I met Jim Harrison only once, in 1968, when we were on a "little magazine" panel with Russell Banks, Anne Waldman, and Charles Newman. Even then Harrison was a "character," a voluble personality who cut quite a figure. He sported a black patch on his blind left eye, a rakishly tilted straw hat, and a hand-carved walking stick.

Elizabeth Sobol, CEO of the Saratoga Performing Arts Center, talks about how the arts can transform human emotional, physical and social wellbeing.

It first appeared six months after 9/11 as a public art installation and has appeared every year since. It is presented from dusk of Sept. 11 to dawn of Sept. 12. It's the most striking memorial to be seen, especially in person..

Jerome Foundation announces an unprecedented increase in grantmaking this year, helping their grantees persevere and innovate in challenging times.

In the English-speaking world, is there a decline in our literacy and in how people live with literature? For the past while there has...

Afa Dworkin, President & Artistic Director of the The Sphinx Organization, shares the three keystone events of their milestone 30th Anniversary.

Neil Barclay, President & CEO of the Wright Museum, talks about the critical process of preparing the next generation of leaders for C-Suite roles.

We wanted to celebrate our nation, because 2026 is our 250th birthday, and also, it feels necessary in this moment. But how would we...

It’s getting difficult to trust what (or who) is real in the age of AI.

Marquise Lindsey-Bradley, Marketing & Engagement Director of the Philadelphia Chamber Music Society, shares their strategic approach to engaging young audiences.

James Orleans The most frequent public respondent to my recent blogs about the long brewing crises now afflicting America’s

Since filing a New York Times piece on the perilous state of American classical music 250 years since the nation’s

Michael Bobbitt, President & CEO of Opera America, shares the unique strategies behind leading an international service organization in the arts.

Last week I learned that Arizona State University had launched a new degree program, a Bachelor of Arts in Content Creation, which can be taken...

https://youtube.com/watch?v=PocpiBx3hfk&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent Beginning with my “New York Times” piece on July 4, this is the fifth in a series of

Isaac Butler has written a history of the controversies – dubbed the “culture wars” – that arose in the United States around the arts...

https://youtube.com/watch?v=R5Av5BdT_iM&version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent As readers of this blog must be aware – perhaps with interest, perhaps with mounting annoyance – I

The Paramount merger and Broadway and non-profit theatre are strangely arguments circling the same idea. Paramount essentially argues that there's no such thing as the movie business anymore, only the attention business, and so its merger should not be considered in the context of other movie makers, but also to YouTube and TikTok and Netflix and Amazon. Theatre has ceased to be measured against other theatre (and even when it is, who really seems to care?) and competes inside an attention economy that lives at a scale it can't hope to be viable in.

I once described Bill McGlaughlin, who has died at the age of 82, as manifesting “a singular combination of gravitas,

After a season of seeing Broadway spectacle and experimental theater, I’m asking a bigger question: if we want audiences to grow, can we stop judging how people experience the art itself?