Surprisingly (or not?), amateur troupes all over the U.S. have taken to this dysfunctional-family extravaganza.
When David Patrick Stearns set up his interview with Wolfgang Rihm, these were the conditions he was given: “No phone calls. No e-mail. Only questions submitted (in English) by fax and returned by fax, on handwritten pages – in German.” Says Donald Nally, who’s conducting a major work of Rihm’s this weekend in Philadelphia and New York, “I envy someone living in a different century like that.”
To Be (a charity) or Not To Be, That is the $40 Billion Question
Source: Field Notes | Published on 2013-12-20
The report emphasized several nonfinancial “measures of success,” including six Walker-organized exhibitions, a half-dozen performing arts commissions, and 41 film and video premieres. The center added 80 pieces to its permanent collection. It also sent four exhibitions to nine U.S. cities, where they were seen by more than 190,000 people.
“There’s the Lenny problem: Is he for real or is he an act? Do we love him or do we want to kick him in the ass? Is his heart only on his sleeve, or is there another one inside him? And do those of us who grew up with him in all his avatars respond to him the same way as those coming to him for the first time, with no history and perhaps no expectations?”
“Architecturally, the new Kimbell addition will soon fade into the middle rank of Piano’s oeuvre, neither at the top (the Nasher and Menil) nor the bottom (the Broad Contemporary Art Museum of 2003–2008 in Los Angeles and the Morgan Library & Museum of 2000–2006 in New York.) His Fort Worth pavilion is the twenty-first museum building Piano has completed, with another four in the works, and he cannot be expected to produce a hit every time.”