Conductor Suzanne Mälkki: “Women have been conducting for decades. … They just haven’t been welcome. It’s as simple as that.”
Archives for January 2018
The statue was red, an angel with wings, but critics thought it was a depiction of Satan. “Protests against the 8-metre high sculpture called Phylax, which in Greek means ‘guardian’, have ranged from throwing white paint and spitting at it to attempting to exorcise it with a Greek priest sprinkling holy water.” Then a group of people decided to drag the entire column and statue down using a truck.
Exalting Bruckner at Carnegie Hall
Bruckner’s symphonies are communal rites of spiritual passage. For maximum impact, they require a proper hall and appropriate congregants. In New York City, Lincoln Center’s Geffen Hall – formerly Fisher Hall, and Philharmonic Hall before … read more
AJBlog: Unanswered QuestionPublished 2018-01-19
What Makes a Body Seem New?
The Guggenheim Museum’s Works & Process series presents two works by Jodi Melnick on January 14th and 15th. Jodi Melnick in One of Sixty-Five Thousand Gestures, choreographed by Trisha Brown and Melnick. Photo: Robert Altman … read more
AJBlog: DancebeatPublished 2018-01-19
Judaica as “Curiosities”: Are Jewish Museum’s Reinstalled Collection Galleries Good for the Jews?
I had misgivings from the start about Claudia Gould‘s appointment to the directorship of the Jewish Museum, New York. Her personal and professional backgrounds seemed more suited to directing a contemporary art museum than an … read more
AJBlog: CultureGrrlPublished 2018-01-19
Luciana Jury at WOMEX—Now THAT’s interpretation!
Luciana Jury was one of the day case acts at WOMEX 2017, and she started her solo show off-mic, entering from the audience area and walking and singing to the stage. This was the … read more
AJBlog: OtherWorldlyPublished 2018-01-19
Ken Burns, Collector, Gets An Exhibition
There’s nothing like a celebrity, even a person behind the camera instead of in front of it, to attract attention–sometimes even deservedly so. I think that is the case for an exhibition opening Friday, Jan. … read more
AJBlog: Real Clear ArtsPublished 2018-01-18
Women in jazz journalism on gender issues, in NYC MLK weekend
Dr. Martin Luther King Jr. weekend ’18 was a big one for jazz in NYC with the first Jazz Congress at Jazz at Lincoln Center, a glorious Winter Jazz Fest, artists showcases at the conference … read more
AJBlog: Jazz Beyond JazzPublished 2018-01-18
It’s really time, with Dee Rees’ Mudbound and a string of longlisted Oscar documentaries. “Netflix’s rival Amazon has previously cracked the Oscar race by playing nice with an old-fashioned cinema-first release for prestige hopefuls such as Manchester by the Sea. How Mudbound performs this week may tell us just how swiftly the goldrush game is about to change.”
We can easily get addicted to harsh reviews. “The appeal of negativity to the reader, that mysterious quality which makes the pan and the broadside irresistible, should alone warn the cautious critic of indulging in bouts of vitriol too freely, or too frequently. Harsh criticism has an intoxicating effect on writer and reader alike: both ought to be wary of its influence. Like any drug, censure has its benefits, its attractions and its resounding pleasures. But it is also dangerous.”
We can’t top this writing: “The clown king of novelty infrastructure fantasies has once again stolen the limelight with his preposterous plan for a 22-mile bridge across the Channel. As spending priorities go, Boris Johnson’s idea is madness. Most places outside the south-east UK languish with medieval infrastructure – and there’s also the fact that it’s the busiest shipping lane in the world.”
And it’s not a new initiative, either (but the original was scotched by parents, who didn’t like abstract art). “Wakefield’s Hepworth Gallery has revived a pioneering scheme from the 1940s to introduce children to the best in contemporary art. It has commissioned several contemporary artists to produce prints of their work especially for local schools.”
Nothing was good enough, apparently, to win the American Institute of Architects’ 25 Year Award. Blame post-modernism? “The 1980s and early ’90s were a transitional period in architecture and in some ways a fallow one. Post-modernism was enjoying an unsteady reign in those years. Having finally toppled corporate modernism — and thus having been robbed of a villain to help inspire new work — the movement was having trouble figuring out what kinds of landmarks to produce on its own terms.”
Malone, who won her Oscar for playing the unapologetically sexy woman in Written on the Wind, was a fighter for her own rights, perhaps to the detriment of her career. After she made a splash on TV’s Peyton Place, “She was written out of the show’s final season after she complained that her character’s story lines were lackluster. Ms. Malone sued the producers, and the matter was settled out of court.”
Their unions, of course, but they often have to track down offenders themselves. “Production photos, fight choreography clips, even bootleg production videos are often just a Google search away. While it’s never been easier to copy someone else’s work, it’s also never been easier for directors and designers to find potential offenders.”
First there were the parody videos of violinist Daniel Hope. Then there was his annoyance, and then there were the takedown letters from his lawyers. And now one of the parody video creators, “a Berlin-based concert programmer, dramaturge and journalist named Arno Lücker, was then told that a series he has long presented at the prestigious Berlin Konzerthaus, where Mr. Hope frequently plays and programs a series of his own, would not be renewed.”
The acquiring editor didn’t know her colleague down the hall was writing a book, and he used a pen name for it. “Had Mr. Mallory not prudently scheduled a weeklong trip to Palm Springs, which began the day his agent sent the manuscript to publishers, Ms. Brehl imagines she may have walked the book into his office to ask for his thoughts on it.”
And for Ferrante readers, the column may seem, indeed, imbued with the very essence of the writer: “We always look at first times with excessive indulgence. Even if by their nature they’re founded on inexperience, and so as a rule are not very successful, we recall them with sympathy, with regret. They’re swallowed up by all the times that have followed, by their transformation into habit, and yet we attribute to them the power of the unrepeatable.”
The negotiations have been tense, and the vote came as the ABT dancers and stage managers have been without a contract since July of last year. “Noting the long hours and hard work put in by the members of the company, [a union representative] said in a statement that they ‘all deserve to be able to retire from dance with dignity and respect and payments better reflecting what they have given to the company throughout the years.'”
The Executive Director provides leadership and managerial direction, including maximizing revenues, cultivating community relationships, and overseeing all administrative, operational, and financial goals.
Newark Symphony Hall (NSH) enjoys a long, rich cultural history as New Jersey’s oldest and largest showcase for the arts, education, and entertainment programming. Originally known as the Salaam Temple, this expansive facility was built by the Shriners in 1925 and features an elegant interior in the Greek and Egyptian styles.
Artists of genius stature, such as Arturo Toscanini, Vladimir Horowitz, Marian Anderson, George Gershwin, and Tony Bennett, have performed at NSH. The Boston Symphony Orchestra, Cleveland Symphony Orchestra, and Ballet Russe de Monte Carlo have also graced the stage of the venerable theater, as well as opera’s greatest stars, including Jerome Hines, Beverly Sills, Roberta Peters, Leontyne Price, and Robert Merrill. Virtually every major African American musical performer of the 20th century has appeared at NSH.
NSH hosted 187 events in 2017, with its main stage, 2,800-seat Sarah Vaughan Concert Hall hosting 60 events in the past 24 months. Offerings vary from public performances to private parties, church/religious assemblies, ethnic celebrations, graduations, weddings, and educational programs. Diversity is robustly apparent, with Quranic recitations, Jewish gatherings, Christian church services, and gospel music festivals. Major entertainment events presented by and for the African American, South Asian, and Latino communities have all been featured in each of the past two programming years. Nearly 25 percent of the events are presented by NSH and the remaining balance is rental activity. Presentations include monthly Line Dance social nights, the increasingly popular and prolific Arts-on-Stage programs, the Gospel music series, and a vibrant Children’s Arts Academy program. All NSH-presented programs are mission-centric, fulfilling their role as a center of culture and community and fostering local artistic expression and appreciation of the performing arts. This is an exciting time for NSH as the facility is emerging from a period of relative dormancy and experiencing a sense of reactivation.
NSH has begun preliminary planning to launch and house the National African American Arts & Entertainment Hall of Fame & Museum. The project would include a major restoration/renovation for much of the facility’s 200,000+ square feet of space. NSH is governed by a 17-member board of directors, led by Chairperson Alfred Bundy, and operates with an annual expense budget of approximately $1.4 million.
Founded in 1666, Newark enjoys a rich cultural legacy fueled by waves of immigration. As the financial, commercial, and transportation nucleus of the Garden State, as well as its largest city, Newark is a cosmopolitan community boasting a wide selection of exceptional dining, shopping, entertainment, and sports venues.
Newark is a thriving cultural hub filled with events and attractions for visitors from near and far. As the state’s premier center for the performing and visual arts, Newark offers a rich variety of theater, dance, and music, as well as an array of museums and galleries showcasing art and history. According to Arts and Economic Prosperity V, a study conducted by Americans for the Arts, the nonprofit arts and culture sector is a $178 million industry in the City of Newark. In 2017, The SMU National Center for Arts Research ranked Newark as the ninth most arts-vibrant community in the nation out of more than 900 communities surveyed across the country.
Newark is ideally located, with easy access to Manhattan (just eight miles to the east) and Philadelphia. Thanks to exceptional transportation options¬—including major air, rail, bus, and highway systems—Newark is among the most conveniently located metropolises in the country. The city is home to more than 280,000 residents and is at the crossroads of New Jersey’s Gateway Region, with four million residents. It has long been an important center of higher education, with more than 50,000 students, faculty, and staff filling the six colleges and universities located in its downtown business district.
This historic city is experiencing rapid growth. A multitude of new restaurants and services have opened to support the thousands of residential units recently completed, under construction, or being planned. Numerous corporations have moved significant operations to Newark, including Mars Wrigley Confectionery U.S., Panasonic, Audible, and Broadridge Financial Solutions. Newark also offers easy access to many regional attractions, including 61 state parks and forests, 130 miles of beaches, and four professional sports teams.
Reporting to the board of directors, the Executive Director will provide leadership and managerial direction to NSH. Overall responsibilities will include maximizing earned and contributed revenue, cultivating community relationships to expand support, continuing to build the organization’s reputation as a cultural and entertainment leader in Newark and the region, and overseeing all administrative, operational, and financial goals to ensure the continued success of NSH. The Executive Director will work collaboratively with an administrative team of 10 full-time professionals and numerous part-time staff members to achieve best business practices and fiscal accountability. This individual will communicate an institutional vision that embraces NSH’s values of artistic excellence, diversity, and community. The next leader of NSH will build on the early momentum that has begun and increase both programming and funding support.
Roles and Responsibilities
Program and Strategic Planning
- Guide strategic plan development with the board and staff to build consensus around key organizational priorities and focus on achievable objectives to advance long-range institutional goals.
- Lead, formulate, and implement a comprehensive program strategy, including self-produced, collaborative, and rental offerings, to serve the cultural needs and desires of the community’s diverse socioeconomic and demographic base.
- Oversee development of NSH-presented programs, including the Children’s Arts Academy.
- Supervise the engagement of artists and negotiation of contracts.
Revenue Enhancement and Community Relations
- Serve as a primary spokesperson in articulating and advocating for the mission and impact of NSH.
- Provide leadership in NSH’s fundraising efforts, working closely with the board of directors to energize its participation in these efforts.
- Devise and execute a comprehensive strategy to build and expand the audience and funding bases to sustain organizational growth.
- Identify strategies to maximize rental revenues in support of strategic objectives and reinforcing NSH’s overall brand.
- Play an active role in external relations within Newark and the surrounding communities, including municipal, county, and state governance, institutional funders, professional/business organizations, schools, colleges and universities, area arts organizations, and NSH neighbors.
- Make recommendations to the board for appropriate organizational structure to support the ongoing operations of NSH.
- Oversee NSH’s facilities and equipment, including maintenance, safety, and functionality, as well as strategic needs for future program development, maintenance, and capacity utilization.
- Determine organizational priorities with the Executive Committee of the board and execute the priorities with assistance from board and staff.
- Hire, train, and supervise administrative staff, mobilize volunteers, and oversee the effective use of financial and technological resources needed to achieve the organization’s goals and objectives.
- With appropriate board input, create human resource policies, practices, and procedures to ensure that they comply with state and federal employment laws and regulations.
Governance and Financial Stewardship
- Engage board members to maximize their participation and contribution toward its success.
- Collaborate with board leadership to identify, cultivate, and recruit new board members and play an active role in board member orientation and engagement.
- Develop strategies with the board for effective evaluation, rotation, and celebration of board and institutional successes.
- Support the work of board committees by allocating staff and administrative resources accordingly.
- Prepare and maintain functional cash flow reports for the Finance Committee and board.
- Develop a comprehensive capital and operating budget with input from the Finance Committee, for approval by the board, and regularly report on its progress.
- Monitor and report NSH’s financial position to the board, taking action as appropriate.
Traits and Characteristics
The Executive Director will be a proven leader who brings energy and a well-rounded array of competencies to guiding an effective management team and organizational structure that best serves NSH’s mission, vision, and goals. An entrepreneurial leader, the selected individual will have a proven track record in resource development, familiarity with concert and event promoters in the industry, and possess exceptional organizational and communication skills. The Executive Director will exhibit a strong passion for the arts, and serve as a hands-on manager who sets and maintains a collaborative leadership model that strengthens the organization by creating positive relationships with the administrative team.
The selected candidate will also demonstrate the following competencies:
- Resiliency – Continues toward goals, moving past unforeseen obstacles without unnecessary delay.
- Leadership – Develops relationships in positive ways and works effectively with a wide range of people at varying levels of the organization to achieve results.
- Personal Accountability – Embraces own capacity to be answerable for personal actions and professional decisions.
Qualified applicants must have a bachelor’s degree, master’s degree preferred, plus a minimum of seven years of progressively responsible senior management expertise in the arts, arts education, or a related field. This includes but is not limited to leadership in fundraising, advocacy, board governance, fiscal management, public relations, resource development, personnel management, and community collaboration. This individual will also possess strong written and verbal communication skills with a demonstrated capacity to lead, tempered by adeptness in building consensus among a diverse set of stakeholders.
Compensation and Benefits
Competitive salary, commensurate with experience, and benefits package includes paid holiday, vacation, and sick days, health insurance, 401(k) plan, parking, and other employee benefits, as available.
Application and Inquiries
Please submit a letter and resume (electronic submissions preferred) with a summary of demonstrable accomplishments to:
In 2012, Terra began convening local curators and scholars, soliciting ideas for publications, exhibits, and programs that would clarify Chicago’s role as a “catalyst and incubator for innovations in art and design.” The result is a still-growing 29-exhibit, 100-plus-program, 60-institution collaborative effort that includes academic research, multiple books and catalogs, and a four-part public television documentary.
Perhaps for all visits to cultural institutions by those of us who want to see those institutions thrive and carry on into the future, it’s time to reconsider—not just the math, but the underlying reasons why we believe museums matter, for all of us, regardless of our ability to pay for admission.
“The project involves restoration of the Castle and the Hirshhorn, the addition of an underground visitor center with amenities including restrooms and food service, and upgraded and centralized mechanical systems. The Haupt Garden, which is the roof of the subterranean Quadrangle building, would be replaced and the building’s entrance pavilions would be moved closer to the Mall.”
Alex Farquharson, the director of Tate Britain, is planning a complete rehang of the gallery, five years after the last major transformation of the displays in 2013. In an interview with The Art Newspaper, he outlines a new vision for the collection based on three “pillars”: art and society, history and the present, and Britain and the world.
“Over the last few days, the classical music media has become aware of a small but telling scandal. A Berlin-based concert curator, dramaturg, and VAN contributor named Arno Lücker published a shred on his blog. The video, part of a mashup genre in which new audio tracks are added to videos so that musicians appear to be playing embarrassingly badly, features the violinist Daniel Hope, accompanied by the pianist and composer Ludovico Einaudi. Hope now wants to haul Lücker into court.”
“Classical music conducts its business behind a screen of secrets, lies and euphemisms. A maestro is never absent without leave, only ‘indisposed’. No maestro ever gets fired. He becomes Emeritus. Truth gets buried beneath a dungheap of flummery. The real reason for the recent departure of at least one classical performer in this country will not be publicly explained, even though it is well known backstage. The code of silence in classical music is as tight as Sicilian omertà. Speak out, and you’re dead meat.”
“Most of the final-year art history students I spoke to recently at one of the UK’s leading universities had heard about the Salvator Mundi, or at least its price. But when I put an image of a well-known Titian on the screen, only one of them (of around 40) could identify the artist. I asked what they had all been doing for the past few years; “reading” came the unenthusiastic answer.”
A carefully designed 10-week study found outdoor lessons “boost subsequent classroom engagement, and boost it a great deal,” writes a research team led by Ming Kuo of the University of Illinois—Urbana-Champaign. “After a lesson in nature, teachers were able to teach for almost twice as long without having to interrupt instruction to redirect students’ attention.”