced the closing – without Informing Craelius first.
“The orchestra’s contract, along with those of 15 other unions representing workers at the end of July, and the company’s management is trying to reduce labor costs at a time when ticket sales have fallen and its endowment has dwindled. The vote by the orchestra’s union would authorize a strike ‘should management’s intransigence warrant such an action’.”
Art, Work and Money
AJBlog: CultureCrash | Published 2014-05-12
Who Won The 2013 Curatorial Awards?
AJBlog: Real Clear Arts | Published 2014-05-12
Art and money
AJBlog: For What it’s Worth | Published 2014-05-11
Crack-Up: Taste, Anxiety and American Populism
AJBlog: We The Audience | Published 2014-05-11
It is safe to say that the golden age is over. Not that philanthropy has lost all its luster—there are still plenty of folks who consider it the best hope for, in the words of the Rockefeller Foundation charter, “promot[ing] the well-being of mankind throughout the world.” But there is now, once again, a significant and vocal faction willing to call those ambitions into question.