“Museums are very public buildings that offer the promise, or at least the hope, of this intimate experience, the moment of seduction and insight. A museum master plan probably needs to be most concerned with organizing the traipsing around, but not at the expense of silencing that voice from the alley.”
The Observer meets Amazon’s Russell Grandinetti.
“We set out to create and establish roles to try and mitigate power conflicts. This worked for a short while, but we found that although we had divided ourselves into the traditional roles of Playwright, Set Designer, Sound Designer, Teaching Artist, Director, Stage Manager, and Education Director, those titles meant different things to each of us. Our roles became accusations.”
“The reinterring of the stables, which once hosted horses raced at the Circus Maximus, is another blow to anniversary plans after Rome failed to find funds in time to restore Augustus’ mausoleum, a city block-sized monument which has been used as a toilet by tramps since falling into disrepair, and now stands mouldering behind fences in the centre of Rome.”
More specifically, it was a visit Peck – who’s making a piece for MCB to premiere next March – made to Wynwood Walls, an outdoor gallery featuring spray-painted murals in an old Miami warehouse district.
The “Core Project” is the first of three stages of the museum’s Frank Gehry-designed expansion. “[It] involves tearing out the existing auditorium, which sits directly beneath the Great Stair Hall, and replacing it with a space labeled the Forum.” Thomas Hine argues that the Forum, as planned, misses every opportunity it has – and it forgets “the whisper”.
“[The American Music Project’s] goal is simple: to broaden the exposure of American classical composers to the public at large. But does the world really need another classical music nonprofit? AMP’s founder Johnson clearly thinks so, and his reasons for feeling this way are compelling.”
“Frankly, since the age of 20, all of the interviews I’ve done have involved people asking about my impending failure [after all the early success], and how I felt about the possibility of that. … Which is hard to deal with, because a lot of us already have those fears anyway: what if this doesn’t last for ever?; what if I don’t end up working in 10 years? So for other people to then be asking you about those things all the time is like having your innermost fears confirmed by somebody outside of yourself.”
Suffering from bladder and respiratory infections, the tenor-turned-baritone has pulled out from the remaining three sold-out performances of Il trovatore with Anna Netrebko as well as a concert with Daniel Barenboim and the West-Eastern Divan Orchestra.
“Even if you are left cold by art, your view of this contention matters: if it is true, then so is the broader claim that the 21st century is leaving us incapable of deep engagement with anything.”
“There is a real danger that inequality is not just related to literal capital accumulation, but to equality of opportunity and the accumulation of cultural capital. This might include things like what kind of education your family can afford to give you. … It isn’t hard to see how this ends up a popular theme in young adult dystopias.”
“To whom the book belonged remains a mystery, but in a sense it belonged to all of us convent girls in that sleepy town in southern Zimbabwe. We were having our eyes opened in more ways than one.”
“I would say 90% of the creative community in Scotland is pro-independence. … “I’m not claiming there’s outright censorship but I think funding bodies and local councils have cold feet about political theatre.”
“This was really a year that underscored that a younger generation of diverse writers are becoming central to the genre and helping to redefine and expand it.”
“How to cope with an an almost infinite access to information is one of the questions of our age. You can see why ephemeral and anonymized messaging services such as Snapchat and Secret are growing rapidly. Social norms are shifting rapidly.”