With National Lottery income making up nearly 40% of Creative Scotland’s and sportscotland’s total income, these reductions are of critical concern and put both jobs and provision at risk. Figures released by National Lottery operator Camelot in June 2017 showed arts funding was down £55m, with expectations that the “disappointing” sales would continue this year. Creative Scotland told AP its lottery income fell by £5.3m in 2016/17, to £29.1m.
Archives for November 2017
“At one minute past midnight on July 19, 1975, my father was hanged. For twenty-seven years, I told no one about it. Then I published a memoir. I have lived with the aftermath of that decision ever since, as does anyone who has published their own story, who has unwrapped what had previously been concealed: the skinned inner self dragged out and, shrinking in the light, placed beneath the bright hot gaze of strangers.”
“I expect art to be troubling because I expect people to be troubling. I am prepared to like and dislike something in every work. I can also appreciate the aesthetic genius of a moral monster without feeling that I am becoming inured to monstrosity. Just as I can read Heidegger without becoming a Nazi, I can look at one of Adolf Hitler’s juvenile watercolour paintings and appreciate a bit of pink in the sky there, and understand it as a painting of its era and one by a tyrant at the same time. And if I do this and am judged immoral for it, is it because it is bad for just me or bad for society at large?”
“Where a shortfall of $15 million had been projected for the fiscal year 2017, which ended in June, that figure was contained to $10.1 million, according to the report, and the Met said it is on track to eliminate its deficit by 2020. In addition, the museum’s endowments increased by almost $300 million, to a total of $2.9 billion; and the Met said it raised $232 million in philanthropic gifts, membership dues and government support.”
“Yet another fair feels like a car company offering another new model: there are already more than enough different cars, besides other options like bicycles, trains and planes. But, like the possibility of a new and really interesting car model entering the stage—an electric one, for instance—there’s always a chance of a new and really interesting art fair showing up. Anything truly innovative could of course change my calendar.”
The final decision had been made two weeks earlier, spurred by a combination of declining admissions — down by 35% just this year, according to High Ground Memphis — increasing real estate debt, and the school’s small endowment fund. Tuition at the school is $35,000 per year. While many remain optimistic that the school could remain open, it would take a miraculous $30 million endowment donation to make this possible.
“The opening of the Louvre Abu Dhabi over the weekend is the latest example of how traditional French cultural diplomacy is being supplanted by brand politics: Abu Dhabi bought the rights to use the Paris museum’s famous name at a price tag of over $500 million over three decades. This example of “soft power” goes beyond museum names such as the future Shanghai Pompidou Center — and can be seen in the exporting of Sorbonne’s academic reputation, the proliferation of Christian Dior boutiques in Asia, the increasingly popular fizz of Moet & Chandon champagne, the cuisine of master chef Alain Ducasse and Louis Vuitton’s status handbags.”
The organization acts as a producer and manager all in one, from mapping out a show’s tour route to managing it on the road. “We view ourselves as being in service to the artists and the work, and we also view ourselves as being in service to our colleagues who will be our client.”
“The teachers’ objection was not just philosophical; it was philological. The rule, they said in the French version of Slate, was a parvenu (it was enunciated in the 17th century and became widely taught only in the 19th century) and politically motivated (it buttressed French laws that denied women equal rights). … In its place, the teachers suggested using ‘the rule of proximity,’ in which the adjective matches the gender of the noun closest to it, which was common practice for centuries.”
“Accelerating scientific invention does not make human beings any more good-natured or reasonable but simply increases their capacity to achieve their goals. In practice, this means the groups that are most powerful will increase their hold over the rest. Schemes for improving the human animal by technological means will not alter these facts. What counts as improvement will be decided by existing human beings, with the most powerful among them having the biggest say. The result is more likely to be enlarged versions of human vanity and cruelty than a higher version of the species.”
“All the old habitats, including Mr. Carson’s pantry, the servants’ dining room and Lady Mary’s bedroom (faintly scandalous with its memory of Kemal Pamuk’s coital demise) are painstakingly recreated, right down to the forks and spoons arranged just so on the Crawley dinner table. Behind the green baize door lies the servants’ quarters just as you left them, along with Mr. Carson’s old desk, complete with period-era bills and correspondence.”
“All of us, to some extent, borrow from others, from the culture around us. Ideas are in the air, and we may appropriate, often without realizing, the phrases and language of the times. We borrow language itself; we did not invent it. We found it, we grew up into it, though we may use it, interpret it, in very individual ways. What is at issue is not the fact of “borrowing” or “imitating,” of being “derivative,” being “influenced,” but what one does with what is borrowed or imitated or derived; how deeply one assimilates it, takes it into oneself, compounds it with one’s own experiences and thoughts and feelings, places it in relation to oneself, and expresses it in a new way, one’s own.”
Lyn Gardner: “If the anniversary of the Russian revolution offers one reason for the current glut of Chekhov revivals, the other may well be the way the plays speak so directly to a world in flux, where the characters cannot comprehend or adjust to the cultural, social and political earthquakes that engulf them.”
“The stories are often presented as cautionary tales to frighten us into correcting the error of our ways – lest we bring about the end of our own global civilisation. They promote an ethic of environmental responsibility that we ignore at our peril. It is no coincidence that they focus on climate change, human-caused environmental impacts and overpopulation because these three factors are the major global concerns of our times.”
Some people are asking that very question following the record-smashing sale of Leonardo da Vinci’s Salvator Mundi for $450 million. But there were some special factors at play here that are unlikely to be repeated – as Robin Pogrebin reports, “the artwork achieved an unprecedented price because it was an unprecedented piece.”
Anne Midgette on a National Symphony Orchestra concert at Anthem, a new riverfront club in southwest DC: “[Rather than] pander to a younger audience by giving it what they think it wants to hear, … this performance had the orchestra, in street clothes, simply playing the music it does well, including large chunks of this week’s subscription program. Rather than chasing the audience, it introduced itself as it is and let the audience come to it.”
“Artists, collectives, new bars, farm-to-table restaurants, startups, and alternative music venues are amassing in Athens. Abandoned buildings, the scars from what Greeks simply call ‘the Crisis’, are turning into cultural spaces and homes for startups. Political statements are now emblazoned as street art. Artists from Mexico, Bali, New York and Western Europe are making Athens a new base. Is Athens the New Berlin? No, it is Athens. But, something is happening.”
“There are times when I do just want to make a dancey dance. … But for me, I always get to a certain point when I feel it’s a waste of time and energy. Being black and gay there’s so much that I’ve faced in my life that I can’t be oblivious to what’s happening in the world. I can’t put all that aside and say: ‘Let’s just choreograph this pretty picture.'”
Siphesihle November, aged 19 and a new member of the NBC corps de ballet, talks to Q about his personal and artistic journeys to the far side of the globe. (audio)
Responding to a New York Post article – headlined in the print paper “The Art of the Steal” – questioning the fate of the funds intended for her now-abandoned performance-art institute in Hudson, New York, Abramović – in a statement titled “The Art of the Truth” – wrote that “the [tabloid’s] allegations are so false, libelous and in every way untrue that I must address them.”
“The enigma of The Enchanted Pose, which depicts side-by-side female nudes, began decades ago. It is listed in the comprehensive catalog of Magritte’s works, but its location had been marked as ‘unknown’ since 1932. Magritte, who died in 1967, never said anything about its fate.” Turns out he cut it into four, painted over the pieces, and sold them as separate paintings. They were all hiding in plain sight, as it were, and the last of the missing quarters has now been identified.
“The Los Angeles Philharmonic’s spring news earlier this year that its longtime president and CEO, Deborah Borda, was departing for New York sent the arts world spinning. Since then, one question has hung – or rung, like a symphonic triangle – in the air: Who would replace her?” We now have the answer.
Following the report that, at the time Halls was fired from the OBF artistic directorship, he was being investigated over claims that he discriminated against women, he wrote in a statement, “I am reading about these complaints for the first time now. At no stage did anybody from the University of Oregon or the Oregon Bach Festival leadership present me – or my attorney – with these documents.”
“Comcast is interested in the same set of assets that Disney approached Fox about earlier this year, sources said. Also of interest to Comcast is acquiring the international assets of Fox, given that the Philadelphia-based company is heavily concentrated in the U.S.” (includes video)
“Opening with a quote from Paul Monet, ‘Grief is a sword, or it is nothing’, [David] France’s book chronicles how the activist community fought to develop the drugs that would turn HIV into a largely treatable condition. … [The book] beat titles including Simon Schama’s Belonging and Christopher de Bellaigue’s The Islamic Enlightenment to win the £30,000 award,” the Baillie Gifford Prize.
“The Moorish-influenced Casa Vicens, commissioned by the stockbroker Manuel Vicens Montaner [as a residence] and built between 1882-88, was the architect’s first major project. … Fifteen lavishly decorated rooms by Gaudí have been restored with input from the descendants of its original tenants as well as extensive archival research.”
“[The Art Gallery of New South Wales’s] new wing, Sydney Modern, will step across the Cahill expressway and spill north down the Domain towards the harbour, under an ambitious plan to increase visits to the city’s pre-eminent gallery. But the latest plan, though more modest than the first version released in 2015, is still likely to spark a furious debate about the loss of open space in Sydney.”
In response to a news report saying that staff turnover has been high and morale low at the Brisbane, Australia-based orchestra – with sources blaming music director Alondra de la Parra and CEO David Pratt – the QSO section principals released a statement supporting the two, and the board chairman said, “I know that morale is strong under David’s and Alondra’s leadership; we promote a culture of speaking up, of respect and achievement.”
Did Ken Griffin Buy the Leonardo (or provide $$$ for Art Institute of Chicago to acquire it)?
While we’re all still coming to terms with the fact that a damaged 26″ x 18″ oil-on-walnut painted panel has just sold for $450.3 million, here’s a potential scoop that is based on some data, … read more
AJBlog: CultureGrrl Published 2017-11-16
“Sotheby’s Drudgery”: My Storify on Contemporary Art Sale Short on Excitement
Last night’s Contemporary Art sale at Christie’s, headlined by a certain very non-contemporary religious painting, was a hard act for Sotheby’s to follow. It did interpose its own anomalous lot to jazz things up – a red Ferrari. … read more
AJBlog: CultureGrrl Published 2017-11-16
Houston First Corporation invites applications for the position of Chief Operating Officer, Cultural Facilities & Services.
The Cultural Facilities & Services/Chief Operating Officer (COO) is responsible for the overall management of Theater District Facilities, developing and maintaining relationships with resident companies, the City of Houston and the business community in order to ensure the goals and objectives of the organization are met.
The Cultural Facilities & Services Department is a department within Houston First Corporation dedicated to promoting arts and culture in Houston. This is accomplished through the effective and exemplary management of several performance destinations and attractions.
Houston First strives to set the standard by which all other arts districts are compared through beautifully maintained facilities, a well-trained staff, and a collaborative spirit. Enriching the quality of life for Houstonians and tourists alike motivates every decision and every project undertaken by this department.
The facilities under the purview of this department are: Jesse H. Jones Hall for the Performing Arts; Wortham Theater Center; Miller Outdoor Theatre; Talento Bilingue de Houston; Jones Plaza; the Theater District Parking Garage; and various ancillary spaces (as well as Houston First Ticketing Services).
The annual operating budget for 2017 is approximately $17.9 million with a staff complement of 38 full-time and 10 part-time positions, as well as contracted services. Additional funds for repair and restoration work after Hurricane Harvey have also been allocated. The department serves over 1 million patrons a year at over 700 events in 1.6 million square feet.
This position reports directly to the President and Chief Executive Officer of Houston First, Dawn Ullrich.
Houston First Corporation/ Background:
Houston First Corporation is leading the effort to promote Houston as one of the premier travel destinations in the world. Its employees operate the city’s finest convention, arts and entertainment venues.
A local government corporation formed in 2011, Houston First manages more than 10 city-owned buildings and properties and underground and surface parking for nearly 7,000 vehicles.
Houston First owns the Hilton Americas-Houston hotel, manages the George R. Brown Convention Center (GRB) and 11 city-owned properties and is the driving force in developing the new Avenida Houston entertainment district.
Houston First is responsible for the day-to-day maintenance, licensing and operation of these properties as the sites of conventions, trade shows and theatrical performances that enrich the lives of Houstonians.
In 2014, Houston First and the Greater Houston Convention & Visitors Bureau completed a strategic alignment to create a single, clear voice that speaks for the Houston product in all sales and marketing efforts.
The George R. Brown Convention Center was opened in 1987 and expanded in 2003. The GRB has more than 1 million square feet of exhibition, meeting and registration space, and ranks as one of the nation’s 10 largest convention centers. The GRB is the site of over 250 conventions and other meetings annually.
Across the street are the 1,200-room Hilton Americas-Houston, which is connected to the convention center via double-deck pedestrian sky bridge, and the 12-acre Discovery Green park. The 1,000-room Marriott Marquis just north of the park opened in 2016.
In the Theater District, Houston First facilities include the Wortham Theater Center (home of the Houston Ballet and Houston Grand Opera opened in 1987 with two performance spaces, the 2,405 seat Brown Theater and the 1,100 Cullen Theater); Jones Hall (home of the Houston Symphony and the Society for the Performing Arts) opened in 1966; 2,912 seats). The venues also include tenant, administrative, rehearsal, catering, and storage spaces.
Other facilities managed by Houston First include Miller Outdoor Theatre (opened in 1923; rebuilt in 1968; capacity 6,200); Jones Plaza, Ray C. Fish Plaza and Talento Bilingue de Houston (240 seats).
Houston First interacts with several partners that benefit from its passion and resources such as Discovery Green, Bayou Place, Buffalo Bayou Partnership, Downtown Aquarium, Hobby Center for the Performing Arts, Miller Theatre Advisory Board, Mid-town Arts and Theater Center Houston and the Greater Houston Convention and Visitors Bureau.
While on August 27th, Hurricane Harvey caused extensive water damage to some of the properties managed by Houston First, the Corporation took immediate action to prevent further damage and to repair the buildings in order to re-open them for public performances. The Corporation, in the words of President & CEO Dawn Ullrich, is “steadfastly committed to seeing that everyone is back on their home stage as soon as possible.”
The mission of Houston First Corporation is to enhance quality of life, advance economic prosperity and promote the Houston region by inspiring the world to think Houston first; Houstonians to believe in Houston first; and Houston to deliver first-class hospitality. The vision for the Cultural Facilities & Services Department is to provide first-class destinations and services that contribute to rich experiences steeped in arts and culture.
In accordance with the mission and goals of the organization, the COO provides general oversight of the day-to-day management of theaters, ancillary spaces, and staff.
The COO develops, plans and monitors long-range plans and capital projects; directs short-term and long-range planning to support strategic business goals; develops and maintains partnerships with resident companies and all arts groups in the city, attends meetings and events as a representative of Houston First; and implements best practices and innovative programs that strengthen the theaters, parking facilities, and green spaces.
The COO participates as a member of the Executive Team in developing and implementing the strategic direction for the organization; preparing and monitoring the department’s annual budget, and overseeing the overall day-to-day operations of the ticketing and box office departments.
- A minimum of ten (10) years’ experience as a senior manager in large, complex performing arts facilities or cultural organizations.
- A track record in building and nurturing excellent management teams and the personal leadership qualities, political acumen, tact and patience required to manage a complex operation successfully.
- A graduate degree in arts, arts management, or not-for-profit administration is preferred or equivalent experience in facility management and administration. Contract negotiation skills, legal training, experience in working with municipal governments and urban planners, and/or knowledge of the region would be useful attributes.
- The applicant should have a comprehensive knowledge of many performing arts forms and all aspects of arts venue management.
- The new COO will have excellent analytical, financial and organizational skills. Other necessary characteristics will include political savvy and diplomacy, good oral and written communication skills, a track record in community partnerships and co-presenting, and knowledge of ancillary businesses such as catering, ticketing, parking, corporate and other outside rentals, and the like. We seek an industry professional with existing networks within the cultural sector and a personal vision of how the arts play a role within the life of a community.
Salary is commensurate with experience and qualifications. Excellent benefits package. Deadline for applications: Friday, December 15, 2017.
Interested candidates are invited to submit a cover letter and resume with a list of references and salary requirements in confidence to: